Write That Book Already!: The Tough Love You Need To Get Published Now

by Barry, Sam

  Editors are inundated with submissions, and every editor comes into work each day to find a new stack of manuscripts and proposals. They are all looking out for books in their area of interest or expertise, and they are trying to avoid books that are too similar to something else the house has recently bought or published, as well as books by fanatics, lunatics, and terrible writers. Above all, they are looking for books that they think they can sell to their colleagues in-house, who will then sell to the sales reps, who will then sell to the retailers, who will sell your book to readers.

  A MADE-UP TRUE-LIFE ACCOUNT OF THE EDITORIAL PROCESS

  Editor Laura is staring at a pile of manuscripts on her desk. Loretta, Laura’s underpaid assistant, has made some notes on each manuscript, but Laura knows enough not to entirely trust her assistant’s views, as Loretta is more focused on checking her Facebook page and managing her boyfriend’s alternative polka band than on her work. Still, Loretta is cheerful, shows up on time, and somehow manages to live on a pathetically small salary, so Laura feels she can’t really complain.

  Laura flips through the stack and something about Tony’s novel catches her eye. “Vampire dogs,” she thinks. “No one’s done that before.”

  Laura starts reading Tony’s book that night and really enjoys it. She plans on reading more the next day, forgetting that she has back-to-back meetings to discuss books she’s already working on. Other burning issues arise, and before she knows it weeks pass and Tony’s manuscript still sits, neglected but not forgotten.

  Eventually Tony’s agent calls Laura to talk about the latest movies, catch up on some publishing gossip, compliment Laura for doing a great job on another client’s book, and, by the way, see how it’s going with Tony’s submission. Laura, looking at the unfinished manuscript on her shelf, is evasive. But that night she takes the manuscript home and finishes reading it. There are a couple of weaknesses—nothing that can’t be fixed—and she wants to make an offer. Meanwhile Tony, feeling like a loser because no one has bought his book yet, fills out an application to work as a character actor at Disneyland. He’s thinking he’d make a good Goofy.

  The next day, Laura starts laying the groundwork for Tony’s book. Keep in mind that buying a book is a serious gamble for the publisher, who will be committing money, staff time, and reputation to a book that may sell only a small number of copies. A consensus that Tony’s book is worthy must be reached within the company before an offer can be made, and a lot of water-cooler politicking can occur. Laura starts by talking the novel up to some key people, and also asks a few colleagues to read an excerpt from one of the stronger chapters.

  Some days go by, and now there is a small chorus of voices agreeing that this book may have potential. The editorial director—AKA Laura’s boss—backs the book, and so does the publisher. Laura has been given the thumbs-up to make an offer—nothing extravagant, but a real commitment.

  Tony gets the call from his agent and gets out of bed for the first time in days. However, a deal has not been struck—in fact, it will probably take weeks of back-and-forth between Laura (and her bosses) and Tony’s agent before they strike a deal. When Tony gets the word that the terms of the sale are basically finalized, he goes to Disneyland to celebrate. While the contract is being drawn up, introductions are made. Tony talks to Laura and perhaps a few other members of the publishing team. He is ecstatic. He loves them all.

  HURRY UP AND WAIT

  What Tony doesn’t realize is that it may be two years before he is a published author. Laura has plenty of other books to work on and more projects to acquire. She also has to work with the marketing and publicity teams on books that have been recently published or are coming out in the next season, and she has to maintain her relationships with the agents, authors, and other publishing pros that are the lifeblood of her work—this is why she’s so good at taking people to lunch. Plus, she has a life. Sometimes.

  When Laura does get around to editing Tony’s book, she suggests some serious structural changes. She thinks it should begin with a scene that now appears in the middle of the book. She doesn’t like Tony’s humorous sidebars, something he worked really hard on but that she considers inappropriate in a vampire dog novel. She thinks the scenes with the primary female human character are weak and two-dimensional and need beefing up. But the really upsetting news for Tony is that Laura wants to change the title. Her suggestion—Barking for Blood—horrifies Tony, who calls his agent to complain. The agent, accustomed to upset authors, calms Tony down by agreeing with a lot of what he says. Actually, she thinks that his original title, Canine Revenge, didn’t work; but she doesn’t think Barking for Blood works either. She thinks it should be Old Fangful.

  Over the next year, Laura and Tony go through several drafts together. By the time they are done it is practically another book. The funny thing is, Tony begins to see that their work is improving his writing. He’s even come around about the new title, Count Barkula. But when Laura says she is happy with the latest version Tony is surprised and concerned. What about the typos? Laura calms him down by explaining that the book is now going to the managing editorial department for copyediting and design.

  Several months later Tony receives a printed copy of his manuscript littered with tiny red marks. Copyeditors are grammar fanatics, happiest when they find errors that need correcting—and they always find errors. They actually like finding errors. That’s why they have the job.

  Tony has to be in New York for a family visit, so he makes an appointment to stop in at the publisher’s office and meet Laura in person for the first time.

  Facing the large Midtown building that houses his publisher’s offices, Tony has to stop for a minute to catch his breath. He can hardly believe this is happening! He walks through security and wills himself to remember every moment of the elevator ride up to the fifteenth-floor editorial offices; the smooth, carpeted ride; the genteel bell announcing the elevator’s arrival on his floor; the polka-dot blouse on the young receptionist who asks him to take a seat. He looks around and sees posters advertising books he’s read and enlarged photographs of some of his favorite authors. He feels his life changing as he sits there, and vows to write about this moment in his next novel.

  Laura appears, and Tony is momentarily startled—he had always pictured her as a tall brunette with glasses, and instead he sees a petite blonde. It will take him a few more meetings to remember what Laura really looks like when he talks to her on the phone.

  After a quick tour of the office, Laura offers Tony a couple of hot-off-the-presses hardcovers to read on the plane, and he’s thrilled to accept. She then calls a few colleagues, and they gather in Laura’s office before going to lunch.

  THE TRANSITION FROM EDITORIAL TO MARKETING AND PUBLICITY

  The purpose of the lunch is to get acquainted in person, of course, but it is also something we like to call the “hand-off lunch,” in which Tony is introduced to the people who will guide him through the next stage of the publishing process. He doesn’t realize it yet, but his direct communication with Laura will lessen as his book gets closer to publication. She’ll move on to other books, and he’ll work more closely with the publicity and marketing people. This can be a difficult transition, kind of like a parent handing a toddler over to the babysitter and trying to leave the house as the child clings to his mother’s neck. When done skillfully, though, the hand-off is a seamless, positive experience. (Of course, it doesn’t have to be lunch. It can be, and often is, a phone-and-e-mail handoff. But we like lunch.)

  Laura is a pro, and Tony is impressed with Veronica and Ben, the publicity and marketing team assigned to his title. They’ve come well-prepared with a creative plan for getting the word out about Tony’s book, and invite him to contribute ideas. They also ask him to fill out something called an author questionnaire.

  The questionnaire is an extensive document that asks about the author’s background, affiliations, and experience. It’s not a whole lot of fun to fill out,
but it’s important, as it gives the publicity team crucial information about the author’s contacts and platform, where he comes from, and who his people are. Tony is also asked to write a ten-question “dream interview”: the ten questions he would most like to be asked about his book, followed by the answers. You will have already done this, because you read our book. This may be used in his press kit, and might even appear published in a secondary-market publication as an interview. It helps the publicist refine the pitch and figure out how to approach the media, and clarifies what questions an author is most comfortable answering.

  For the next few months Tony is working with Veronica, Ben, and some of the others in the publicity department. A publicist gets in touch about his personal travel plans; there’s no budget for a tour, but the organizer of a vampire film festival and dog show in Austin is wondering about an author appearance. The marketing team wants some information. At the same time the copyeditor is being a pest with all kinds of niggling detail questions.

  Tough Love from the Author Enablers

  So you think you have quite a sense of design and you’ve always pictured the cover of your vampire dog book as all black. What could be more dramatic? Take our word for it—you should let your publisher design your cover. We can’t guarantee that they’ll get it perfect, but they are the pros and they have both the experience and the objectivity that you lack. We can often tell at a glance when a book has been self-published, because the cover never quite has that professionally designed look. ‹«

  Laura is still on the job, checking on everything and approving every stage of the book’s progress. She writes his cover copy, fights for a better marketing plan, and argues with everyone about the cover images. She is talking the book up in-house and to colleagues in the business.

  PUB DATE : AT LAST, IT’S A REAL BOOK

  Finally Tony’s publication date is approaching. The reviews in the trade publications (such as Publisher’s Weekly) are positive. The publicist tells him there’s “a nice buzz starting” with independent booksellers. Tony imagines little bees buzzing around his neighborhood bookstore, and wonders if his next book should be about vampire bees.

  The pub date finally arrives! (Pub date, you no doubt gathered, is short for the publication date. See our handy glossary for more on this and other publishing lingo.) Tony comes home from work and throws his Goofy head down on the floor, almost hitting the lovely fruit basket sent by his publisher to mark the day. He checks his messages and carefully goes over the itinerary sent by his publicity team—some readings in local bookstores over the next few weeks, several phoned-in radio interviews, and one trip out of town. Thanks to Laura’s efforts, the publisher found money in the budget to send him to that vampire/dog show event in Austin after all.

  Tony takes a drive down to his local bookstore, and there it is, right on the New Fiction table, five copies of his first published book . . . next to a huge stack of John Grisham novels.

  No, the world doesn’t stop for Tony’s publication date. But he’s now a legitimate published author with a new book that has “buzz”—and he has Laura to thank, in large part, for that. He has yet to experience his first fan letter, or the first time he sees a stranger reading his book on an airplane. Those will be wonderful moments, but none is quite as lovely as seeing his book on the New Fiction table for the very first time.

  IF THINGS DON’T TURN OUT TO BE PERFECT (AND WHEN HAVE THEY EVER?)

  In a less-perfect scenario, Tony’s editor might not be as competent or attentive . . . or might leave the company altogether in the middle of Tony’s book’s publication process. When an editor leaves mid-book (to keep the parental metaphor going) the book and author are described as “orphaned” and it’s not a good thing. The new editor won’t have the same level of interest in a project she did not acquire, and may even see some value in its failure. If an editor is inattentive or simply incompetent (or clearly too busy with that John Grisham title to care much about yours), you won’t be as lucky as Tony.

  There are some things you can do to remedy these situations, and they have to do with—go figure—graciousness, charm, and walking the line between being a good communicator and a pest.

  In a best-case scenario, your original editor would let her authors know that she is leaving and put you in touch with her replacement. When you are introduced to your new editor (either in person or by phone or e-mail), propose an in-person meeting if that’s possible. Do what you can to develop a good relationship; then get out of the way. If you feel like your concerns are not being addressed, or worse, this would be a good time to ask your agent to act as your advocate and get you a little more attention from the editorial department. Most of all, trust the process and don’t take your frustrations out on your new editor just because your old editor decided to move, or go to graduate school, or run for president, or something.

  With an editor who simply isn’t good at his job, if you can afford the extra expense you might want to enlist the aid of a professional book doctor or freelance editor, just to make sure your book is the best it can be. However, it’s worth noting that the in-house editor has the final say on edits, and the publisher could end up rejecting a freelance editor’s changes. But please don’t assume that these unhappy scenarios will be the case.

  BOTTOM LINE

  Most editors are true professionals who really care, who will do the very best they can to help your book succeed, and who will still be working at the same house when you are shopping your second manuscript. And we firmly believe there’s no book in the world that doesn’t benefit from the intelligent and judicious attention of a skilled, experienced editor.

  CHAPTER EIGHT

  MARKETING

  AND PUBLICITY:

  GETTING THE

  WORD OUT

  Large publishing companies have in-house publicity departments, and the time will come when you’ll be weaned from the editorial team and handed over to marketing and publicity. There are many ways you can help your publicist do the best possible job, and a lot you can do on your own, too.

  What the heck is marketing, and how do you do it for your own book? We’ll try to provide a simple overview to this complicated question.

  But before we discuss marketing and publicity, we want to make it clear that the most important thing you can ever do for your book is write a great manuscript. A wonderful book makes everyone’s job easier. The sales people want to sell it, media producers want to book the author, and booksellers are enthusiastic. But what is a great manuscript? Now, for another twist: instead of thinking only about how beautiful or revolutionary or clever your writing is or how intensive or groundbreaking your research is or the reasons why your book is destined to become a classic, think instead about who your audience is, why anyone should pick up your book (or click on it online) and buy it. Why would a bookseller steer someone to your book? Why would a producer be interested in you? It is this combination—a timely manuscript on a subject of interest by a qualified, talented, disciplined author— that makes for a terrific, successful manuscript. Write a good book, because a great marketing plan will not always overcome mediocrity.

  MARKETING

  The goal of marketing is to ignite a word-of-mouth campaign so that your book will begin to take on a life of its own. Without this, interest in the book will die out and the publisher will, logically, move on to the next project. The hard truth is that most books don’t make enough money to warrant the publisher keeping the title in print and many don’t reach the point where the publisher starts paying the author royalties, which can only happen if the book has “earned out” (more about this later—also, see the glossary). Publishers make their money on the minority of books that succeed.

  We’re not trying to discourage you. In fact, we are trying to encourage you to take your writing and your role as author seriously enough that you challenge your own preconceptions about this process. What kind of book are you best suited to write? If you want your book to lead th
e pack, you must write in a genre and deliver a manuscript that suits you as an author, in terms of both your talent and skills and your background and education (formal and informal—for some books, for instance, time spent in prison can come in handy), and write on a subject for which there is an audience, in a manner that communicates your story and message. All this is to give yourself the best possible shot at finding the readers who will buy your book.

  In a trade publishing house—one that publishes for the general consumer market—the marketing department develops materials designed to help the sales force get orders from retailers. These materials include catalogue copy, cover design, in-store displays, advertising, online presence, giveaways and promotions, outreach to organizations and mailings, and anything else they can come up with to get attention in a crowded market.

  HOW MARKETING WORKS

  Here’s how it usually works: after a book is acquired by a publisher, a publicity and marketing plan and budget are put together before the manuscript is completed. Plans can change, but the initial budget is based on such factors as sales projections and early media interest. Your company-assigned publicist will start sending out copies of your book to reviewers several months before your publication date. These can be in the form of a simply bound manuscript, galleys or advance readers copies (ARCs), or finished books. Once the book is in stores you’ll have about six more weeks of her attention before she has to move on to other projects. Keep in mind that this publicist is working on several other books at the same time, has to go to way too many meetings, and in the case of first-time authors is working with a very small budget.