We were thrilled to chat to author Freya Berry about her second book, The Birdcage Library, and hear all about how she quit her job to write her first book and how she ended up meeting her agent at our Festival of Writing.

Thank you so much for catching up with us, in midst of what we expect is a very busy time for you.

I sort of been recovering since The Birdcage Library came out on the 22nd (June), and I've just been trying to lie down in a dark room. I always feel like publishing a book is slightly like a slow motion nervous breakdown, so it's nice to be sort of blinking in the daylight again. And yeah, getting back to my normal life and thinking about book three.

After your well-deserved rest, what is next on the horizon?

So I had to book contracts with The Dictator’s Wife and the and The Birdcage Library, I'm sort of coming out of that for the first time since my career started. I've got the idea for the third book, which I've been working out with my agent, and next it’ll be taking it to my editor and seeing what she thinks and all that absolutely not nerve wracking stuff.

Can you tell me a little bit about how your first book came about?

So I used to work in journalism and now I think I really love taking fact and making that into fiction. The Birdcage Library is based on real life people, real life animal dealers who lived in New York in the Gilded Age and the Dictator's Wife is very much based on real life dictator's wives and those kind of people. So, I was working in journalism and realized that wasn't for me. I preferred making stuff up (to a point).

So, I gave myself a year to write a book. I had been working in journalism for about four years and I spent a year and a half of that writing a first novel, which was terrible. I've never gotten back to it. But I think it was a good way to understand what the process involves, at least. I sent that novel out to a few agents not really knowing what I was doing and I got some feedback which was really helpful. It kind of made me understand that the book was never going to work. I kind of knew that, but it was helpful in encouraging me to try again.

So, I quit my job. I gave myself a year. I lived off savings and was able to live my parents’ house for a few months.

That’s amazing, such a brave move.

There was this one amazing agent who gave me pages of feedback, which was unbelievably kind of him. And so that did make me think that maybe this is something that I could do. I also spent a hell of a lot of time agonizing with myself. Should I quit my job to write? You can sort of reverse engineer it to make it sound like it was a plan, but it was a massive chance to give myself a definitive amount of time to do it. I’d saved up but it was definitely a leap of faith. It was a good thing I didn’t know what I was doing otherwise it would have been too scary!

So I took that year out, I just been reporting on the 2016 US election, which was obviously the one where Trump won for the first time, and it was Melania Trump, this sort of fake news concept and what is truth and so on, that became the roots of The Dictator's Wife.

I didn't know what I was going to write before I decided to quit, it just grew out of that experience. I wanted to set the Dictator's Wife in a fictional eastern European country where I had spent a bit of time in the past. I went back and I spent four months researching.

I turned up in Bucharest in February. There was snow on the ground, it was ten o’clock at night and my Airbnb host was late arriving and I thought what am I doing? As I was waiting in this dark stairwell for him to turn up, he arrived and said ‘I'm so sorry. I've just been to the protest.’ It turned out they were having the biggest protest they'd ever had since 1989 that night. So I went along with him and 300,000 people in the square chanting against the government and ended up in an underground bar in this abandoned palace.

It became a protest scene in the book and was a real instigating moment for that whole process. So, I was in Eastern Europe for four months, writing every day and talking to people and learning about the area and immersing myself.

After about four or five months, I had that first draft. I did another two or three drafts before I signed. I thought I've taken it as far as I could go. And that was around the time that I found the Festival of Writing. I came up to York and scoped out which agents I was interested in and one of my one-to-ones was with James Wills. Then he became my agent. So, York was really integral to that. It got a couple of other offers from agents at that festival too. It was a real turning point for me to be able to feel like this is a real thing.

Amazing. So, you met with James for your one-to-one, can you tell us how the other offers came about?

Yes, so I sent I sent James and a couple of the other agents who were interested the full manuscript. James had read the first chapter already and the others I pitched to while I was there.

That’s amazing. So, you pitched agents whilst you were at the Festival of Writing?

I think the good thing about being a journalist is you have to be utterly shameless in going up to people. So I think that was quite helpful. I think writing, as I've learned, is more about hustling than you think.

If you can go up to people, be nice and not aggressive, just to tell them in a few words whether it might be something they might be interested in, I think that's a really helpful skill to develop.

So, I went up to a couple of agents who liked the sound of it and they asked for the full manuscripts and I got a couple of offers off the back of that. But James seemed to really get the vision and we aligned.

I would have loved to have been a fly on the wall for those conversations! How do you go up to an agent and pitch in person?

I perfected a little elevator pitch. What it is at the heart of this book and what makes it unique. The art of the sell is very different obviously to what you're writing. So, it's just kind of understanding what is important about your story and taking enough of a step back to understand the things that make people go, ‘ooh.’

It can be really hard to distil a 90,000 word novel into a sentence or two, removing things you have your heart set on.

I think agents do understand that they're not getting the full book in the sentence. For example, I think for The Dictator's Wife, my pitch was - dictator’s wife stands trial for her dead husband's crimes and weaves a web of secrets and lies around her young female defence lawyer - or something like that. And The Birdcage Library was: an adventuress discovers an old diary hidden in the walls of a Scottish castle which contains clues about this woman who vanished 50 years before, or something like that.

Can you tell us more about what happened after you signed with your agent?

Yeah, with, with my agent, we worked on the Dictator's Wife for a good year. There's no guarantees in this industry and so my work was very much focused on getting the manuscript to where it needs to be. And then James took the book and pitched it to editors.

What advice would you give to writers? It’s interesting to hear you wrote an entire book before The Dictator’s Wife.

I didn’t expect how much perseverance it takes to get a book published. You read the stories of people who say that they wrote a book on a whim, sent it off and got fifteen offers by the next morning. From the vast number of writers I've spoken to, that is not representative. I’m grateful that I didn’t know how long and arduous the process would be before I started.

It’s really important to be honest with yourself and make your book the best it can be. After I got an agent, I rewrote the entire book from third person to the first person. I remember it so well! I literally opened up a blank document next to the manuscript and just started.

You just can’t give up, that is the biggest differentiator. It might not be the first book or the second, but it’s just the people who don’t give up and are prepared to go through that mill who make it.

It is the only industry that I’ve ever encountered that talks about ‘positive rejections’ which tells you everything! It’s hard to put yourself out there. And then afterwards, it’s easy to say well done to you for coming through it. But at the time, no one is cheering you on, it’s only you and your self-belief, and hopefully your friends and family. It’s a big thing and I think anyone who is doing it is really brave and should feel loads of self-respect for themselves. No one will make you do it but that’s sort of the joy and the terror of it.

Freya Berry studied English Literature at Cambridge. She graduated with a double first and worked as a financial and political journalist at Reuters and the Daily Mail in London and New York. Her debut novel The Dictator's Wife was featured on the BBC's Between the Covers and was The New European's novel of the year. Her second, The Birdcage Library, is a story about an adventuress, part-based on her namesake Freya Stark. Freya lives in London.

Freya’s second novel, The Birdcage Library, is out now.

Being an author can be a lonely and paranoia-filled occupation when writing alone. Without feedback and guidance, it becomes all too easy for doubt to creep in. We interviewed former Ultimate Novel Writing Programme (UNWP) student Nicky Downes and spoke about how the programme helped her achieve her dream of finding a publisher, the lessons she learnt, and the people that helped along the way.

JW: What was your favourite part of the UNWP?

I started the programme with just an outline for a novel and a fledging idea for my protagonist – a female Detective Inspector who climbs mountains. If it wasn’t for the support of both my writing group and my mentor, Helen Francis, I wouldn’t now have a complete novel and a publishing contract.

I loved all aspects of the programme, but it was the time spent in the webinars with my group discussing our writing problems and the critiquing of each other’s work that had the most impact. And meeting everyone at the York Festival was amazing! I loved the courses there too. I had some real lightbulb moments.

I loved all aspects of the programme, but it was the time spent in the webinars with my group discussing our writing problems and the critiquing of each other’s work that had the most impact.

JW: Tell us about your journey to finding a publisher. What steps did you take, and were there any turning points/transformative moments?

I had already self-published a police procedural series before starting the course and knew how difficult it can be to promote your work successfully. I was ideally looking for a publisher that would love my protagonist and ideas for my new series, and that could place the series in front of more readers. In terms of the genre of my novels, I knew that a digital first publisher would be a good option.

The one-to-ones that I had with agents were excellent and helped enormously with my understanding of what the key themes of my novel were and my pitch.

In the end, I had two offers of representation. The first with Storm Publishing who offered me a three-book deal for the DI Jack Kent series. As I was considering this, I was approached by an agent who had read my submission to the UNWP anthology. After reading my full manuscript, she offered me representation. That was a wonderful and unexpected surprise. In the end, I plumped for Storm. I can’t wait to work with my publisher, Kathryn Taussig, on editing Urban Climber (the title may change) and the other books in the series.

JW: In what ways has the UNWP helped you to where you are now in your writing journey?

The programme helped me to understand which areas of my writing I needed to improve. It also gave me a much clearer understanding of the industry and what works. Being able to discuss my writing with my peers and tutor really helped, particularly during those moments when I floundered and found it difficult to keep going.

The fact that the programme covers everything from the first page to the final draft is so important. I’m sure I’ll keep returning back to both the programme materials, and to the support of the members of my writing group, whenever I get stuck in the future.

The programme helped me to understand which areas of my writing I needed to improve. It also gave me a much clearer understanding of the industry and what works.

JW: Do you have any advice for new students for making the most of the UNWP?

There will be times when you will struggle with your writing. But there is so much help and guidance available at Jericho. Don’t feel that you have to do everything. Do what is working for you and your book. Sometimes you’ll get advice that you don’t immediately agree with. Take a step back and look at it again with fresh eyes, as this is often the advice that makes a real difference to your writing. Be prepared to make some lifelong writing friends too!

You can learn more about the Ultimate Novel Writing Programme and how it could help you write a publishable novel in a year!

About Nicky Downes

Nicky Downes has previously written a self-published crime series featuring DI Amelia Barton of the National Crime Agency. When she’s not writing, she loves cruising the canals of Birmingham and the Midlands on her narrowboat, Chanelle.

You can follow Nicky on Twitter, or view her website here.

Despite having been branded as an ‘emerging’ market for the last ten years, new adult fiction remains shrouded in heated debate.

Whilst it has acquired cult status among readers and authors alike, there are a great many publishers who are reluctant to acknowledge it as an established category. The question is -why? 

To answer this question for you, I will define new adult fiction, include some examples, and suggest tips for writing it.

Most importantly, I will explain how you might want to tackle these controversies in your submissions. 

What Is New Adult Fiction?   

New adult fiction books (NA) are narratives that explore the transition from late adolescence to early adulthood. They're considered the next step after young adult fiction and they're typically aimed towards readers aged 18-25.

It's less a genre and more a subcategory of either YA or adult fiction.

The protagonists in NA titles, much like their demographic, are new to “adulting” and don’t yet feel like functional adults.

The topics frequently explored in these stories are:  

• Moving away from home for the first time 
• Starting higher education 
• Deeper exploration of sexual experiences, identity and gender 
• Establishing careers 
• Figuring out relationships – familial, platonic and romantic

NA helps maturing readers, who are new to adulthood, find their footing… at least this is what many believe it's for. Naturally, there's some speculation. 

The Controversy Of New Adult Fiction

When NA first came onto the scene in around 2009 – thanks to a competition run by St Martin Press - the response was essentially YA fiction but notched up a gear. This included the sexual content.

It wasn’t long until the new adult genre was characterised as thinly veiled erotica that took place at university. This in itself is no bad thing; people can read and write what they want. The hitch is that the refrain that NA titles are just YA romance novels with more sex still plagues the category today and this has made it hard to market and sensibly shelve in bookshops.

Deirdre Power, an assistant editor at Usborne, said ‘while there’s a really valid reason for children’s books to be divided into age categories, you can’t generally say the same for adult fiction.’ Once eighteen, readers are simply trusted to make their own decisions.

In fact, the popularity of Sally Rooney’s Normal People, featuring university aged characters, demonstrates that adult readers are not typically dissuaded from reading titles with younger protagonists.

They may be dissuaded, however, if a book's marketed for a specific age range. This means positioning a book away from a mass of readers who would have otherwise bought it. This is why NA can be vague as a marketing ploy. After all, does anyone ever really feel like an adult?  

However, new adult books have not gone away, and the sexual content they sometimes contain is becoming less of a concern. Laura Bennett at the Liverpool Literary Agency said ‘in my experience, I’ve found that publishers are trying to be more sex positive. I think Tik Tok has a huge part to play in this.’ As a result, she’s found that publishers are increasingly asking for titles with “crossover potential” … which is essentially jargon for new adult.

Laura speculated that the perpetual grey area could be attributed to a wider issue with age ranges in the YA market. ‘YA has become such a huge bracket. Is it 12-18yr olds or is it 16-18yr olds? Children are always going to read older than they are. But equally, I wouldn’t want my 10yr old reading upper YA because it’s in the 12+ section’. If there was consistent delineation, it would help with marketing and shelving. ‘We have to nurture mature readers, while still protecting younger readers. There needs to be that balance. If you insert new adult into the opposite end of that scale, it gives us the opportunity to say “Yes, this is for older readers, but it is still fairly safe”’.

This begs the question though… what actually sets YA and NA apart? 

New Adult Vs Young Adult Fiction

Young adult fiction titles are books written for readers aged 13 - 18. With teenaged protagonists, they explore the challenges of adolescence or coming of age.

New Adult Fiction differs in 5 key areas:  

• Target audience – NA’s target audience is both older and broader. It's targeted at 18-25 year olds, though many believe it's 18-30.  
• Word count – Whereas YA is usually around 60,000 words, NA titles can be anything up to 120,000. NA authors can get into politics, themes and worldbuilding a lot more. 
• Content – NA titles can provide more detail with their ‘adult’ content. This includes more swearing, violence, sex and drugs.  
• Voice – NA protagonists have a different set of priorities and concerns than their younger counterparts. They're older but not on an equal footing with adults that possess well-established careers, families, and lifestyles. 
• Themes  - NA focuses on three areas of identity: romance, career and worldview. There are more mature themes with more complexity than in YA. YA often focuses on the external, whereas NA focuses on the internal. 

Examples Of New Adult Titles

• A Court of Thorns and Roses by Sarah J Maas – After killing a faerie, 19-year-old Feyre is held hostage. This popular Beauty and the Beast adaptation is darker, sexier and grittier than YA. 
• Fangirl by Rainbow Rowell – When identical twins Cath and Wren head to college, they must each find their place, dealing with independence and social anxiety.
• Black Buck by Mateo Askaripour – 22-year-old Darren ditches his job as a barista and becomes a salesman who'll do anything to get ahead. This explores the challenges of racism in the workforce, establishing a first career and balancing life. 
• The Incendiaries by R O Kwon – Will starts at Edwards College and turns his back on religion, then he and his friend get involved with a cult. This explores worldview, grief and self-identity. 
• Exciting Times by Naoise Dolan – 22-year-old Ava moves to Hong Kong and strikes a relationship with British banker Julian. Things get complicated, however, when she meets Edith.
• If We Were Villains by M L Rio - Seven young actors study Shakespeare at an elite college, until one of them is found dead. This is a dark ‘campus novel’ exploring morality and social identity.

Tips For Writing New Adult Fiction

Audience

The biggest mistake NA authors make is oversimplifying things by writing too young for an adult audience and too graphically for YA.

Be clear about who you're writing for and ensure your protagonist embodies this in both mindset and maturity – the rest will fall into place.  

Themes

The circumstances of your story should sync with your character. Your themes need to feel reflective of where they are in life. 

Genre

Given publishers’ hesitancy acknowledging the term ‘new adult’ you may want to consider using other buzz words in your query letter.

I'd recommend using the phrase ‘XX with crossover appeal’. If the setting's firmly academic, then you may want to label your title as a ‘campus novel’. 

Frequently Asked Questions

What Is The Difference Between New Adult And Adult Fiction?

The new adult category is considered a subsection of adult fiction. New adult readers are typically aged 18-25 and adult fiction is aimed at anyone over the age of 18. 

What Is The Difference Between Young Adult And New Adult Fiction? 

YA fiction titles are written for young adults/readers aged 13 - 18, with similarly aged protagonists, and they explore the challenges of coming of age. New adult titles are aimed at 18–25-year-olds, and have older protagonists facing the new demands of legal agency and responsibility. 

Writing NA Fiction

The increase in ‘crossover appeal’ on editors’ wish lists speaks for itself. New adult is far more than sexy romance.

It's a robust category that offers authors the chance to tackle important topics that are pertinent to early adulthood.

Not unlike the readers these books aim to represent, the NA market is in a period of transition.

The question of when it can go from ‘emerging’ to ‘emerged’, feels almost synonymous with, ‘when do humans go from ‘adulting’ to fully-grown adult?’

The fact is, no one knows, but it seems somewhat inevitable. 

Jericho Writers is a global membership group for writers, providing everything you need to get published. Keep up with our news, membership offers, and updates by signing up to our newsletter. For more writing articles, take a look at our blog page.

As a reader, perhaps you have enjoyed the use of epigraphs before, but never quite understood why an author has chosen to use them.

Or maybe as a writer, you have considered using epigraphs, but have resisted because you are not sure about how best to implement them. 

In this article, we will include an epigraph definition, look at some epigraph examples, and provide some tips on using epigraphs effectively. Hopefully by the end of this guide, you'll be able to use epigraphs to improve your writing and make it stand out from the rest. 

So, to begin, let’s discuss what the word epigraph actually means.

What Is An Epigraph?  

In short, an epigraph is a short (typically fictional) quotation, saying, or poem that is used as an extract in an author’s book in order to gently guide the reader into the story's world. Some authors will use a one-off epigraph at the start of the book, just after the title page, and others will include an epigraph at the very beginning of each chapter heading. In other examples, authors used epigraphs at the end of their books as part of, or solely as, an epilogue. Epigraphs are contained in quotation marks and it's vital that they are attributed to the correct person.

In some instances, an epigraph will be a simple one-line quote or saying and in other examples it could be several lines of poetry or prose from a literary work. It is totally down to the writers’ discretion how many lines, or how many epigraphs they decide to use. 

So now that we understand what an epigraph is, it’s important to establish its purpose in writing and why you might consider using one (or many of them) in your book. 

What Is The Purpose Of An Epigraph?  

The purpose of an epigraph is to help set the tone, themes, and subjects that will later materialise in the story.

An epigraph can help the reader gain a sense of what is to come and help an author to establish context very early on in the book.

Epigraphs are often thought-provoking and they create intrigue and interest at the beginning of a text/chapter. They're also used to foreshadow mood /an exciting event, or make a satirical statement.

To fully appreciate the purpose and effectiveness of literary epigraphs, it is useful to consider some published examples. Below are some examples of texts that have used epigraphs successfully. 

Examples Of Epigraphs  

To Kill A Mockingbird By Harper Lee 

Lawyers, I suppose, were children once.

This is possibly one of the most famous examples of an epigraph being used to create intrigue and establish the context for the complex and emotional story that would later unfold. It is wonderfully simple yet extremely clever. 

Life After Life By Kate Atkinson 

What if we had the chance to it again and again, until we finally did get it right? Wouldn’t that be wonderful?

Edward Beresford – Todd 

Atkinson uses three epigraphs at the beginning of this novel, but what makes this quote unusual is that it is actually made by one of the main characters of the book.  

It is also a wonderfully apt quote, perfect to set up the main theme of the novel, which is reliving a life - and by using a quote from a character, we can appreciate his importance in the story.

Watership Down By Richard Adams 

CHORUS: Why do you cry out thus, unless at some vision of horror? 

CASSANDRA: The house reeks of death and dripping blood 

CHORUS: How so? ‘Tis but the odor of the altar sacrifice

CASSANDRA: The stench is like a breath from the tomb.

Aeschylus, Agamemnan 

Watership Down is an excellent example of epigraphs being used at the beginning of each chapter - and this quote from chapter one really sets the theme for the reader. By using continuous quotes and extracts throughout the novel, Adams is able to hint at the terror and threat that is awaiting his characters and can continue to create a sense of intrigue and danger throughout the book.  

The Circle By Dave Eggers 

There wasn’t any limit, no boundary at all, to future. And it would be so a man wouldn’t have room to store his happiness.

East of Eden by John Steinbeck

By using this quote at the beginning of his novel, Eggers is able to set the theme of his futuristic and utopian setting. This quote helps to pose a question with the reader, hinting that perhaps the safe and happy world that is being presented, isn’t all it seems. 

The Double Life of Daisy Hemmings By Joanna Nadin 

Is insincerity such a terrible thing? I think not. It is merely a method by which we can multiply our personalities.

The Picture of Dorian Gray by Oscar Wilde

Again, this quote is thought-provoking and helps to set up the main theme of book, which is people changing. It is extremely apt and sets the context for the story that unfolds perfectly. 

How To Use An Epigraph In Your Book  

In this section, we are going to explore how best to use and decide on your own epigraph for your book.  

• Consider using texts, extracts and quotes that have themes that best overlap with yours.  
• Ensure that you have permission to use the text/quotes or extracts. Remember, copyright restrictions may be in place (this is usually the author's lifetime, plus seventy years) but it is always best to check with the writer’s estate or agency to be sure. 
• Consider whether you want to foreshadow an event or mood and if so, try to use an epigraph that can help with this. 
• You might want to use an epigraph to develop or hint at a character development, in which case you need to find one that best fits those needs.
• Take time to read through examples and consider how epigraphs might best suit your work. Could a small quote at the beginning set up the scene? Or would continuous epigraphs at each chapter help shape the theme and build intrigue throughout the novel? Decide what best suits you. 

It’s important to remember that most authors are drawn to quotes and texts instinctively and just ‘know’ that they belong in the novel. It makes sense that a piece of writing that has influenced you, or a poem that means a lot to you, will also connect to the story you have written. If your gut instinct feels that it's right, it often is! Just ensure you are allowed to use it! 

Let’s now consider some frequently asked questions regarding the use of epigraphs. 

Frequently Asked Questions 

What Is An Example Of An Epigraph? 

An epigraph is a short quotation, saying, or poem that is used in novels. These (often fictional) quotations can either be included at the start of the book or at the beginning of each chapter. An example is the epigraph, “lawyers, I suppose, were children once”, used in To Kill A Mockingbird by Harper Lee.

Why Are Epigraphs Used? 

An epigraph helps to set the theme, tone or the subject that will materialise later in the story. It can foreshadow what will come and build intrigue and suspense. 

Where Should I Use An Epigraph? 

This is a totally personal preference. Many authors prefer to have their epigraphs at the beginning of the novel. Others will use epigraphs at the beginning of each chapter, some at the end of a novel.  

You need to choose the method that feels right for you and fits with your book. 

How Long Should An Epigraph Be? 

There are no wrong or right answers here. However, it is often suggested that epigraphs which consist of a short phrase or a few lines are best for creating intrigue and holding the reader’s interest. 

What Copyright Considerations Do I Need To Consider When Using Epigraphs? 

You need to check that you have legal permission to use any text, quotes, or extracts. Remember copyright restrictions are often in place (usually the author's lifetime, plus seventy years) unless the text is in the public domain. If you're unsure about the copyright, check with the writer's estate or agency. 

Choosing An Epigraph

Throughout this guide we have explored epigraphs in much detail and considered their use and how they can be most effective in writing. There is little doubt that for many writers, epigraphs are a great way of setting the theme and tone of a novel and helping a reader get a sense of what might be unveiled later in the book. 

The key thing to remember, is that the use of epigraphs is a totally personal one. Take time to explore quotes and extracts that might work for your text. Ensure that you have the correct permissions. Consider whether your epigraph is having the effect you want it to have. 

But most of all, have fun with it and follow your heart. Epigraphs are often selected because they connect to the author in some way and because of this, they will connect to the reader. The most effective epigraphs are the ones that aren’t forced but feel like they belong to the writing. 

Good luck! 

Peter Gibbons taught himself everything there is to know about writing and self-publishing, using our Manuscript Assessment service to refine his work. His Viking Blood and Blade books became Amazon Bestsellers and received numerous Kindle All-Star Awards. More recently, his self-published book King of War was shortlisted for the Kindle Storyteller Literary Award 2022. 

And if that wasn't enough, Peter's first traditionally published book is out with Boldwood Books in October 2022. We caught up with him to find out about his journey into self-publishing, and how to harness your self-motivation to get your book finished.

JW: Tell us a bit about your background as a writer. When did you start writing, and how did you find the process once you’d started? 

I’ve wanted to be a writer since I was a child, but had never done anything about it. I am a huge fan of historical fiction and fantasy novels, as well as historical non-fiction books. Writing was something I felt I had the skills and imagination to be good at, but life got in the way and I had never actually put pen to paper (or fingers to keyboard).

In my day job I head up a global sales function for a large insurance company, and I’m married with three kids - so free time is at a premium. Those elements can be, however, excuses not to write. Here’s something I figured out by training and running the Dublin Marathon six years ago: there is time in everyone’s day if you want something badly enough. During the Covid lockdowns, I gave up physical training and decided to use that time to try and write a book. So, I just sat down and wrote it. I got up at 5.45am each day and wrote for an hour and a half each morning. The words poured out, and I wrote very much in the “pantser” style. Eventually the word count was huge and the story was finished. I'd written a Viking Historical Fiction novel, which it turned out I didn’t want to share or show to anyone – that’s something I’m sure will resonate with many first-time writers.   

There is time in everyone’s day if you want something badly enough.

JW: What prompted you to have your manuscript professionally assessed?  

My first draft manuscript was an odyssey of multiple points of view, sprawling journeys, and battles. I feared that, although I had accomplished my goal, what I had written was not very good. That’s when I came across the various tools and services available via Jericho Writers. On the website, I found blogs on plot structure, character development, and advice on POV characters. I had no knowledge or experience of any of these important elements, and so I worried that my precious manuscript was, in fact, a bit rubbish. So I invested in the Jericho Writers Manuscript Assessment service.

I had been heavily consuming all the info available on the website, and the assessment seemed like the best next logical step to get an honest review of my work by a professional. The feedback came back, and it was candid, challenging, and amazing.  I needed to ditch at least one POV character, learn about story structure, cut around one-third of the story, and the novel started in the wrong place. I acted on the advice, and have never looked back. 

The assessment seemed like the best next logical step to get an honest review of my work by a professional.

JW: Why did you decide to self-publish your work? In what ways has it been the best route for you?

After working through three further drafts, I submitted the manuscript to a couple of agents but received no replies. I did that mainly because I was completely unaware that self-publishing existed. Once I discovered that, and understood its power and opportunity, I decided to self-publish what became Viking Blood and Blade, my debut novel. . I realised that with self-publishing I could be the master of my own destiny: I wanted to be a writer, and I didn’t have to wait for approval or acceptance from any industry gatekeepers. I could just do it. And so, I set about learning everything I could about the key elements of self-publishing and building up a playbook that would drive my novel to success.

I realised that with self-publishing I could be the master of my own destiny: I wanted to be a writer, and I didn’t have to wait for approval or acceptance from any industry gatekeepers.

JW: How did you find the initial steps of self-publishing (building a mailing list, getting reviews, etc.)? Do you have any advice for authors embarking on these first steps? 

Advice on how to put together the elements required for a successful self-published book is available on the Jericho Writers website, and elsewhere online. I set a target number of reviews I wanted to get within the first month, set up a pre-order and a free offer, and then engaged with book promotion sites. I also worked at setting up a simple website using Wordpress with a mailing list and call to action. All of these things were new to me, but actually getting each element up and running was fairly intuitive.  My advice to authors starting out is to make sure you do the basics, and do it in a simple way that you can then build upon. You need a good book, a strong cover, solid metadata, a website, and a mailing list capture service. 

JW: Once you’ve started to build some success in self-publishing, what’s the best way to hold on to it? How can you make it sustainable? 

This one is simple - keep on writing, release more books in a series, engage with your audience and learn how to master Amazon/Facebook ads. 

So for any new or aspiring writers out there, I would say that your reach is within your grasp. Do all
you can to write your best book, follow the advice and get the basics right - invest some time in
yourself and your ambitions. Good luck!

About Peter

Peter Gibbons is an Insurance Professional and author of the highly acclaimed Viking Blood and Blade trilogy. His new Saxon Warrior series is set around the 900 AD Viking invasion during the reign of King Athelred the Unready. The first title of the new series, Warrior and Protector, will be published in October 2022 by Boldwood Books. Peter originates from Warrington and now lives with his family in County Kildare.

Get Viking Blood and Blade on Amazon.

Get Warrior and Protector on Amazon.

Writing your first novel can be a slightly daunting task. There are a million reference books out there, with advice on how to plot, how to develop characters, and even how to edit…

But, before you even consider these points, the first thing you need to think about is what kind of book you want to write.

Maybe, even before this, you need to ask yourself, what kind of novels are out there? 

In this article, I hope to clarify for you, what different types of books are out there, so you can decide what area of the fiction world you want to focus on.  

Do you want to write romantic epistolary novels? Or maybe you're more interested in horror novels, or speculative fiction?

There are so many areas of prose fiction that writers can explore, but understanding the different types of novels that are out there first, is fundamental.  

What Is A Novel?

This might seem like the most basic question, but it is so important to understand what a novel is before you attempt to write one for the first time.  

A novel, by definition, is a work of fiction.

Generally, fiction novels sit between 50,000 and 120,000 words depending on the genre. 

Novels can be broadly split into 3 main categories, with sub-categories in each to drill down into taste.

Those three categories are genre fiction, literary fiction, and mainstream fiction.  

What Is Genre Fiction?

Genre fiction (also often referred to as popular fiction), unlike literary fiction, describes fiction that is written with the intent of fitting into a specific literary genre.

Most writers agree that there are nine main subgenres within genre fiction.

These include horror, mystery/crime, romance, science fiction, thriller/suspense, westerns, historical, young adult, and fantasy.

Although there are many more subcategories, most genre fiction will fit into one of these categories. 

Examples Of Genre Fiction

To make it even easier to spot and define genre fiction, I have listed examples below of a few recognisable novels in each genre.  

Horror Fiction Examples

Horror Fiction Definition:

The main focus of horror novels is to create feelings of fear, dread, terror and sometimes repulsion in its audience.

Novels in this genre should leave readers feeling these specific emotions.  

Examples:

• It by Stephen King 
• Dracula by Bram Stoker 
• Behind Closed Doors by B. A. Paris 

Mystery/Crime Fiction Examples

Mystery/Crime Fiction Definition:

Mystery, crime, and murder mystery fiction novels are works of fiction that use narratives that centre on criminal acts, the investigation by either amateur or professional experts, and the resolution of that crime or mystery.  

Examples:

• Daisy Darker by Alice Feeney 
• Dream Town by David Baldacci 
• The Darkest Evening by Ann Cleeves 

Romance Fiction Examples 

Romance Definition:

Romance fiction generally refers to novels that primarily focus on the relationship and romantic love between two, or more, people.

A romance novel will typically have a ‘Happy Ever After’ or, at the very least, an emotionally satisfying ending. 

Examples:

• The Notebook by Nicholas Sparks 
• The Time Traveller's Wife by Audrey Niffenegger 
• Me Before You by JoJo Moyes 

Science Fiction Examples

Sci-Fi Definition:

Science fiction is a genre of speculative fiction which typically deals with imaginative or futuristic concepts.

Science fiction novels will, more often than not, deal with ideas of advanced technology, scientific advancement, space exploration or time travel to mention just a few.  

Examples:

• War of the Worlds by H.G.Wells 
• Twenty Thousand Leagues Under the Sea by Jules Verne 
• The Ballad of Songbirds and Snakes by Suzanne Collins 

Thriller/Suspense Fiction Examples

Thriller/Suspense Definition:

Thriller and suspense genres are often linked and both are genres that follow similar rules.

In general, these novel genres use fast-paced plots to affect the readers, and situations that evoke emotions such as anxiety, surprise, excitement and anticipation.

These genres of fiction are entirely dependent on the emotion you leave the reader with, rather than the structure you use to tell the story.

Suspense and thriller novels tend to be stories that rely heavily on plot and plot twists.  

Examples:

• The Girl on the Train by Paula Hawkins 
• Verity by Colleen Hoover 
• Gone Girl by Gillian Flynn 

Western Fiction Examples

Western Fiction Definition:

Western fiction is a genre of literature set in the American “Old West” frontier and is generally set in the 19th or early 20th century.

This area of fiction is plot-driven and will generally combine aspects of crime, redemption and justice.  

Examples:

• The Revenant by Michael Punke 
• No Country for Old Men by Cormac McCarthy 
• The Son by Philip Meyer 

Historical Fiction Examples

Historical Fiction Definition:

Historical novels are set in another time and place, either real (they're often based on historical events) or imagined, but during a culturally recognisable time.

Generally, most writers of historical novels will leap back at least fifty years to take their readers outside of the events they are currently experiencing and use setting to make readers feel they are living in another time and place.

Research is key and setting is vital in this genre.  

Examples:

• The Book Thief by Markus Zusak 
• Wolf Hall by Hilary Mantel 
• The Girl with a Pearl Earring by Tracy Chevalier 

Young Adult Fiction Examples

YA Definition:

Young adult fiction is a genre of literature written primarily for audiences between the ages of 12 and 18.

However, although these novels are written to target adolescents, more than half of YA readers are adults.

Novels in this genre tend to be written from the viewpoint of young people, generally tend to be fast-paced, and cover a wide area of subjects that young adults might be facing.  

Examples:

• The Perks of Being a Wallflower by Stephen Chbosky 
• The Fault in Our Stars by John Green 
• One of Us is Lying by Karen McManus 

Fantasy Fiction Examples

Fantasy Definition:

Fantasy fiction is a genre categorised in general by its inclusion of magical elements.

It is a genre of speculative fiction that typically includes fictional universes, and most fantasy novels are inspired by mythology, folklore, or traditions.

Setting and deep characterisation are vital in this genre. 

Examples:

• A Game of Thrones by George RR Martin 
• The Colour of Magic by Terry Pratchett 
• The Lord of the Rings by JRR Tolkien 

What Is Literary Fiction?

Literary fiction, unlike genre fiction, is fiction that puts an emphasis on style, character and theme over plot.

Although the definition of literary fiction can change and warp year on year, there are some fundamental aspects that remain the same.

Works of fiction that are classed as literary fiction generally contain the following: 

• Character (rather than plot) driven 
• Exploration of deeper themes 
• Exploration of social, political, or emotional situations 
• Potential ambiguous ending/not necessarily a ‘Happy Ever After’ 
• No strict adherence to a structured plot 
• No strict adherence to standard formatting or prose style 

Examples Of Literary Fiction

Below, you can find three separate examples of literary fiction: 

The Goldfinch By Donna Tart

Theo Decker is the son of a devoted mother and a reckless, absent father. He survives an accident that otherwise tears his life apart. He is taken in by the family of a wealthy friend.  

The Goldfinch is a haunted odyssey through present-day America. Combining unforgettably vivid characters and thrilling suspense, it is a beautiful, addictive, sweeping story of loss and obsession, of survival and self-invention, of the deepest mysteries of love, identity and fate. 

This novel, published in 2013, won the Pulitzer Prize and was described by Stephen King as being ‘a smartly written novel that connects with the heart as well as the mind.’ It is character driven and delves into difficult topics. 

The House Of Fortune By Jessie Burton

The House of Fortune is the long-awaited sequel to Jessie Burton’s bestseller The Miniaturist.

It has been described as a glorious, sweeping story of fate and ambition, secrets and dreams, and one young woman’s determination to rule her own destiny. 

Just like her debut, The Miniaturist, this fabulous sequel is beautifully crafted, the characters, their lives and the settings leap from the page and drive the book forward. It’s a perfect example of exquisitely written literary fiction.  

Maps Of Our Spectacular Bodies By Maddie Mortimer

When a sudden diagnosis upends Lia’s world, the boundaries between her past and her present begin to collapse. Deeply buried secrets stir awake.

As the voice prowling in Lia takes hold of her story, and the landscape around becomes indistinguishable from the one within, Lia and her family are faced with some of the hardest questions of all: how can we move on from the events that have shaped us, when our bodies harbour everything? And what does it mean to die with grace, when you’re simply not ready to let go? 

This entrancing novel is moving, heartbreaking and beautiful all at once. The language, formatting, and subjects discussed not only make this a stunning example of literary fiction, but are also the reasons this debut has been longlisted for this year's Booker Prize.

What Is Mainstream Fiction?

Much like literary fiction, mainstream fiction consists of novels that can’t be easily identified into a specific genre. Unlike genre fiction, which clearly sets out what you can expect from the novel, mainstream fiction can, and often does, cross book genres.  

Unlike genre fiction, mainstream fiction can be slightly harder to sell, doesn’t always have a clear audience and is generally sold on the back of author recognition and a dedicated audience.  

Mainstream fiction generally follows a linear structure, more often than not has a happy ending (or at least a satisfying one), and readers don’t have to work hard to understand the story.

Like literary fiction, mainstream fiction delves deeper into characterisation and may touch on philosophical issues, but unlike literary fiction, it does still focus heavily on plot and story.  

Examples Of Mainstream Fiction

It can be hard to tell the difference between mainstream fiction and literary fiction, but below you can see some examples of the most popular mainstream fiction on the market. 

Big Little Lies By Liane Moriarty

Big Little Lies is a novel that explores complex relationships, difficult topics and sensitive issues, wrapped up in a story that could be described as a crime, thriller, psychological thriller or even domestic thriller. It is a complex story that relies heavily on characterisation, but plot and story are integral.

It is the perfect example of mainstream fiction and those who are already a fan of Moriarty’s work instantly know what to expect from this author's books. They may not fit neatly in one genre, but they hit all expectations and leave the reader satisfied at the end.  

The Lovely Bones By Alice Seabold

Again, this novel is intense in its exploration of grief; it's complex in its characterisation and explores themes that set this book apart.

The plot of the book isn’t complex, but it is complete and the reader is left satisfied, but the genre of the book is not instantly clear. It sweeps between genres and picks up readers in multiple guises.  

Other authors who fit well into the mainstream fiction category are Maeve Binchy, John Irving, Dan Brown, Ian McEwan and Nora Roberts. 

Frequently Asked Questions

What Are The 9 Types Of Fiction?  

Within fiction, there are many different subcategories that can help determine story type and therefore the audience these novels are marketed to.  

These subcategories are: 

• Science fiction 
• Mystery/crime fiction 
• Historical fiction 
• Thriller/suspense fiction 
• Young adult fiction 
• Romance fiction 
• Horror fiction 
• Fantasy fiction
• Western fiction 

What Is The Most Popular Novel Genre?

Well, that is one of the most difficult questions to answer – why? Because depending on who you talk to, and which data sets you look at, you may discover a different answer.  

During the pandemic, we saw a surge in reading and a change in reading habits. Depending on the state of the world, readers reach for different stimuli.  

Romance, both contemporary and historical, are always incredibly popular and for many years, romance fiction has not dropped out of the top five bestselling genres.

However, crime and thriller books are forever competing for the top spots, with the likes of Lee Child, Gillian Flynn, and Colleen Hoover topping the charts consistently.  

Fiction Genres

As you can see, there are so many areas of the writing world that you can indulge in, and so many subgenres of fiction to explore. With so many different types of novels out there, all you have to do is decide which one fits your style the most and then dive right in.

Always remember, there is no wrong way to write, and no right genre to start with… all you need to focus on, is getting those words onto the page and out into the world. 

'Sensitivity reader' is an often misunderstood term in the literary world, and something that many people are unsure whether they need.

If you're not sure what a sensitivity read is, or what a sensitivity reader does, or you're conflicted about their role in publishing, then read on.

In this guide we will be exploring:

●      sensitivity reading and the debates in favour and against this service

●      steps to deciding if it's right for you

●      and tips for finding and working with readers appropriate to your needs if you so choose

What Is A Sensitivity Reader?

A sensitivity reader is a professional who looks at unpublished manuscripts primarily through the lens of authenticity, cultural sensitivity and better representation of marginalised groups. This doesn't just mean race or disability, it may include topics such as eating disorders, post-traumatic stress disorder, mental illness, gender transition, or chronic illness.

The sensitivity readers, who all have first-hand experience with such challenges, then provide feedback to the author.

Because of the nature of children's literature and the fact that many touch upon sensitive topics, sensitivity readers are often used to read middle grade fiction, young adult fiction, and other genres such as historical fiction and science fiction. Diverse books can traverse all genres, in fact, they should, so it's important that everyone from early readers to marginalised groups see themselves represented fairly and accurately in all books.

They will likely be informed by any relevant lived experience details in the manuscript but will also be a match based on familiarity with the genre of the text.

They can in some ways be considered a specialist subset of beta readers, in that they review your work and offer insight to strengthen the content of your writing. Their reflections are often informed by experiences of discrimination and rely on using emotional labour to communicate feedback on experiences relating to marginalisation.

Thus sensitivity reading is considered a skilled service and should be treated as such. This is why it's important to pay your sensitivity readers, much like you would if you wanted to run your crime thriller past a legal professional or private investigator to check for authenticity.

What Do Sensitivity Readers Do?

A sensitivity reader essentially reads through an unpublished manuscript; this could be a full novel, an article, a series of short stories etc, that they have not actively engaged with as customers or readers themselves.

They read with an editorial eye to provide constructive feedback framed by questions of mis-representation. Their feedback may be on descriptive terms, behaviours of characters, or descriptions of structures or the restrictions they live within.

They are informed by experience with literature, perhaps as a reader, writer or editor, but also their lived experience, as well as shared experiences and discussions within their networks. These networks could be made up of friends, family and/or larger social/political groups.

The ultimate intention of working with a sensitivity reader is to pursue accurate representations and an inclusive reader experience by creating characters for people who identify in similar ways to the character, and not just for people who might find that character interesting.

Examples Of What A Sensitivity Reader Does

Sensitivity readers can pick up on many things, such as strange descriptions of clothes, food, or hairstyles from a particular culture.

So if, for example, you saw a hairstyle you liked and wanted to feature a character wearing it, a sensitivity reader could tell you the name of the hairstyle - how it's described and the actions a person wearing it may naturally undertake as part of your story.

They might identify behaviours of a character that may be deemed unlikely when contextualised from a person in a marginalised group, e.g. women jogging at night with headphones on, mental health struggles being resolved overnight etc. Essentially details within a manuscript that might pull a reader out of their suspended disbelief (at best); or that a reader might find offensive or triggering (at worst).

These sorts of details that contribute to a feeling of misrepresentation can derail an experience and become a fixation of readers- and those discussing a manuscript. The last thing an author wants is for their novel to be dismissed, not for the writing or themes, but because of inaccuracies with characters and cultures.

So if in some instances, the details flagged are offensive and hurtful, perpetuating harmful stereotypes or platforming dangerous behaviours, then this work with a sensitivity reader could provide the author with an opportunity to make changes that can prevent the author from causing pain, and receiving criticism from readers after publication.

That said, as with all feedback solicited for unpublished manuscripts, it is up to the author to decide what they will and will not incorporate into their final work. But it is worth noting that this step is growing in popularity as a way to support diversifying content in publishing while providing more authentic and sensitive representations.

How To Decide If You Need A Sensitivity Reader

Are you a writer who wants to craft a diverse world that's dynamic and engaging but features realities outside your lived experience?

Is your work something you have constructed primarily through your imagination or observations without intimate insight through lived experience?

If these imagined constructions are grounded in our world, with the privileges and prejudices faced by real people, describing the experiences of diverse characters from marginalised groups, you might want to consider working with a sensitivity reader.

And if you're still not sure, ask yourself this:

If you were writing about nuclear energy in any great detail, but have never studied science in your life, would you want to run a few things past a scientist first?

You would? Great!

Then that's no different to asking people from certain backgrounds and minorities to confirm that your depiction of them is accurate.

What's The Difference Between A Sensitivity Reader And An Editor?

So I hear you say, ‘provision of feedback on the quality of writing, that's what editors are for!’ and you would be right, but not all authors work with editors, and not all editors provide sensitivity reading. This is in part due to an editor's more general, rather than specialised, review of the work, and partly due to the lack of diverse representation in publishing.

Some pushback against sensitivity readers is that this service can be seen as outsourcing diversity, as a bandaid to the larger issues with the sector workforce.

Some are frustrated that editors from diverse backgrounds are being encouraged into more precarious work and required to use lived experiences of trauma and discrimination as part of their professional practice. While others celebrate this as a meaningful way to acknowledge and value knowledge gained through lived experiences and note that if the practice becomes more mainstream it will be integrated with more security into the publishing industry.

For an author considering working with a sensitivity reader, it would be worth considering the feedback type your existing editor (if you have one, or beta readers if you go down this route) provides and if you believe they already offer this service.

If not, a sensitivity reader could support you with a better representation of diverse characters.

Sensitivity Readers vs Censorship

For some authors, the idea of a sensitivity reader feels uncomfortably close to censorship, and for some readers, the use of sensitivity readers brings concerns about disguising harmful views held by authors through quick fixes.

In both instances, this is a question of trust; trust from an author that a sensitivity reader will respect their work and only provide necessary and useful edits; and trust from readers that publishers won't facilitate the exploitation of marginalised stories by authors who clearly intend harm.

Trust is not something that can be easily created, it requires nurturing. For authors, meet with your sensitivity reader and create good channels of communication, explaining what sort of feedback you are looking for (e.g. general tone, specific elements,  language review). Work towards a relationship of trust and mutual respect and select a reader that works for you and your style.

And as an industry, we need to work to ensure that sensitivity readers are used ethically, in the pursuit of an inclusive industry and content that provides meaning for people regardless of their lived experiences.

It's hard to know if you are on the right track when writing about marginalised experiences, even if you too share experiences of marginalisation of some sort. But if you are questioning your knowledge or ability to do a story justice - ask yourself whether you are the right person to tell this story, and seek help from someone who understands it better.

Working With Sensitivity Readers: Tips

If you’ve decided that sensitivity readers seem like a good idea, here are a few things to bear in mind:

Pick Your Sensitivity Reader Well

As with beta readers, find someone experienced in reading and editing manuscripts. Someone removed enough from you personally to provide honest feedback without the worry of social repercussions.

Sometimes we can get beta testers who are friends and family to review our writing, but sensitivity reading asks the reader to provide concise and constructive criticism on topics that might cause you offence. So it is best to keep the professional and the personal separate in this case.

Trust And Experience Are Key

Work with someone whose experience and knowledge are as close to the identity of the person you are trying to represent as possible.

For instance, a shared age range, gender, national and racial/ethnic identity - these intersections matter and change what might be perceived as authentic in each situation. E.g. an Afro-Caribbean man is unlikely to be able to provide intimate insight into the experiences of a teenage Nigerian girl, and certainly not as well as a Nigerian woman might.  

Start Early

Engage sensitivity readers as early as possible.

A lot of headaches can be avoided if you run outlines and character descriptions past sensitivity readers before completing a full manuscript based on elements that may have crucial misunderstandings or misrepresentations within them. Start the conversation early and be open to adapting the foundations of the work, especially if the elements you seek clarity on and support with are central to your narrative.

The More The Merrier

You can work with multiple readers if you want more than one opinion, and if you want more assurances that you have done due diligence in your attempt to do a character justice and provide a fair representation of a complex experience.

Be Prepared For Feedback

Be prepared to have reactions to the edits and suggestions.

Try not to perceive this as a personal criticism, judgement or accusation. Understand that the reader is responding to the manuscript with fresh eyes for a particular purpose.

Take time for your emotional response and then decide which elements of the feedback you would like to incorporate into the final text. Remember that this process provides an opportunity to make changes, and is a means of seeking information and insight- but ultimately the author is the author and what you write needs to feel right to you.

Frequently Asked Questions

Below is a quick guide to some of the most asked questions about sensitivity readers:

What Is A Sensitivity Reader?

A sensitivity reader is a professional who looks at unpublished manuscripts primarily through the lens of authenticity, cultural sensitivity and better representation of marginalised groups. They then provide feedback to the author.

They are often informed by their relevant lived experiences of discrimination and marginalisation, and so this is a specialised service and should be paid for.

What Is A Beta Reader?

A beta reader, like a sensitivity reader, is someone who provides constructive feedback on an unpublished manuscript; they focus on providing insight into the perspective of the average or target reader.

Beta readers can be engaged at different levels of professionalism, and can include friends and family, whereas sensitivity readers should be engaged exclusively as a professional service to avoid emotional exploitation or interpersonal complications that can arise from providing constructive criticism around representations of marginalised identities. 

Are Sensitivity Readers Necessary?

They aren't necessary for everyone, but if you are worried about misrepresenting marginalised groups in your writing and want to write for people who are similar to the people you describe, it's important. You are not just writing about these people for others who find them interesting, but describing people whose lives you haven't lived; therefore you want readers who are like your characters to feel fairly represented.

Is Sensitivity Reading About Censorship?

Sensitivity readers provide feedback within the parameters of better representation of marginalised identities, but the feedback they provide is optional for the author and not a mandate.

It is often a provider of insight, context and information that can be used to enrich the author's existing and future manuscripts. 

Why allow misrepresentation or inaccuracies to taint your work when they can be easily checked at the beginning of your writing journey?

Sensitivity Readers Are Useful For Every Writer

Hopefully, you now have some deeper insight into sensitivity reading and can decide if it is a service that you might like to pursue.

But whether or not you decide to use a sensitivity reader, it is good practice to consider the representations in your manuscripts and how these might be received by contemporary audiences.

Working towards better representation doesn't mean getting rid of problematic and complicated characters, but it encourages this action to be intentional and to serve a narrative purpose without unintentionally replicating harmful stereotypes.

Perhaps this is work that you can do by yourself, or with supportive resources. Perhaps your editors or beta readers will support this practice. But maybe this could be the job for a sensitivity reader.

Many authors dream of seeing their books in print and on shelves in leading bookstores across the country. However, your book’s circulation, and your dream, don’t need to be limited by national boundaries or language itself!

Translation is a great way to reach wider markets in different countries and will help you to diversify your revenue stream for your novel. It's one of the most popular forms of intertextuality.

If you'd like to publish in another language, read on to learn more about this little known process.

In this article, I'm going to walk you through the path to achieving translation and figuring out international rights. I'll define foreign rights, explain why foreign rights agents are important, and detail how foreign rights and translation work.

To help give you expert advice, I've chatted with foreign rights agents Thérèse Cohen and Lucy Barry who both have an intimate understanding of the world of translation.

What Are Foreign Rights?

The first step to understanding translation is to learn more about the rights that you own as an author. Foreign rights dictate where you can distribute your manuscript and which languages it can be translated and sold in. The main rights you'll have to concern yourself with are translation rights and territorial rights.

Rights are sold in both languages and territories, so translation rights deal with the language your book can be published in and territorial rights are associated with the markets where your book is sold.

Thérèse explains territorial rights using the example of publishing a book in France or the UK. The most straightforward deal might be selling French language rights in France, or English rights in the UK, but you might also have English readers in the US or readers reading in French in Belgium. To help ensure that your book might reach a wider audience around the world, you can sell your world rights to publishers. This means that your book can be distributed anywhere in the world with no restrictions. However, it might benefit you more to break up your rights into territories to increase your profit.

For example, if you're working with an English publishing house in the UK, you can sell them UK publishing rights to distribute the book throughout the country. This then gives you the opportunity to approach publishers in the US to sell the North American rights, which will then allow then to re-publish your book and distribute it in the US and Canada. This is the reason you might see different covers and publishers for the same book in the US versus the UK. It’s always interesting to browse the internet to find different cover variants in other languages or countries!

Alternatively, your publisher might insist on world English rights, which will then give them the ability to sell your book all across the English speaking world, such as in the UK, North America, and Australia. This leaves you with the ability to negotiate translation rights for international markets. Selling foreign rights is something that you negotiate with your agent and will be incorporated into your publishing contract.

If you'd like to achieve translation in a foreign language, you'll have to sell translation rights to foreign publishers. You can do this on your own, or with the help of your domestic publisher. These rights determine which languages a publisher might publish your book in and gives them the exclusive right to distribute it in that language. You'll have to negotiate territorial rights alongside this to ensure that your book can be sold in the appropriate markets. Foreign rights might seem tricky, but with an agent by your side, you'll have no problem understanding the complexities of translation publishing.

Why Are Foreign Rights Agents Important?

If getting your book published in English sounds hard, you might think that publication in another language is even harder! You’re right to assume that it’s challenging, but there are specific industry members who are here to make it easy – rights agents. Rights agents work with authors to find international publishers to translate, print, and market their books. These agents are looking to maximise sales across different countries and have an understanding of what types of books work well in other markets. These agents have in-depth knowledge of the international publishing landscape. They’re also looking out for your interests by working to negotiate the best possible advances and royalties.

All agents have knowledge of rights, but foreign rights agents are more experienced in selling foreign rights. Most agencies will have rights agents working for them, so it's in your best interest to consider finding agent representation in order to achieve translation into other languages.

What Do Foreign Rights Agents Do?

Lucy Barry describes the role of a rights agent as someone who works to ensure that their clients' international publishing experience is as smooth as possible. She explains that, 'Rights agents work to place their authors’ titles with international publishers all around the world. Normally, rights agents focus on selling into certain markets, where they have specialist knowledge and longstanding relationships with international publishers.'

Foreign rights agents try to keep in constant contact with editors around the world and meet with them regularly to understand the tastes and trends of different international markets. The agent will work to negotiate the best publishing deal for their authors as well as the advance and royalty rates across all formats. Once the deal is completed, foreign rights agents also handle international press requests, author visits for promotional tours, and translator queries.

Considering all the work that rights agents do, it's highly worth working alongside them. These agents are experienced in achieving translation from the English language to a new language and even any foreign original language into English. They network with publishing houses and editors at international book fairs, which gives them a strong idea of the tastes of a foreign publisher and whether they'd be interested in translating your book. Having someone on your side who knows how to sell foreign rights is a huge help.

How Do I Find A Foreign Rights Agent?

Most foreign rights agents are experienced with rights, so you’ll query agents as you would normally. However, it’s important to communicate early on with your agent that you’re interested in translation. This way, the agent will know that you’re interested in maintaining translation rights for a deal outside your country. UK agencies will often have rights departments that will help query international publishers for a potential translation rights sale.

You can get started on your hunt for an agent using our AgentMatch database. This will allow you to search a massive list of all the agents in the US and UK by genre in order to find the best agent for your book. Keep an eye out for agents with international experience or those who are associated with established agencies.

Which Rights Do I Keep?

It’s highly advisable to get a foreign rights agent who can help assist you with this decision making! Agents will be able to give you advice on whether or not to sell your translation rights to a publisher. Sometimes the publisher can go on to sell translation rights to publishers in different countries, and having an experienced agent by your side to help negotiate royalties is always helpful. If you’re going at it alone, this is a conversation you should have with your publisher. If they give you the option to retain translation rights, you can query international publishers about taking your book on. However, it’s recommended to wait until your book achieves English publication first.

If you don't have a foreign rights agent, Lucy recommends trying to hold on to translation rights so that you can exploit these separately from the original deal. When you do receive an offer from a publisher, it may be worth reaching out to an agent, who could advise you. She explains that 'without an agent, it is important to be realistic about the international potential of your book. Many publishers have in house rights teams who will have the international connections to sell your book around the world.'

How Do I Know If My Book Will Sell In Other Countries?

It’s always tricky to predict a book’s success, and selling in a foreign market definitely complicates this even further. The good news is that rights agents are communicating with co-agents and foreign editors all the time. This gives them insight into what different markets are reading and whether an international publisher might want to take on your book.

When asked about selling into different territories, Thérèse stated that 'Readers are much more uniform in what they read, especially in Europe, now than in the past, but there are still some big differences between what does and doesn’t sell in fiction and non-fiction, and we have to be mindful of that.'

Lucy helped to clarify how agents can get a better idea of what books work in other markets. She explains that 'in certain territories, rights agents will often work with a co-agent to place the book in a market. Co-agents are frequently relied upon in the Asian markets and often in Eastern European territories where they work on the ground and speak the local language, this enables us to find the very best publisher and agree the best deal for our clients all over the world.'

Since co-agents and editors speak the language of the country that they’re in, they’ll be able to evaluate your book’s sales potential in foreign markets and work with your agent on a sale. International book fairs allow the international publishing world to mingle and can often result in lifelong partnerships between agents, editors, and publishers from different countries.

Certain books sell better in translation, but genre popularity differs from market to market. Children's picture books are famously popular in translation, so if you're a children's author this is a route that it might be beneficial to consider pursuing.

Foreign Publishers And How They Work

Foreign publishers will work alongside you to help select translators and market your book in their country. The process doesn't differ much from that of your domestic publisher aside from the fact that they are producing a new translation of your work. There will be some differences in the royalties you receive as well as your advance, but this differs from publisher to publisher.

One of the biggest questions you might have as an author is how translators are selected. Lucy explains that 'Publishers normally have long standing relationships with reliable translators who have experience translating manuscripts in a specific genre or field. Certain authors may have a dedicated translator in each territory, and others may have been translated by many different translators. As an author, you can always discuss this with your rights agent or international publisher, who will be able to explain why they recommend a particular translator and send information on the books they have previously translated.'

It can be a little worrying to see your book move from its original language to one you might not understand, but it's worth noting that translators are contractually obligated to accurately translate your work.

The publisher might also re-design your book to fit the tastes of foreign markets. This might include creating a new cover, changing your title, or updating illustrations. Sometimes titles might even differ across English speaking countries. For example, Leila Slimani's popular novel Lullaby was re-named as The Perfect Nanny to better suit American audiences.

What If I'm Already Published?

If you're already traditionally published, you're off to a good start as you've already set your roots down in the English language publishing scene.

To move towards translation, Lucy Barry recommends closely reading your contract with the original publisher. If your book has been sold in a world all language deal, the publisher owns the translation rights and should be exploring ways to exploit these rights. If it’s a world English language deal, the publisher will have the right to publish around the world in English and may sell the rights to a UK or US publisher on your behalf, but translation rights will be controlled by you.

It's worth having a conversation with your publisher about your contract and your options.

Translation Rights When You're Self-Published

Those who aren't with a traditional publisher might wonder if it's possible to publish a work in translation if you're self-published. The answer here is yes! However, as with traditional publication, you’ll want to find a foreign rights agent to represent you first. You can query agents internationally or work to find a co-agent that has partnered with a UK agency. Alternatively, you might be able to strike out on your own and query foreign publishers directly. Just be sure to defend your query with comparison titles and your self-published sales figures, and do some research on your genre's popularity in international markets.

If you're looking to query a publisher on your own, you might want to consider finding your own translator to translate a sample of your book. However, this isn't always required since many publishers read in English. When querying a publisher directly, be sure to follow their guidelines for submission carefully, as if you were querying an agent.

What Do I Do If I Want My Book To Be Translated Into English?

Your first step to achieving English translation is to contact your publisher to determine who holds translation rights. From there, you can consider translating a sample of your book into English. As I mentioned above, translation into English isn’t always necessary, but it can help agents who only speak English get a taste of your book! From there you can query agents in your home country or in the US and UK. There are plenty of agents who specialise in translation, so it’s important to research thoroughly when querying.

Once you've found an agent, they'll begin work on finding you a publisher or a translator to sell your foreign rights to. Some publishers prefer that a book is translated in full before it is submitted and others prefer a sample. In some cases, your publisher might have their own translators that they prefer to use.

If you aren't published, you may want to start by querying publishers and agents in your country. Alternatively, you can branch out and query agents in the US and UK after translating a sample of your manuscript.

What Can A Translator Do?

Increasingly, we're starting to see translators get involved with some of the tasks originally assigned to agents. If you're writing in a language other than English and can't find an agent to help you sell foreign rights, you might decide to turn to a translator. It's worth doing some research to identify UK or US translators who specialise in literary translation out of your native language. These literary translators often have a good understanding of the US and UK market for translation and might be able to work alongside you to help you find an agent or query publishers on your behalf.

What Is The Market For Books Translated Out Of English?

It's worth knowing that more books are translated out of English than into it, so it can be quite difficult to achieve translation in the US or UK. That being said, there are a number of publishers dedicated to publishing translated writing and sales of works in translation continue to grow. Some academic publishers are also working to create their own translated fiction lists. As the market for translation grows, so do your opportunities. In fact, a recent Man Booker study has found that sales for translated literary fiction have increased, with authors like Haruki Murakami, Elena Ferrante, and Karl Ove Knausgaard contributing to the rise in sales.

If you're interested, below are some great US and UK publishers who have extensive translation lists to check out:

• Comma Press
• Pushkin Press
• Fitcarraldo Editions
• Granta
• Two Lines Press
• Open Letter Press
• Greywolf Press
• Europa Editions
• Oneworld Publications

If you're an English speaker and you're hoping to start reading more in translation, you might be interested in having a look at the Booker International Prize winners. This is a great way to get started on reading translation, as the prize seeks to highlight some of the best books written in languages other than English. Translation can help diversify your reading list and expose you to some excellent authors.

Get Your Rights Right

Many of the steps to achieving publication in another language are made much easier by having an agent. While finding a foreign rights agent can be challenging, it's certainly worth the effort. We recommend using our AgentMatch database to get started on your search.

Seeing your book published in another language is extremely rewarding, and while the process might be long and time-consuming, selling foreign rights is a great way to increase your market reach and earn more from a single manuscript.

Thérèse encourages writers 'to enjoy the bonus that is having a translation deal (getting a copy of your book in a different language will never get old!)', but to not let it stress you out or put additional pressure on you. If your book sells, it sells, and that’s brilliant, but if it doesn’t, that’s fine too. Don’t try to change what you write or the way you write to suit a different market, if you’re doing well selling in your home market, that is what ultimately matters the most.'

Frequently Asked Questions

Who Owns The Translation Of A Book?

Translated works are incredibly valuable texts, but in terms of who owns a book's translation, it can vary. Sometimes, the translator holds the copyright for the translation and the original author holds the copyright for the original text. Other times, the translator does not own the copyright for their translation, and the publisher or original author does instead, though many people feel that translators should have more- or all- of the ownership of their translations. However, a translator can claim copyright ownership of the translated version of a book they have translated from a piece that is in the public domain.

Do I Need Permission To Translate A Book?

You cannot translate a book without the author's permission, as they are the copyright holder for the text. In order to translate a book, written permission from the author is often required, or, if the copyright is held by the publisher, you need to contact them instead.

Are Book Translations Copyrighted?

Book translations are copyrighted, but the copyright is not always held by the translators themselves. Translators have the same rights over their work as authors, which means they are entitled to both the copyright of their translations and proper acknowledgement of their work. However, translators are often asked to cede copyright by some of the bigger publishers, as translation is seen as costly and risky, so they don't always hold the copyright to their own translations.

Do Book Translators Get Royalties?

Translators are entitled to both copyright and royalties, though whether they maintain the copyright, and receive a fair proportion of the royalties depends on individual circumstances. Some of the big publishers don't provide translators with a fair amount of royalties, though translated works are generally produced by indie publishers who tend to have more equitable practice in terms of ensuring translators have both the copyright and sufficient royalties.

As a former stand-up comic, voiceover actor, producer - and now, debut author - Liz Webb is no stranger to agility in her career.

Her debut novel, 'The Daughter' (Allison & Busby, May 2022) has garnered reviews from names like Jo Brand and Sophie Hannah. Here's how Jericho Writers member Liz navigated her path to becoming a published author, and some things she found useful along the way.

JW: How did you find moving between career paths, and eventually moving into writing?

LW: I’m both a lily-livered navel-gazer, and a massive control freak greedy for applause.  My career has taken me from stand-up comic to radio producer to psychological crime novelist. 

With each job, I’ve needed to fake it till I make it.  In stand-up, I had to fake confidence with audiences and promoters.  With producing, I had to fake confidence with commissioners, writers, technicians and managers.  But with writing, I’ve had to fake the hardest kind of confidence: with myself.  Each time I write, I have to tune out my internal whingeing and keep going, even when I’m sure I’m writing drivel.  Because I know that if I write ANYTHING AT ALL, it may actually be good, or it could be made good.  But if I wait for some mythical future where I’m a 3D confident person (what an outlandish concept), then I won’t go through the process that enables me to write something that I do eventually have confidence in. To tweak a quote from the brilliant Michael Rosen:  I can’t go over it, I can’t go under it, I have to go through it.

With writing, I’ve had to fake the hardest kind of confidence: with myself.

With all the jobs I’ve done, I’ve used different versions of the same skills.  Stand-up was me telling my stories and controlling the room.  Producing was me telling other people’s stories and controlling a team of talent.  And now writing is me telling a made-up story and controlling myself.  I try to be disciplined and focussed (but often fail) and try to get better at wearing the many different hats one needs to wear to produce a book: idea-generator, plotter, writer, editor, diplomat, therapist, cheerleader, publicist, video presenter and social media promoter.  As I approach the publication of my first novel, my hat collection is expanding exponentially.

JW: What kinds of resources helped you along the way?

LW: In the summer of 2020, I had a very rough draft of my first novel: a Frankenstein-esque, stitched-together, suppurating thing.  It lacked a USP, a thorough plot, consistent characters, and any depth of theme.  I needed to redraft it multiple times, considering it from every angle. 

With all the jobs I’ve done, I’ve used different versions of the same skills.  Stand-up was me telling my stories and controlling the room.  Producing was me telling other people’s stories and controlling a team of talent.  And now writing is me telling a made-up story and controlling myself.

That summer, it was at the height of covid, and Jericho Writers ran an amazing online-only writing festival.  It was choc-o-block with videos, live ones and replays, covering everything I needed: plotting, voice, character, editing, pitching, etc.  I looked away from the enormous hill I had to climb and set myself specific tasks.  Each day, I would fasten on my blinkers, watch a video on a particular subject and deal with just that issue in my book.   As I got closer to a decent draft, I did four Jericho Writers one-to-one sessions with agents or book doctors, which resulted in requests for full manuscript reads, giving me confidence.

That experience with my first book taught me to always focus on only the next specific task at hand.  It’s like I’m following the practical steps of piloting a plane: taking-off, cruising, course-correcting and then landing.  I try not to think about how unbelievable it is that planes can fly, about all the components needing to work together, or about crashing.  If I did, I would never get that plane from A to B.

I still use the excellent resources of Jericho Writers.  There are too many great tutors to recommend, but ones that leap to mind are: Cesca Major, Philippa East, Debi Alper and Rebecca Horsfall.  Whenever I’m in writing freefall, I’ll watch a video and use it to focus my writing.  Yesterday I watched the wonderful Emma Cooper talking about ‘How to hit story beats', which helped me decide the vital mid-point of my second novel.

JW: Do you feel like an author?

LW: I feel like an author in the way the fake heiress Anna Delvey felt like an heiress.  I can convince others (and occasionally myself) that I’m an author.  But deep down, I feel like a fraud and I’m just waiting to be caught out.  I’m wracked with self-doubt and imposter syndrome. 

But so what! 

It’s like I’m following the practical steps of piloting a plane: taking-off, cruising, course-correcting and then landing.  I try not to think about how unbelievable it is that planes can fly, about all the components needing to work together, or about crashing.  If I did, I would never get that plane from A to B.

The trick is to write anyway.  When I’m immersed in writing, I can tune out my endless boring negativity.  I’m only too aware that I’ve got massive black spots in my writing skills.  But whoop-di-doo, so does everyone.  I focus on what I am good at (eg. voice, quirkiness and plotting), keep learning the things I can improve on (eg. over-writing and grammar) and just ignore the stuff I’ll always be rubbish at (ooh that would be telling).  I try to remind myself that I’ve worked really hard and should occasionally pat myself on the back.

I was at the post office yesterday, posting my novel to a friend.

‘What’s in the parcel and what’s it worth?’ the postmaster asked me.

‘It’s just a book, it’s only worth a few pounds,’ I mumbled.

I so wish I’d said: ‘It’s MY book, I wrote it – and the enormous cost of doing so is unquantifiable!’

JW: What has it been like working with your publisher?

LW: It’s been great to be published by Allison & Busby, a highly-respected independent publisher.  I will always remember my first meeting with them, being so warmly welcomed at their Soho offices which were filled from floor to ceiling with pristine novels – it was like stepping into a film, in which I played the role of ‘novelist’. 

They’ve always been super-enthusiastic about my book and supported me with editing, copy-editing and proof reading. I was quite a novice at social media and got useful advice about using Facebook, Twitter, Instagram and (much to my teenage son’s amusement) TikTok.  They hired a brilliant external publicist, who helped me get blog tours, interviews and articles.  They’ve managed all the book production and promotion side of things, but they’ve welcomed discussion about title, front-cover and publicity, thus employing their considerable knowledge and experience, while indulging my megalomania.

The self-imposed pressure is good IF I use it constructively to learn more, work harder and open up new possibilities.

JW: Has the experience of writing your second novel been different to that of the first? Have you felt any pressure?

LW: I feel a gargantuan pressure to write an even better second book and to get an even bigger financial and PR deal.  The self-imposed pressure is good IF I use it constructively to learn more, work harder and open up new possibilities.  But the imagined pressure that I conjure up from friends, agents and publishers is ridiculous.  I have to constantly remind myself that nobody outside of me really cares two hoots about what I do.

Writing a second book should theoretically be easier as I’ve gained skills from writing my first one.  But as the achievement escalator I’m on reaches the top of any writing aim, as soon as I’ve blinked, I find myself back at the bottom of a new escalator.  Writing feels like juggling water, never like a solid skill that I’ve mastered, but as long as I keep writing then I’m progressing.

Sometimes I kid myself that writing my first novel was easier than writing my second, because I knew less about the enormity of the job and the possibilities of failure.  But that’s such tosh. It’s so easy to look back with rose-tinted spectacles.  I once googled an ex-boyfriend I was remembering fondly and discovered that he was in prison!  That’s obviously the start of another novel – but the point is, wherever you are in the writing process, you are where you are and all you can do is keep on trying.   I will keep learning more, writing more and hopefully publishing more.   Because I want to cocoon myself in my private little world of writing.  And because I want massive world acclaim.

About Liz

Liz Webb originally trained as a classical ballet dancer but had to give up following a back injury. She then worked as a secretary at the British Library whilst going to night school at the City Lit to get into Oxford University at age 23. After graduating, she worked as a stationery shop manager, an art model, a cocktail waitress, stand-up comic, voice-over artist, script editor, and radio drama producer before becoming a novelist.  

Liz was a stand-up comic for ten years performing at clubs across the UK and at festivals in Edinburgh, Newcastle, Leicester and Cardiff. She also worked for fourteen years as a prolific radio drama producer for the BBC and independent radio production companies. Liz lives in North London with her husband, son and serial killer cat Freddie. 

Follow Liz on Twitter @lizwebbauthor

Visit Liz's website here.

Unveiling The Mystery Of Ghostwriting

Do you love writing? 

But does the thought of seeing your name out there in public make you feel nauseous? 

Well, what if I told you that there was a way that you could write and earn the same as an author or freelance writer, but remain completely anonymous?  

I bet I’ve got your attention now.  

In the following guide, I will be demystifying the ghostwriting profession. Not only will we discuss the basics - what ghostwriting is and how it works, but I will also share with you my top tips for becoming a ghostwriter, should you decide that this is the path you want to take.  

What Is A Ghostwriter? 

Have you ever seen a memoir or biography in a bookshop written by a celebrity or public figure and thought to yourself, ‘wow, I never realised they could write’ or ‘I wonder if they actually wrote this?’  

Well, chances are they may well not have written it at all. Their book was probably written by a ghostwriter. 

So, as the name might suggest, a ghostwriter is essentially a writer who creates content that has been commissioned by someone else (usually the publicly named author). The writer’s name or byline will never be attached to their work (i.e. they won’t get any authorship credit – at all), and the person who commissions the work will own the copyright - which means that they can amend and republish the work in whatever manner they like without consulting the ghostwriter.  

But ghostwriters aren’t just commissioned by celebrities and public figures. Ghostwriting is everywhere – from book publishing and blogs, to speechwriting and news articles. 

‘Why would someone hire a professional ghostwriter?’ I hear you ask. ‘Why not just write it themselves?’ 

Well, as we’ve discussed above, a publisher may wish to publish a celebrity’s memoir because they know that it’s guaranteed to sell, however, they may not have confidence in the celebrity’s writing ability. There are other reasons too, such as the person whose name will appear on the cover not having the time to write it, or simply not wanting to.  

This works in the corporate world too. For example, a person may have an award-winning blog or website but may not have the time to write all their own material. They would rather spend their time marketing or networking than actually writing.   

This is when it might be more efficient and cost-effective to hire a ghostwriter to take away the pressure of creating regular content.  

Now that we’ve discussed what a ghostwriter is, let’s move on to talk about the benefits/drawbacks of becoming one, and I’ll also share a little about how it works in practice.  

How Does Ghostwriting Work? 

A ghostwriting commission is likely to be very similar to a freelance writing commission, except of course that the commission is confidential. This means you will probably have to sign a Confidentiality or Non-Disclosure Agreement on or before your acceptance of the offer.  

When you have signed on the dotted line, you will be given a brief that sets out the scope of the commission and any key deadlines. It’s essential you ensure the brief is clear and that you will be able to work within it and adhere to the timescales required.  

Then, depending on whether the commission is for an article or blog piece, or a much lengthier memoir or biography, you will have a series of meetings and/or phone calls to discuss the project. Conversations may touch upon topics such as the themes and overarching narratives of the content, as well as the timeline of events in the story and the authenticity of voice and style.  

The duration of this initial phase can depend on the type of commission. For example, if you are writing a memoir or biography, this ‘’fact-finding’’ process could take several weeks or even months, whereas the research element of an article may only require a few days. You may want to ask if you can record any conversations to remind you of any key details at a later stage in the process.  

Then, after you’ve completed this more collaborative phase, this is where the hard work truly begins as you will have to actually produce the content that you have been commissioned to write!  

As with most writing projects, this part can be extremely solitary. You must be prepared to be very self-motivated and disciplined to work hard on a project that may not interest you (and that you will not be able to take the credit for).  

Here are some of the key benefits of being a ghostwriter:  

1. Financial reward. Well-established ghostwriters tend to get paid very well. Fees differs from writer to writer, but most ghostwriters are paid up to 15% more than the average freelance writer. And once you are established in the profession, there is rarely a shortage of work.  

2. Diversifying network. Ghostwriting will inevitably expose you to a diverse range of people within the industry, from bloggers, authors and influencers to celebrities and public figures. It is a great way to build your contacts and grow your network.  

3. Objective distance from work. Many authors will often write about subject matter which has personally impacted them, or someone close to them, in some way or form. Being a writer isn’t for everyone as it can be mentally and emotionally exhausted baring one’s soul to the world. So, ghostwriting instead (writing someone else’s story) can take the emotion out of the equation.  

But there are also some drawbacks of being a ghostwriter, such as:   

1. Lack of credit. It’s hard to really know how you’ll feel about this until you have completed your first commission. Some ghostwriters do struggle with working really hard on a piece of work and not being able to shout about it from the rooftops! You have to think hard about what motivates you beforehand. Ghostwriting is not for everyone and that’s okay. If you are concerned this might be you, maybe consider writing a novel under a pen name, which will preserve your anonymity, among other benefits.  

2. Ethics. As a ghostwriter you will have to rely heavily on the brief and your project sponsor. There is a risk that you will be forced to run in a direction that you aren’t wholly comfortable with, or worse, follow a brief with little planning or direction. If you are starting out, you may not feel comfortable pushing back or asking for more input.  

3. Inability to develop own portfolio. Many writers feel that they don’t want to be limited by ghostwriting projects, which limit their own creative freedom and time to develop their own personal portfolio. But arguably, the skills, experience and contacts you can develop while ghostwriting could help you further your own portfolio.  

How To Become A Ghostwriter- Tips 

Starting out as a ghostwriter is very similar to starting out as a freelance writer, in that you will have to find a way of getting your name out there and establishing a client base for yourself in an already very crowded industry.  

To help you get started, we’ve set out some easy to follow tips on how to start ghostwriting below.  

Establish Yourself As A Freelance writer 

Many ghostwriters start out as freelance writers or editors for a reason, as it helps to show current and prospective clients that you have a portfolio of proven experience. If you don’t have this experience, consider offering to guest blog for well-known blogs and websites. Be prepared, however, to offer your services at a reduced rate or even for free to pick up some clients for your portfolio, but this should hopefully pay off in the long run. Alternatively, you could play the long game and consider starting your own blog or website to demonstrate your skills and versatility as a writer.  

Don’t Be Afraid Of Marketing Your Services 

All freelance writers and ghostwriters should have a website (or a section of your existing website) offering their services and rates. Not only does this show that you are a serious professional who means business, but you can use it to highlight your freelance writing experience and your portfolio of projects/clients.  

Make the most of all the other free marketing opportunities available to you, such as using social media to network and interact with potential clients and other people in the community. Another more ‘out of the box’ way of marketing your services is to guest blog about ghostwriting, which will effectively ensure that your name is publicly associated with the ghostwriting profession (it will also help with SEO and Google algorithms).  

Learn The Ins And Outs Of SEO 

Navigating the SEO minefield is essential. Not only so that potential clients can find you but also to maximise the traction of any content you are commissioned to create.  

If you aren’t familiar with SEO, then consider taking a short online course or doing some further research to learn the basics.  

Learn How To Diversify Your Voice 

Most writers and authors will develop their own voice over time, which forms part of their brand/author identity so loyal readers know exactly what they are getting when they pick up a book or article written by them. But with ghostwriting you are not writing as you. And that is an entirely different skill set to develop.   

You will need to be able to identify and embody the client’s tone and style within your writing in order to completely match their voice. This is much harder than it sounds!  

In addition to this, if you are ghostwriting books you may need to learn to write across different genres, particularly when you are starting out.  

Leverage Your Network 

Word of mouth is one of the most underrated ways of gaining a new commission. But people aren’t mind-readers! So don’t be afraid to approach your existing network to spread the word that you are ‘open for business’.  

Examples Of Ghostwritten Books 

You may (or may not be) surprised to learn that the following books are publicly acknowledged to have been ghostwritten.  

Trump: The Art Of The Deal  

This was the book that helped make Donald J. Trump a household name. It reached number one on The New York Times Best Seller list and stayed there for 13 weeks. Whilst Trump has given conflicting accounts on the question of authorship, his publisher stated that Trump played no role in the writing of the book and that it was ghostwritten by journalist and popular ghostwriter Tony Schwartz who cited it as his ‘greatest regret in life, without question.’ 

Richard Branson: Losing My Virginity 

This is a memoir of one of the most celebrated and successful businessmen of this century and is a must-read for aspiring entrepreneurs. It was ghostwritten by Edward Whitley, most likely to sensitively draw out a softer more empathetic side to a billionaire.  

Andre Agassi: Open, An Autobiography 

If you have read this book there will be no doubt in your mind that it has been ghostwritten, and not just by any ghostwriter but Pulitzer Prize winning writer, JR Moehringer. The stunning prose and skilful imagery would never have been captured by a former tennis champion.  

Sweet Valley High (The Final Books In The Series)

Francine Pascal didn’t have much to do with the final Sweet Valley books, which were penned by a handful of ghostwriters. This is quite common with huge hit series books, which for a number of reasons such as time and enthusiasm may eventually be written by ghostwriters (including a few young men in their twenties!).  

Jason Bourne 

This extremely well-known series was published over a period spanning 40 years starting from 1980. The original author, Robert Ludlum passed away in 2001 but over 11 bestselling books were published 16 years after he died written by ghostwriter, Eric Van Lustbader.  

Is Ghostwriting For You? 

I hope this article has unveiled all you need to know about being a ghostwriter. 

Ghostwriting isn’t for everyone, so be certain of your motivations before you start. But for those who love to write and collaborate, while remaining in the shadows, it’s the perfect path to publication. 

Would you ever approach a stranger and ask “how much money do you make?” Probably not.  

Yet, as an author of feel-good romance, I have been asked this question by both strangers and those I know quite a few times. 

“You must be rolling in it!” they say. “Did you receive a big advance?” and “how much royalties do you get paid?”  

Having pondered what gives some individuals the idea they can glibly interrogate authors about their income from their writing, I’ve come to the conclusion that it must be the perceived fallacy that all writers are generously paid for their articles and books, and that we enjoy an indulgent lifestyle. 

If only that were true! 

So, how much do book authors really make? How much can they make? And how can we, as writers, maximise our earning potential? 

In this article I will be answering that question as well as providing suggestions on how to improve your earnings. I have included a list of rough earning potential in both dollars and pounds – but please remember all these totals can vary greatly. 

What Salaries Do Authors Make? 

The sad truth is that authors don’t make a regular salary, so it’s really a matter of ‘close your eyes and take a stab.’ 

The answer to ‘how much money does an author make?’ depends on many factors, such as whether the author is self-published or traditionally published, the number of projects currently in their pipeline, how many novels the author in question has previously published, and what the details of these publishing deals might be.  

Because the publishing world has evolved to such an extent over the years, many more avenues are now open to writers – making it harder to provide a ballpark figure for author earnings. According to the site uk.indeed.com, the average author salary in the UK stands at $33,078 per annum as of 9th February 2022. Although this may be a generous overestimation if they calculate that by including all the millions authors like J K Rowling make and dividing it by the number of published books out there.  

In reality, most writers don’t make the minimum wage from their books and work full- or part-time to supplement their book earnings! 

Writing is not like other professions, where there are salary scales and overtime payments. It all comes down to which path to publication you decide to take, how much time you have to write, how you sell your work, and how many books you can produce in a year. That’s just to make money from your first book – because staying a published writer takes even more work! 

Ballpark Figures

Self-published authors can earn up to 70% royalties from their books, while most traditionally published authors make 5-18% royalties which they only receive after ‘earning out’. That means the books sales have “paid back” their advances and the publishers then start giving them a cut of book sales. From a major publisher, such as one of the “Big Five,” an advance can start from $5,000 for a first-time, unknown author and can go into five figures. This may be more if the author is well-known, happens to have a more established literary reputation, it’s a multi-book deal, or the author has an impressive back catalogue.  

Sometimes a debut (or less-established) author can hit upon a very topical idea and write a book that has publishers bidding against one another. Debut Middle Grade author, Anabelle Steadman, recently won a seven-figure book deal with Simon & Schuster (including Sony film rights) for her bloodthirsty unicorn series. So, although very rare, you can get lucky! 

Smaller, independent publishers, tend to offer lower advances to their writers – sometimes in the region of $3,000-$10,000. Although some compensate for this by paying their writers a higher royalty revenue, which kicks in sooner as it takes a lot less time to recoup the advance. 

Plus don’t forget that advances are taxed, and 15% goes to your agent who negotiated the deal in the first place. 

Bearing all this in mind, some may argue that the answer to making lots of money writing books is to self-publish. Yes, you will certainly receive more money per book – but it’s not that simple either. 

Author and Jericho Writers founder, Harry Bingham, wrote about this in his recent article for Jericho Writers. Unlike traditional publishing, when you self-publish you have to cover all costs of design, editing, typesetting, distribution, marketing and advertising yourself. You can expect to pay anything between $800-$2,000 to have your book professionally edited and proofread, as well as anything from $100-$600 for a decent cover design. 

You may not have agent fees to worry about, but you will also need to be your own publicist – and with self-publishing becoming more popular by the day, that means understanding online advertising and getting your book to market.  
 
Basically, there’s no easy way to make money from your books.  
 
Let’s look at traditional publishing first, and the different ways you can earn money. 

Making Money From Traditional Publishing Vs Self-Publishing 

What To Expect From Big 5 Traditional Publishers 

The biggest publishers, also referred to as ‘The Big 5’, are Penguin/Random House, Hachette Book Group, Harper Collins, Simon and Schuster, and Macmillan. And within those publishers there are many imprints. 

If they purchase your manuscript, the sale is generally executed by a literary agent who will keep 15% of all earnings from that book deal (sometimes the deal includes more than one book).  

These publishers often (not always) pay bigger advances than independent publishers.  
 
If they decide your book will be one of their lead titles, then they will use their enviable distribution network to make your book available for sale as widely as possible, which means you can expect to see your book in a dizzying array of retailers, ranging from bookshops and online retailers to supermarkets (depending on what ‘path to market’ they think best suits your readership).  

They also work closely with the press and, depending on the marketing budget allocated to the title, will support the release with a carefully executed PR campaign.  

Being signed with the Big 5 means you are also more likely to receive a five-figure plus advance and your book will almost certainly appear in print, as well as sometimes audio, e-book and even hardback. If you’re lucky enough that your sales ‘earn out’, you will also receive royalties. 
 
Most authors dream of such a deal, which is why they may spend many years (and many scrapped books) trying to be signed by a great agent, as without an agent you will never be signed with a big-name publisher. 

What To Expect From Independent Traditional Publishers 

Independent traditional publishers work in exactly the same way as the Big 5 – but with slightly less budget, and slightly less reach. But the good news is that they often accept submissions without an agent and are more likely to take on less-commercial books as they are smaller companies with more subjective decision-making. 

Although they often pay smaller advances, as mentioned previously they often provide larger royalties and they may choose to pay big bucks as an advance for a book that they wish to make their lead title, when the Big 5 may have paid less and made it one of their lesser titles. 

So bigger is not always better. Once again, each book and each author makes a completely different amount of money, but it’s worth understanding how the business works and realistically what’s at stake. 
 
Whether the publisher is large or not, they can both take a book quite far – to audio, abroad, and even to the big screen.

Different Ways To Make Money With A Traditionally Published Book 

It can be very confusing for a new author to understand how a book makes its writer money. Every book deal is different, and every author earns a different amount. This is in no way a reflection of the quality of the book; it hinges on how well the editors and sales and marketing teams at the publishers think the book will do. 

Remember – publishing is a business, and your books are products. If you produce something that is destined to sell well, then you will be compensated as such. The only problem is that books can be mercurial things and what works once doesn’t always work again! 

So how do authors get paid?

Author Advances 

An advance paid by a publisher is intended to cover an author’s expenses while they write the book the publisher has bought. It should be a rough estimate of what the book might earn, paid up front, to give the author support and reassurance. The amount of an advance can vary from a couple of thousand pounds to a seven-figure sum and it is usually paid by the traditional publishers. However, some publishers opt not to pay an advance to writers and instead pay higher royalties.

Royalties

A publisher pays authors book royalties in exchange for the rights to publish their work in book form. Royalty rates are made up of percentages of book sales and they are entirely negotiable, though some publishers do have standard royalty rates that they try to adhere to for the majority of their book deals. Average retail royalties tend to fall in the 10% - 15% range on hardcover sales, and 5% - 7.5% on trade paperback sales. These are paid quarterly by some publishers, yearly by others. 

Foreign Rights

Authors who retain translation rights, may submit their book to a foreign rights agent (sometimes their agent works with foreign publishers and reps), or their publisher may commission a foreign rights agent to represent the publisher’s catalogue, or collection of titles.  

A foreign rights agent represents translation rights on a worldwide basis or for select languages. Then, the foreign rights agent plays matchmaker, matching books with foreign publishers who have published or are looking to publish similar works. 

You get paid by a foreign publisher for every language or territory you sell your book to – this can be anything from $1,500 per book, per territory, to six figures (not as common).  

Literary agents receive a slightly higher commission for foreign subsidiary rates and translations, generally 20% commission compared to the usual 15% a literary agent receives. 

TV Rights  

One of the first steps a TV/film producer makes when developing a project for the screen in which they are interested in, is to obtain story rights. The usual legal vehicle for this is an option contract. The producer options exclusive rights for a specified time to develop your creative work and determine if there is any interest in adapting the work into a film before committing to purchasing the work. The option puts money in the writer’s pocket in exchange for putting the book rights on hold during the negotiated time period. Sometimes that time runs out and the options are sold again, so the writer is receiving money for nothing while the producers try and get the project off the ground. Again, options vary in amount and contractual length, but $15,000 for three years is not uncommon. 

This can be handled by the publishers or the agents direct. Most literary agents have experience of such contracts and would be more than happy to handle this on your behalf!  

The literary agent commission on film rights and audio book rights is typically somewhere between 15%-20%. 

And now for self-publishing. A completely different kettle of fish…but one that more and more traditionally published authors are diving into.

Self-Publishing

Publishing your own book means you never sell the rights to the book. It’s yours. There is no advance (ie money up front) in self-publishing – it’s completely down to you as the author to make whatever investment you can afford to get your book out there. 

Most indie sales take the form of e-books, often taking advantage of print-on-demand services provided by suppliers such as Amazon. But that means limiting your distribution to online sales. For those with dreams of seeing your work sold in physical bookshop and adorning the shelves, this is much harder to do with self-publishing. You can personally go from bookstore to bookstore, many independent bookshops love to support local indie writers, but you’re unlikely to see huge sales of your hardback in Waterstones and B&N if you self-publish. 

You are also less likely to see your book in the national press (again, local publications do support local writers, but you have to do all the PR yourself). 
 
But, because you can decide on the price point of your book and have the possibility of publishing as many as you can write a year (whereas traditional publishers generally publish one book per author per year), plus you get a larger cut per sale, you have the possibility of making a lot of money. After a year, some self-published authors are making a living wage from their books. Some are even making millions!  

Here is a list of more Jericho Writer resources about self-publishing and how much you can expect to make:

• Traditional Publishing Vs Self Publishing
• Should self-published authors turn to traditional publishing?
• Why A Best-selling Author Chose To Self-Publish
• How Much Does it Cost to Self-Publish a Book?
• How to Control Your Self-Publishing Costs
• How Much Does it Cost to Publish a Book?

And remember, unlike traditional publishing which is very subjective and often down to getting the right agent, the right editor, and publishing at the right time, with self-publishing you get out what you put in.  
 
So the question you should really be asking yourself when considering self-publishing is not ‘How much money will I make?’ but ‘How hard am I prepared to work to make enough money?’ 

Getting published is an amazing experience. However, for the sake of your future writing career, getting published is not the same as staying published! 

Securing one good book deal does not mean you can give up your day job. You should therefore try to remain productive and add to your back catalogue of books and articles, in order to establish a steady income.  

Luckily, most authors make their money not from their books, but from being a writer. Here’s how… 

Tips For Authors To Make More Money 

Here are a few tips which you might like to consider for increasing your cashflow as a writer. 

• Enter writing competitions. Many offer generous cash prizes and it is a good way of potentially boosting your writing coffers. It is also a very enjoyable diversion from your usual writing routine.
• Come up with pitches for freelance articles and approach newspapers and magazines. It’s a competitive market, but editors are always on the lookout for new ideas. If you can suggest an original and eye-catching pitch, there is money to be made. You might also find if the editor published you once, they will publish you again. 

The figures below from the National Union of Journalists website, gives a rough estimate of what you could expect to earn writing articles in the UK (fees vary country to country). For example, once you are an established feature writer, writing a 1,000-word tabloid feature can earn you approx. £800. 

Page lead, tabloids - sky's the limit, rarely less than		1250.00
Tip-off leading to exclusive or large spread, upward of		1000.00
Splashy features for "qualities", per 1000, from		800.00
Normal features for "qualities", per 1000, from		500.00
Page lead, for "qualities", per 1000, from		500.00
News, for "qualities", per 1000 words, from		430.00
Tip-off for news, "qualities" - much more for big stories		200.00
Commissioned online blog post - e.g. "Comment is Free" from		110.00
Tip-off for diary - minimum		50.00

Splashy features for "qualities", per 1000, from		1000.00
Per 1000 words, generic		600.00

Being a writer, means you have publishing experience. That means you can also get paid to: 

• Attend paid literary events and give talks (approx.. $200-1,000 per event, depending on how sought-after you are) 
• Lecture on creative writing, either privately or to uni students (approx. $250-$500 per day) 
• Write blog articles like this one (approx. $100-$200 per blog) 
• Become a freelance editor (approx. $750 to $2,000 per book) 
• Be a proof-reader, beta reader, blogger or sensitivity reader (bloggers and beta readers don’t often get paid, but you do get to read some great books).  
• Be a writing mentor (you may charge an hourly rate of $80-120) 
• Become a ghostwriter (this can vary, and some writers get paid in royalties only, but others can get $5,000-$10,000 up front per book) 

Explore Different Writing Opportunities

I hope this article has given you some indication as to how much money you can make being an author. Sadly, unlike being a plumber or solicitor, the career trajectory of an author is never a straight line and no amount of qualifications can guarantee you more success or money. 

But, the one way you can help yourself as an author, is to keep learning and keep writing. The more books you write, the better you will get and the more ‘products’ you have to sell. And with determination and dedication, writing books can not only lead to great things but can also help get you other paid work opportunities.  

You just have to be creative – and luckily that’s exactly what we are! 

We last heard from Sarah Linley when she told us all about her journey to publication for her debut, The Trip. Now, her second novel is about to be published by One More Chapter (the digital imprint of Harper Collins).

We caught up with Sarah two years later to find out how things have been since the publication of her debut, and what she's learned.

JW: We last spoke to you ahead of the publication of your first novel, ‘The Beach’ (subsequently retitled ‘The Trip’). Now, two years on, your second novel publishes next month. In what ways did the process for the second book feel different?  

SL: I think I had more confidence going into the process of writing and publishing my second book. I knew more about the craft – structure, plot, characters, theme – and I had more experience of the editorial process, so I knew what my flaws were (weak characterisation and overuse of the word ‘just’ being two of them!).  

The Wedding Murders is classic crime meets psychological thriller. Libby is a plus-one at a celebrity wedding in a grand manor house in the Yorkshire Dales. She’s the guest of her boyfriend Matthew, who used to be in a pop band in the 90s. It’s the first time the old friends have got together since they split up and Libby soon realises that they have secrets to hide… 

Having someone on my side, championing my work, made me feel much less alone in the process.

I really enjoyed writing The Wedding Murders and the research was a lot of fun. This time around, I found it less daunting to approach experts and ask them questions, and I had a much better understanding of story structure which helped because this novel is set over a tight timeline.  

That said, the second book produced some curveballs. Not least having to rewrite the first chapter about twenty times because I couldn’t find a good way to start the story, which hadn’t been an issue with The Trip.

Writing my debut, I didn’t understand the importance of book bloggers and I had never heard of NetGalley. Engaging with readers has been one of the best things about being published, and that was a surprise, as I was quite scared of that aspect before I was published.  

I also thought I would be less nervous as publication day for book two approaches. I’m not! 

JW: You navigated your first book deal alone but had an agent for the second. How did the two experiences compare, and would you recommend finding an agent before approaching publishers? 

SL: Having someone on my side, championing my work, made me feel much less alone in the process. I am represented by Camilla Shestopal and she is absolutely lovely. One of the reasons I enjoy working with her is that she really cares about my writing. She speaks about my characters as if they’re real people, and I thought only I would feel that way about them!  

Camilla did a lot of editorial work with me before we submitted the book which meant it was in much better shape and that made the structural edits easier.  

Negotiating a book deal on my own wasn’t my first choice. I couldn’t get an agent interested in my debut, despite around 30 submissions, so I decided to go it alone because I really believed in the book. 

Digital-first publishers are happy to work with unrepresented authors and I found the process quite straightforward. I read two great books by Harry Bingham and Rhoda Baxter and my friend is also a lawyer which helped. Once you have a book deal, you can join the Society of Authors and they will look over contracts for you.  

Having an agent is great but not essential. They are inundated with submissions so it can be quite difficult to stand out among their huge slushpiles.  

If you feel that having an agent would be helpful, I recommend trying this route first, and giving it a real chance (i.e. 20-30 submissions, not a handful), but don’t be afraid to represent yourself. Arm yourself with knowledge about the industry, ask a lot of questions, and have confidence in your writing.  

JW: What kinds of resources have you found useful throughout your writing journey?

SL: Jericho Writers is a great resource for writers. You can learn everything about the writing and editing process, approaching agents, self-publishing and marketing your work - but one of the best things is meeting other writers that are on this journey with you.  

Don’t be afraid to represent yourself. Arm yourself with knowledge about the industry, ask a lot of questions, and have confidence in your writing.

I have been involved with Jericho Writers since I was shortlisted for the Friday Night Live competition in 2014. The Festival of Writing in York was always such a great social event as well as a chance to learn, so I was apprehensive when it moved online due to lockdown. However, I have found the digital festival even better in some ways. Being able to watch the videos on replay meant I could pace myself a bit more and attend more sessions. I do miss the social aspect though.  

I completed Debi Alper & Emma Darwin’s Self-Editing Your Novel course last year. After the course, the students set up a writing group over WhatsApp, and we are now in almost daily contact posting articles and questions, helping each other through problems, and cheering each other on. We meet weekly on Zoom to do virtual write-ins which are brilliant for staying motivated! 

JW: What have you learned since publishing your first book, and what do you feel you still have left to learn? 

SL: I’ve learned so much about the industry and the editorial process through publishing my debut. Writing a novel can be lonely but once you are working with a publisher, you become part of a team. You have to let go of your darlings and appreciate that putting your book into the world is a collaborative process. 

There is so much still to discover about writing and publishing, and I think I will be learning for the rest of my life!  

A useful piece of advice I got in the early days was to reinvest everything you earn from your first book into developing your craft. There are some great courses out there and you might want to pay for editorial help or mentoring as you write your second book. Everything helps!  

Writing a novel can be lonely but once you are working with a publisher, you become part of a team. You have to let go of your darlings and appreciate that putting your book into the world is a collaborative process.

I read a lot of books about the craft of writing and I am always learning from other writers. I love attending writing festivals and have found the move to digital has meant this has become much more accessible. This year, for the first time, I attended Bloody Scotland (virtually!). One of the highlights was an interview with Stephen King – it was amazing to be able to hear such a legend talking about his writing (and get a glimpse of his study!). I’ve also been lucky enough to attend online events with Margaret Atwood, Philip Pullman, Tracy Chevalier, Marian Keyes, Dorothy Koomson, and other writing heroes, which wouldn’t have been possible before lockdown.  

JW: What’s your best piece of advice for writers who are querying right now?  

SL: Never give up on your dreams! Rejection is part of the territory of being a writer but it’s not personal. If someone doesn’t love your work, then they’re not the right person to represent you. Try to be patient and wait for ‘the one’. It may take a while to get published, and you may need to write a few books before you do, but it’s worth it in the end!  

About Sarah

Sarah Linley lives in Yorkshire and works as a Communications Manager for a housing charity.  Her debut novel, The Trip, was published by One More Chapter (the digital imprint of HarperCollins) in February 2020.  

Her second novel, The Wedding Murders, will be published by the same publisher in February 2022.  When she is not writing, she enjoys reading and walking in the Dales.  

Visit Sarah's website.

Follow her on Twitter and Instagram: @linleysarah1

View The Trip on Amazon.

View The Wedding Murders on Amazon.

It’s no secret that coming up with a great book title can make or break a book. But how can you choose the best book title for your work?  

This guide will not only show you how to write a book title, but it will also advise you on how to come up with your own title ideas for your next project in any genre.  

Why Are Book Titles Important?

Have you ever bought a book purely because of its title? I know I have. And plenty of other readers have, too.  

Books such as A Good Girl’s Guide to Murder by Holly Jackson have become instant bestsellers thanks to their clever, intriguing titles. In the case of this example, the title not only tells a reader what genre it is (crime), but also sets up a series of questions that the reader will want to read on to answer. How can a ‘good’ girl be involved in a murder?  

Word of mouth equates for a huge proportion of books that have achieved a runaway success. If a title is memorable, it’s more likely to stick in the forefront of a reader’s mind when they’re speaking to friends. To use our previous example, A Good Girl’s Guide to Murder, uses alliteration to great effect, and uses many of the same words in subsequent titles in the series to create a clear and memorable link.  

On the other hand, a bad title can be forgettable. Take Stranger from Within for example – have you heard of that? Chances are you haven’t as this title was later changed to Lord of the Flies (William Golding), which is far more intriguing and memorable. 

So – what is it that makes a book title great? 

What Makes A Good Book Title?

Authors with an established track record can afford to take risks with their book titles. But for new and emerging authors, it’s worth sticking to these tried-and-tested rules:  

* Be Unique 

That’s not to say that you can’t call your book a name shared by something else, but it will help your title be easier to find by readers if it’s unique.  

* Be Memorable  

As readers, we can come across hundreds of books every day. Be clever with your use of words to create a title that will stick in a reader’s mind.  

* Spark Interest 

You can do this by generating a question for the reader, or by clearly signposting what the book is about from the title. For example, The Man who Died Twice by Richard Osman.  

* Grab Attention

In a bookshop or online, this is mainly the job of the cover. But what about when the book is being spoken about in a conversation, or on the radio? Choose a book title with impact, for example, Tall Bones by Anna Bailey.  

These rules sound simple, but they can be difficult to get right. There are lots of other factors that might turn a reader off, even if your title conforms to all these rules.  

How Long Should Your Title Be?

One of the things that concern a writer when choosing the title of their book is its length.  

How Does It Look On The Cover? 

Titles must be long enough to be clear, unique and intriguing, but short enough to be memorable (and fit on the cover nicely). Most popular book titles are four words long, but a surprising 10% of the Amazon top 100 at the time of writing include titles over eighteen words.  

Of course, this will vary according to genre (subject-led non-fiction can stand a longer, more specific title), and also Amazon metadata (including subtitles with keywords can help a book become more searchable). But as a general rule of thumb, you’ll want to be keeping your title in that magic space between too short, and too long.  

Language & Clarity 

You should also pay close attention to the use of language in your title. With such a small space to pack an impact, every word you choose has to be pulling its weight.  

To help, try to avoid jargon and technical terms in your title that might be hard for the average reader to remember. You should aim to provoke an emotional response and provide clarity, whilst trying to avoid making your reader angry or hurt with the use of derogatory language.   

Relevance 

It’s also useful to keep the title themed around your book, so that readers can easily associate it with your story long after reading. In the same way, using common genre structures found in the genre you’re writing can help with this.  

For example, thriller titles tend to be short, using emotive language: The Silent Patient, Alex Michaelides. 

Romantic comedies can stand to be a little longer and can often include a name, such as Lucy in the Sky by Paige Toon.  

So how can you use these tips to come up with your own book title? 

How To Come Up With Book Title Ideas

Before sitting down to come up with your own title, I recommend making a note of the advice above, so you can keep it in mind. In particular, it’s important that your ideas maintain clarity, relevance, and stay within your genre.  

To help with this, the first step to creating a book title is to look at books similar to yours. Make a note of:  

• The number of words in the title. 
• Emotive words (what emotions do they conjure?)  
• Any questions they pose (do they make you want to read on to answer them?)  
• Anything else interesting about the title, such as the use of character names.  

This step is important, as you’ll want to ensure your title communicates what your reader is to expect from your book, as well as being unique.  

Get brainstorming! 

I like brainstorming on paper or on a whiteboard, but you can do it anywhere, at any time. For each of the following headings, spend fifteen to twenty minutes thinking of possible titles relating to your specific book:  

• Who the book is about
  This can be a name, or a description of the character in some way. For example, The Girl of Ink and Stars by Kiran Millwood Hargrave. 
   
• What the book is about
  Think carefully about the themes and motifs you’ve used in your book. Looking at your synopsis can be a useful reminder here. For example, Normal People by Sally Rooney. 
   
• Where the story takes place
  This can be interior settings, as well as exterior. Where in this world or the next is the book set? If there’s a journey, can this be used? For example, The Salt Path by Raynor Winn. 
   
• When the story takes place
  Think dates, as well as seasons, days and time. You can also use important past or future events as a title. For example, A Week in December, Sebastian Faulks.  

Research 

When you have some keywords, try mixing them around to create something unique and interesting. Alliteration can be your friend here, as we saw in A Good Girl’s Guide to Murder. You can also employ one of the following devices with your keywords to make it unique:  

• Find a synonym
  Is there another, lesser-used word that packs a bigger punch? 
   
• Subvert expectations
  Twist the meaning of your phrase to assign a new meaning to it, for example, Everything I Never Told You, by Celeste Ng.  
   
• Tell a mini-story
  Find the hook of your story and tell it in a small space, such as The House with Chicken Legs, by Sophie Anderson. 

• Focus on your USP (Unique Selling Point)
  Is there something about your story that sets it apart from the rest? Perhaps it’s that it’s a true story, or perhaps something as simple as a character name. If it’s good, use it in your title! For example, Aristotle and Dante Discover the Secrets of the Universe.  
   
• Try other titles on for size
  Is there a title you particularly like? Try mixing that with some of the words you’ve come up with – sometimes this can help you stumble across your own unique version, which contains all the elements of a title you love. 
   
• Look at what’s trending
  It’s no coincidence that, like with any product, there are trends with book titles. You may have noticed in certain genres, that once a book has had great success, other similar titles start to pop up. How many thrillers can you name with the word ‘Girl’ in the title? How many fantasy YA books do you know with the word ‘wicked’ in the title, or using the standard ‘A _ of _ and _’ combination? 
   
• Pick out phrases  Another trick is to read through your book, specifically looking for phrases that might make a good title. Some of my favourite book titles are ones that are almost small poems in themselves, such as On Earth We’re Briefly Gorgeous by Ocean Vuong. Reading your manuscript on an e-reader can sometimes help you spot these.  

If you’re still finding it difficult, then try an automatic word or title generator. Then, it’s just the simple matter of choosing the right title for you… 

How To Choose A Book Title

The best book title for your book will be one that conforms to all the rules we’ve outlined here, including that it’s clear, memorable, relevant, and unique. It will also be the one you feel most excited about and are most likely to remember yourself.  

Try one or two on for size in conversation. Does it roll off the tongue? What was the reaction? 

You may also find that other people can be useful – ask friends who have read the book for their thoughts and include other people in your process. In particular, agents and editors often bring their own thoughts to a title before publication, so be prepared to change it for the market if you’re planning on traditional publishing.  

For those who are self-publishing, using social media or reader focus groups can be a great way of testing a title before going forward with it. You may even find that the most popular title is the one you’d least expect.  

Whatever title you come up with, your primary goal is to make readers want to read your book and remember it long after they’ve finished reading. Spend time studying book titles, mind-mapping ideas relevant to your themes and then choose the title that you feel most excited by.  

For more information on other important book metadata, including book covers, choosing your author name, and that all-important pitch, take a look at our vast library of free articles on our blog.

More than ready to get the ball rolling with agents, but just need a little push? Or perhaps you’ve had a few rejections but aren’t sure why? Our Agent Submission Pack Review gives you detailed professional advice on how to perfect your submission and increase your chances of securing an agent.

A few weeks ago, I was asked what I do for a living. When I said, ‘I’m an author,’ the gentleman said, ‘Oh, what do you write? Crime?’ 

‘No, romantic comedies.’ 

‘What, like Dame Barbara Cartland?’ 

‘Er, no. She wrote historical romance.’ 

‘So not like that E. L. James either then?’ 

‘No. She writes erotica.’ 

He looked disappointed by this and sloped off, presumably to go and lose himself in a gritty murder or a rampant bodice-ripper. 

What Is A Book Genre?

So what genre is your book and how would you describe it? 

In simplistic terms, a genre is the category or style of a book - for example, romance, crime or horror. It comes from the French word, for ‘type.’ In essence, it describes the type of story being told. 

There are many book genres, ranging from dystopian to horror (more on that soon) but two of the most popular book genres, in terms of sales figures right now, are romance and crime. 

Bestselling names in the romance genre include authors such as Danielle Steele and Sophie Kinsella, whilst for crime, authors such as Ian Rankin and Martina Cole reign supreme. 

Romance has an enduring, escapist appeal and has seen a huge variety of its authors and titles consistently topping the bestseller charts for a number of years. The tales of love overcoming adversity, sometimes whilst in sun-soaked climates, set in sprawling castles or with a good dose of humour, continue to enchant and enthral readers of all ages and from a wide demographic.

Romance Subgenres

But, to make things more complicated, there are also subgenres within each genre. As my Cartland vs E. L. James example shows above, just because there’s a lot of kissing in two different books doesn’t mean the reader is going to get the same kind of romance in both.

So, when looking at genre, it’s important to also consider subgenres. In romance, the subgenres are plenty – often crossing over into other genres: 

• Romantic comedy
• Paranormal romance 
• Fantasy romance 
• Queer romance 
• Christian romance 
• Young adult romance 
• New adult romance 
• Historical romance 
• Regency romance 
• Contemporary romance 
• Erotic romance 
• Romanic suspense 

The list goes on…and, much like love itself, there’s something for everyone. 

Crime Subgenres

But readers, and authors, don’t always stick to enjoying just one genre. As I’m an author of romantic comedies, you won’t be surprised to learn that romance is my favourite genre, but I am in no way adverse to any others. I have just finished reading The Affair by Hilary Boyd, an often dark thriller about a married woman having an affair, who then finds that her ex-lover begins to stalk her. 

As most writers know, reading across all genres helps hone your craft enormously. 

In recent times, crime and thriller novels have seen a huge resurgence in popularity. Perhaps due to the odd times we are living in, it is the appeal of good triumphing over evil and justice prevailing, which explains why so many readers are keen to lose themselves amongst their pages. 

Cosy crime, described as a gentler form of the crime genre, has also seen a massive rise in readership in recent times. Authors like Richard Osman and M.C Beaton are hugely popular in this book category.  

Let’s look at some more crime and thriller subgenres: 

• Cosy mysteries 
• Classic detective/PI 
• Police procedural 
• Hard-boiled crime 
• Thrillers (legal, medical, forensic, military) 
• Suspense thriller 
• Psychological thriller 

Book Genre List

There are frequent debates as to how many different book genres exist. During my research for this article, I read claims that there were approximately thirty-five varying book genres, whilst other articles insisted there were around fifty.  

I have therefore pulled together a book genre list (excluding subgenres) which I consider to be the most prominent ones – with some details as to how they may be defined.

Fantasy

Categorised by works including elements of magic or the supernatural. This can encompass high fantasy, like Tolkien's Lord of the Rings and George R.R. Martin's Game of Thrones, or magical children’s books, like Rowling's Harry Potter. But it also includes steamy novels like the fae-filled series A Court of Thorns and Roses by Sarah J. Maas.

Sci-Fi

Sci-fi stands for ‘science fiction,’ meaning it looks at outer worlds with a heavy leaning towards space, technology and science. Think aliens, time-travel or exploration to other planets. This includes anything from Star Wars to Ernest Cline's Ready, Player One.

Speculative Fiction

This can encompass all the above – basically anything with a twist of magic – but can also include fabulism and magical realism. That’s to say stories based in our world (past or present) with a hint of magic. Think Chocolat by Joanne Harris, or The Once and Future Witches by Alix E. Harrow.

Horror

When you say ‘horror book’ most people think of Stephen King – for good reason. Horror is known for its frightening, often graphic, elements and paranormal elements. Anything from The Shining to The Invisible Man by H. G. Wells. A subgenre of this is Gothic books, such as the classics Rebecca by Daphne du Maurier and Brontë's Wuthering Heights – think eerie and spooky, more than blood, guts and monsters. 

Mystery

Fiction that includes a mysterious occurrence and a gripping plot to be solved. This can include a good old-fashioned Agatha Christie ‘whodunnit’, or bestselling novels like Flynn's Gone Girl. 

Crime

Stories that incorporate a crime being committed and illustrate the protagonist’s struggle to solve it. Think Lee Child, P. D. James, and Martina Cole. 

Historical

Books defined by a time period from the past. Fictional stories based in a historical setting such as the Bridgerton series by Julia Quinn or Gabaldon's romantic Outlander novels set in eighteenth century Scotland. Or many of the books by Tracey Chevalier or Philippa Gregory. 

Thriller

A step up from Mystery, more edge-of-your-seat stuff, this fiction is often charged with lots of excitement. For example, a life-or-death scenario, huge stakes, cliff-hangers and action. Think of all of Dan Brown’s books, or modern classics such as Hawkins' Girl on the Train or Larsson's The Girl with the Dragon Tattoo. 

Western

Fiction focusing on the American Frontier. Genre usually set in latter 19^th and early 20^th century, centred around the lives of cowboys and gunfighters. Although more modern stories, such as Proulx's Brokeback Mountain (as the tale of two cowboys falling in love set against the backdrop of bigotry and judgement) was a huge hit when it won the National Magazine Award for Fiction in 1998, and then went on to become a Hollywood blockbuster. 

Romance

Romantic relationships are at the heart of this genre (if you’ll pardon the pun!) Stories may follow various tropes including star-crossed lovers, love triangles, unlikely lovers, and soulmates. As we saw earlier, it can reflect anything from Me Before You by Jojo Moyes to Jackie Collins' works.

Erotica

Fiction designed to arouse the reader with explicit sexual scenes and imagery. The Fifty Shades of Grey trilogy was the highest grossing book series of the last decade. 

Dystopian

Part of the science-fiction genre, dystopian novels usually describe a frightening aspect of the future, such as oppressive governments. Think Sweeney-Baird's The End of Men, Atwood's The Handmaid’s Tale, and Mandel's Station Eleven.

Literary

Literary fiction concentrates on real-life issues and, unlike commercial fiction which is plot-driven, this form of storytelling is a lot more character-driven. It also often has a more complicated or convoluted story structure, using a more complex vocabulary. Sally Rooney has had great acclaim in this genre with her books Conversations With Friends, Normal People, and Beautiful World, Where Are You. 

Children's Fiction

This is a broad subject that includes everything from picture and board books for very young children, through to Middle Grade and Young Adult. Classic Middle Grade authors would include Roald Dahl, and more contemporary novels would include Wonder by R. J. Palacio, Sophie Anderson's The House With Chicken Legs, and The boy At The Back Of The Class by Onjali Q. Raúf. These books are written predominantly for 9-12 year olds, and often cover important life lessons.  
 
Likewise, Young Adult (for 13-18 year olds) is very varied in style, themes and content, and includes books such as Angie Thomas' The Hate You Give, Suzanne Collins' The Hunger Games, and They Both Die At the End by Adam Silvera. 

Why Is Genre Important?

You might ask yourself whether the question of book genre really matters. Surely it’s the plot and characters that are important, not the category?  

Well, genre does matter as it acts like a building block to establish where your book will sit in the market and what readership it’s likely to attract. 

By having an awareness of what genre your book is, you’re able to carve out not only your own unique voice, but also an audience who enjoys reading that genre of novel. You are enabling your readers to identify your book as one which they will enjoy reading.  

Being able to neatly categorise your book into a particular genre means you’re creating a strong author brand in a genre where other authors have already established themselves. You’re creating a foundation for (hopefully) solid book sales and letting agents, editors, booksellers, and readers know what to expect from your work. 

For a book to therefore become successful, the writer, reader and marketer must all possess the same vision and understanding of what the story is and how it’s being told. 

Agents And Editors

It also makes prudent sense to have identified what book genre your novel is, when the time comes for you to pitch to agents and publishers. Targeting the right publisher and agent for your work, via the genres they publish and represent, means that you will be giving yourself the best possible chance of achieving representation and publication.  

I once read a great quote from an agent who said, ‘Imagine yourself in a lift with the agent of your dreams. You have ten seconds to pitch your latest novel to them before they get out. How would you describe it to them?’ This elevator hook or pitch should draw in the agent, enticing them to ask for your manuscript. It would also, if it has done its job properly, give them an idea of where your book would sit alongside their current authors and in the market generally. 

For instance - sending your completed manuscript to an agent who represents science fiction, when you have penned a rollercoaster 110k word espionage tale, is a waste of not only your time, but also that of the agent. 

Booksellers And Librarians

When someone is looking for a book, the first thing they do is head for the shelves categorised by genre. If the genre of your book isn’t clear, and it’s wrongly categorised, then it won’t reach your ideal market.

Your Readers

Establishing an author platform in the book genre you write in means you stand a good chance of readers of that genre returning for more. It’s therefore essential to create a certain anticipation in your prospective readership, so they know what they can expect from you. This is why authors often write in just one genre – and don’t spread out into others without either waiting to become very established or writing under a number of pseudonyms. 

How To Identify The Genre Of Your Book

To increase your novel’s chances of success, you, as the author, together with your publisher, agent and marketing team, should have a certain expectation as to where your book will fit into the market. 

Where do you imagine your novel sitting on the shelf in a library or in a book store? Which other authors would it sit comfortably beside? Is it a heart-warming romantic comedy, in the vein of Jenny Colgan and Trisha Ashley, or a political thriller similar to that of Ken Follet and Jeffrey Archer? 

Book genres often cause a degree of heated discussion amongst the writing, reading, publishing and agenting communities. 

Everyone, to a greater or lesser degree, has a different idea of what each genre represents. The question of what each genre should carry, can elicit strong feelings, not to mention very differing views. Even book covers in particular genres can cause much debate about their style and substance. How often have you read quotes on the cover of books which have said things like, ‘For readers who love Maeve Binchy’ or ‘For fans of Stephen King?’ This is a publisher communicating a book’s genre to its readership. 

This is a clever marketing tool, designed to appeal to the loyal readers of these authors, that your novel is in the same book genre as these giants of commercial fiction and therefore they would enjoy yours too. The most important thing is that you, your agent and editor agree (or, if you are self-published, you are consistent with your marketing).

So, How Can You Define The Genre Of The Book You're Writing?

My advice would be: 

• Read a lot of books and see what elements are featured, and which chime with yours. 
• Familiarise yourself with the book genre options out there and how they relate to your book. 
• Identify the genre elements that are contained within your novel. How do they reflect those? 
• Pull together a short list of potential genres and also subgenres. How does your novel compare with others in those categories? 
• Concentrate on the most relevant genre/subgenre for your book. 
• Think about the audience of the books that you enjoy reading in your favourite genre. Are they the same readers who you think would enjoy your book?  
• Check out book genre labels which are often featured for each of the different book genres for Kindle reads. Do any of these relate to what you are writing? For example, words such as ‘dark’ and ‘conspiracy’ are often applied to books in the Thriller genre.   
• Remember, you’re not trying to explain the entirety of your book, you’re trying to advertise its aesthetic. You are aiming to create a similar air of anticipation amongst the book-buying public, so that they too will be drawn to your novel. 

Once you have done that, take a look at your own book and ensure your writing style, characters, and plot stick to one (at most, two, genres). For instance, if your spy is getting more action in the sheets than the streets, ask yourself whether you are really writing a spy thriller – or a spy romance novel. Then amend accordingly. 

Determine Your Genre

Nailing the genre of your book is not the most important element of your writing journey – at least not to begin with.  

However, the importance of identifying the most appropriate genre and subgenre of your book, should not be underestimated. Finding that commercial aspect to your writing and to your novels is crucial, if you are to identify a reading audience for your book and appeal to their reading tastes – not to mention hook the right agent and editor. 

So, have a clear genre (and audience) in mind when you start plotting and writing, and make sure you don’t veer too much into too many other styles and categories. It’s the first step to ensuring your readers will one day find your book and savour every page – no matter which genre it ultimately finds a home in!

More than ready to get the ball rolling with agents, but just need a little push? Or perhaps you’ve had a few rejections but aren’t sure why? Our Agent Submission Pack Review gives you detailed professional advice on how to perfect your submission and increase your chances of securing an agent. 

You've finally finished your book! After months of writing, followed by toing and froing with your beta readers and editor, the book is ready to go to print. But just as you're thinking of jetting away somewhere hot and having a much-deserved rest, your publisher (or Amazon Central) asks you for an author headshot.  

You could give them that photo of you at your cousin's wedding, or the one work took for their website. Right?  

Wrong.  

In this guide, I'll be explaining how author headshots function, why having the perfect one matters, and I'll show you how to organise a professional photoshoot, get the right look, and make the best use of the result. I’ll also link to some real-life author headshot examples.

The Importance Of Author Headshots

Like any aspect of self-branding, the writer headshot should never be overlooked. However open-minded we like to think of ourselves, people make snap decisions about each other and what they have to offer based on what they look like. This also holds just as true for an author on the back of a book, as well as people we meet face to face.  

This is both bad news and good. While a poor author portrait could put potential readers off your work, a good one can do the opposite. It's an excellent opportunity to communicate your genre, tone, and style. And it's in your control! 

This is why it makes sense to invest time and money hiring a professional photographer for a photoshoot (unless you have a generous friend in the business who will do you a favour, or you’re exceptionally good at selfies and have a well-lit studio at home). 

So where do you start? 

Author Headshot Tips

Find The Right Photographer 

Traditional publishers will occasionally arrange author headshots themselves. Usually, however, it is left to you to choose a good local photographer. Make sure you follow any specific instructions from your publishing house – and if you've collaborated with somebody else on this book, you will both need your own photo.  

The ideal photographer will have taken this kind of portrait before, and they should be able to show you some of their previous work to help you decide. Take a look at the photographer’s online portfolio or check out the name of photographers that took author headshots you like from other local writers. 

Are They Right For You?

Choosing a photographer may not be a life-long commitment, but you are paying them to take photos that will be defining you as an author – not to mention spending a morning or afternoon with them. It’s important you feel comfortable around them. Meet them first to discuss your requirements or have a quick Zoom call to get an idea if you will work well together (after all, you may need more photos in the future). If you’re not happy, walk away. The more comfortable your photographer makes you feel, the better the results will be. 

Calculate The Best Package For Your Budget

Author headshots can cost thousands of pounds or dollars. However, the average cost is between £100 and £150 (US$100 and $250). Location shoots with multiple looks and outfit changes are likely to cost more than straightforward studio shots in front of a single background. 

Confirm the price and what to expect within the package. Ideally, you want to own the images you choose (the alternative is paying a licence fee every time you use one). Find out whether you will need to pay for each photo separately or if the photographer will give you all the images in a digital file.  

You may want your photos retouched to remove blemishes (dark circles under the eyes, for instance). The need for this may only become obvious after the shoot and add to the cost as it’s not always included. So be prepared for that. 

Create A Good Brief 

Decide the impression you want to make with the headshots and communicate this clearly to your photographer. What do you need to consider? 

Research your competition

To get an idea of what style of author portrait photo is right for you, look online at the Amazon pages and websites of other writers in your genre for inspiration.  

What are you trying to get across in your author portrait? Are you fun and lively, or moody and dark? Is your work serious literary fiction, or do you write light and fun rom coms? The photos on the website of a picture book author will be very different from the one Ian Rankin uses for his crime books, for example.  

Black-and-white or colour? 

While black-and-white works well for high-brow literary types, most commercial authors choose colour. A traditional publisher may make this decision for you. The average release from Galley Beggar press wins at least one literary award, so it's no surprise the author photos on their website are all in monochrome. But bear in mind, if you wish to use the same photo for press, many magazines ask for a colour photo. Some writers use a number of images from the same shoot for various things. 

Location, Setting, And Background

The focus of the headshot should always be on the author's face. Thus, many writers use a plain studio background, particularly for online stores like Amazon. However, others use an appropriate setting, hoping it will help communicate their brand.  

Mary Berry, famous cookery book writer and presenter of The Great British Bake Off, stands in a white kitchen for her author portrait. Robert Thorogood’s photo is in front of Marlow, the UK setting for his new cosy crime series. Cathy Cassidy, a Young Adult writer, is pictured in the back of a VW campervan.  

The dark red wall behind Rory Sutherland’s Twitter profile, clashes with the bright red jacket he’s wearing. The overall effect is unexpected for a business guru, yet his latest release 'Alchemy' has the tagline, 'The Magic of Original Thinking in a World of Mind-numbing Conformity.' He’s not trying to be corporate.  

Plain studio shots work particularly well for serious black-and-white photos. But remember, an entirely plain white background flatters very few people. 

Image Styling: Be Yourself

If I was being entirely myself in a writer headshot, I wouldn't brush my hair. That kind of honesty, however, would probably stop me selling books.  

I'm not suggesting you lie about who you are, but it’s important to project how you wish to be perceived. Think of yourself as the main character in a book about your writing career. What does this person wear? What expression and mannerisms do they use? Are they business-like, fun, or very serious? 

Outfit

Even authors going for ‘zany’ should keep their outfits as simple as they can. The safest plan is to wear one or two layers of plain clothing with an open collar. Busy patterns will detract from your face, as will too much jewellery. (The shy may see that as a good thing, but it isn't). 

Period costumes may well suggest historical romance, but they will detract from the author’s face – and it’s important that your readers (and the press) know what you look like. Period romance author, Evie Dunmore, gets it right. Her outfit suggests a Victorian or Edwardian woman by wearing three simple items - a lace top, a wide-brimmed hat, and a pearl ornament in her hair. Not quite fancy dress, but enough of a nod to her genre. 

Different make-up and clothes will look better in colour or black-and-white. If you're not sure which will work best, play around with both looks. You can always ask to have more than one photo taken at the shoot, but as discussed, this will increase time and possibly cost. Save time and money by taking selfies at home and asking friends and family what they think suits you best.

Hairstyle

This is probably not the time for a radical new hairstyle unless you're given to eye-catching changes. Ideally, you want readers to be able to recognise you at author events. Even if you don't think you’ll attend real-life book signings, you may want to appear online in a Facebook live, for instance. So if you're usually blonde and wear your hair back in a ponytail, do that. Now is not the time to try out a bright pink beehive.

Lighting

If the shoot is outside, the photographer will probably make the most of the natural light. Depending on the time of day this may be warm, soft, and flattering light. Let them decide the best time of day to achieve the look you are going for. For instance, during the late morning or early afternoon, there's usually a yellow light with few harsh shadows. And the ‘golden hour’, the period just after sunrise or before sunset, gives a red light and softer look.  

Wherever the shoot, light on the face makes you look fresher and more approachable, a good thing for almost every author. If you write crime or horror, an arty portrait with your face in shadow may seem like a good idea. Take care, however. You don’t want to be confused with one of your villains!

Practice Your Pose

Body language matters, and so does being relaxed in front of a camera. This is the time where the mirror is your friend.  

Choose a pose that feels natural. Don't force a smile or anything that doesn't feel right. If you're not comfortable, it will come across in your photos.  

Consider if you're going to have your hands in the picture and what you can do with them to add to your message. For example, you could rest your chin and hands on a flat surface for an informal feel. Or hold your chin to look like a professional with good advice. Some authors cross their arms, but remember that depending on your genre this can look defensive and may make you look unapproachable. 

Again, take a look at what other authors are doing. Some writers opt for the close up to be framed so no arms make it into the shot (a lot less pressure).

Props

You could also think about using an appropriate prop (and whether it would make you more or less comfortable during the shoot). Perhaps, you could hold your own book, or the Golden Dagger you were awarded last year. Again, the emphasis should be on you, so keep it simple and avoid cliché. Only use a prop if it will add to your overall message.  

Also bear in mind whether this photo is just for one book, or you want it to be used for a number of years. It doesn’t always help to use a photo of you holding up your debut when five books down the line you are known for a lot more. 

Rest Before The Shoot

A photoshoot may seem like a largely passive activity, but how you feel on the day will affect how you look and come across on camera. Avoid those dark under-eye circles by drinking plenty of water and getting a good night's sleep beforehand. 

Look Directly At The Camera

Many headshots break this rule, but it helps create a sense of connection with the viewer. Again, ask yourself if you want to come across as a whimsical, mysterious writer or direct and approachable. 

Be Relaxed

The photographer will do their best to put you at ease, but there are also practical things you can do to help yourself on the day.  

Allow yourself plenty of time to get to the shoot, so you're not rushing.  

Remind yourself that however badly it turns out, your author headshot is nowhere near as important as writing a good book. And the photographer will take lots of photos, so you can always discard those you hate at the end. If it puts your mind at rest, ask to take a look at the first few shots to see if they are working. 

And, going back to acting like a character in your own book, if it helps hide behind your new persona. Yesterday you were a nervous introverted debut writer, but today you are a famous author - cool, calm, and collected. 

Listen To Your Photographer

They should be able to guide you to an author headshot that works. If they say that a certain pose works best, listen to them. Take direction. They know what works. 

Ask For Black-And-White Copies Of Your Colour Photos

This increases your choice later on. You can convert the photos digitally yourself, but it’s usually better done by a professional.  

Select The Right Images

You may be tempted to choose the image that makes you look fifteen years younger or like a supermodel - but the best author headshot is the one that conveys the right message and reinforces your 'brand'.  

Ask other people to tell you honestly what they think, especially if they read the genre you write. Why not enlist the help of your followers on social media or your publisher’s publicity department? This can be a fun way to connect with readers and see yourself through their eyes. 

Use The Same Photo Across All Of Social Media

Consistency is key when it comes to self-branding. Whatever image you choose to use on your website or the back of the print book, use the same photo across online stores and social media. This will make it easier for readers to recognise you as the same person and, hopefully, increase your number of follows. 

But, like most rules, some are made to be broken. Picture book author, Julia Donaldson, uses a headshot with a plain studio background for her Amazon page but she’s surrounded by soft toy versions of her characters on her website. There’s a particularly good photo of her reading to the Gruffalo.  

So, if your Linked In profile is serious and you are using it to connect to the industry to sell them a self-help book you are pitching – perhaps don’t use the same sultry image of yourself that appears on the website of your raunchy erotica series. 

Keep Your Photos Up-To-Date

Whatever the temptation to stay eternally young in your reader's minds, you should upload a new book author headshot every two to three years – especially if you change genre or publisher. As your career evolves, so should your photos.

To Summarise…

All in all, preparing for the perfect author portrait shoot is simple. 

Hire a professional, brief them well, prepare your look and setting beforehand, and relax during the shoot. If you follow this advice, you should have a great headshot to add to the rest of your marketing package. 

When Author Branding Goes Wrong

Just as you put thought and dedication toward what you write as an author, the same focus should be put on your writer brand. Author branding tells your readers a story about who you are and inspires them to connect with your work.  

Think about some of your favorite businesses. What draws you to them and what sort of characteristics come to mind? What about the brand keeps you coming back? 

You should consider the same questions when it comes to your writer brand. Creating a strong, defined presence will significantly help you find and connect with your readers – helping them know if what you create is for them, and what to expect from you in the future.  

Getting started on your branding involves several different factors from conceptualisation to marketing. In this guide you will learn exactly what elements to focus on, along with us sharing a few author branding examples for inspiration! 

What is Author Branding? 

Author branding is how you choose to present your values, mission, credibility, and personality to readers. In order to create your author brand, you should start by identifying your target readership. Remember you’re not aiming to appeal to everyone; a loyal target audience is more beneficial than trying to reach all readers.  

Once you know who you want to connect with you can work on developing your brand voice and the face you will put out into the world. Tell your story and showcase what makes you different from other authors in your niche, it’s your USP (unique selling point). This also ties into your brand appearance, which might include consistent colours, logos, and fonts across your website and social media channels.  

For instance, if you’re a horror writer then the images you share, posts you write, and general look of your social media will differ from that of a children’s writer who publishes books on unicorns and fairies.  

As a horror writer you may link to horror-related shows, other books, funny images, explain your writing journey, run a competition around Halloween etc. Whereas a children’s author is more likely to talk about school visits, sharing cute pictures, talking about funny things kids said to them, inspiration for their books, and get behind child-related charities etc 

Your writer brand should offer an experience for your readers, and as you gain your following you also want to make sure to stay consistent with reader expectations. Yes, building a winning brand is a lot of work but it’s 100% worth it for longevity (and can be a lot of fun).

The Importance of Author Branding 

So why is having an author brand so important?  

For one, it’s what helps inform readers why they should buy or support your content. When you have a strong, effective brand, it shows your audience that you’re an expert and demonstrates why they can trust your writing. 

Your author brand is also a bridge of communication with your audience, keeping them engaged and excited. When readers feel they have a personal connection with you and your work it keeps them coming back for more.  

You can engage with your audience by asking their opinions, talking about real experiences, and most importantly, being consistent. Getting your author brand right is only a small part of your author marketing activity – it’s more PR than sales. Remember: only 10-20% of what you post online should be promoting your work (no one likes to be sold to). This is about giving a clear picture of what you stand for as a writer. 

Your brand also goes a long way with reinforcing your overall reputation. For example, if you are going live on your social media and interacting with your followers, they’ll get to know you as a reliable brand. Responding to comments, answering inquiries, and providing meaningful content are all reputation boosters. A positive image is crucial for marketing success!

Author Branding Mistakes

Now that it’s clear exactly how beneficial author branding can be for your writing career, we want to also highlight just how damaging certain mistakes can be. It takes a long time to build a good reputation, but it doesn’t take long to ruin your author brand. 

So take your time building your brand in order to avoid certain pitfalls that can diminish all of your hard work. Here are a few common author branding mistakes to avoid:

Failing to Connect with the Right Audience 

As previously stated, determining your audience should be the first step to take when considering your brand. If you fail to target the right audience then no connection will be built, and that is bad for business.  

Your tribe will be naturally interested in you and your story, so it’s up to you to deliver stories, visuals, and content that match your niche audience and the product (i.e. books/your writing) you are promoting. This all helps to establish an emotional connection that must be maintained to keep your audience interested on a deeper level. 

If you are struggling to pinpoint one specific target market, it can help to imagine an avatar, a literal representation of who your reader is. Then have that image in mind when deciding what to talk about and share. If your make-believe ideal reader is Jane, a thirty-year-old mother living in Idaho who enjoys pottery and poetry – then great. Think of all the things Jane would like to know about, not just about your books but your life and interests that may match hers too. And if 65-year-old Bob from London hates that content, then that doesn’t matter. Don’t change a thing. Bob isn’t your target market. 

The more you stay focused and consistent, the easier it will be to naturally form a coherent audience that grows and supports you and your work.

Poor Market Understanding

As you start to consider yourself as a brand and a business, you’ll need to also think about competitors. You have to research the market to understand what others in your niche are doing. Focus on what they are doing well and what they could improve upon. How are competitors influencing audience perception? Not doing your due diligence when it comes to competitive analysis will adversely affect your author brand.  

If you see that an author of similar books to you is getting a lot of traction by sharing certain pictures or asking certain questions, see how you could do similar things. But that doesn’t mean losing your individualism… 

No USP

Think about some of the most popular writers across different genres. The reason they stand out is because they have a unique selling point, also known as USP. Your author brand needs to convey how you are different from the thousands of other writers in the market. Simply matching what competing brands are doing won’t make a reader want to choose you over them. You must clearly communicate your own brand values, vision, and a strong author identity to be unique.  

Inconsistent Messaging and Visuals

Do you have a website? Social media channels? Do you attend public events or take part in school visits? 

While completely different platforms, the content you post should be consistent across all forms of communication. Online you should identify colors, fonts, and logos that best reflect who you are as an author. Then ensure you use your branding kit when you post visuals. If people don’t automatically recognise your work, it’s impossible to stand out from the competition – this is especially relevant to those who write non-fiction, run a blog, or offer freelance writing services. 

Your messaging should also be consistent, making sure that you (or a social media manager) always write in the same voice and tone. And when you are taking part in public events, reflect that brand. You should act, look, and sound exactly as they expect you to. 
 
Some authors like to be visually recognised when at public events: Terry Pratchett was known for his hat and scarf, V E Schwab wears cat ears to her signings, and Jackie Collins wouldn’t be seen dead without her big jewellery, big hair, and very glam outfits! 

No Brand Strategy

Without a brand strategy, you won’t have any structure for your author brand. Without structure, you won’t have consistency and that can contribute to brand failure. A solid brand strategy is built from your values and vision. You need to find the balance between authenticity and having a clear direction. 

Once you have achieved that, you can identify your goals, and then determine how you will track them. These can include financial goals, marketing goals, or goals set around content production. Consider how you’ll position your brand and iron out how you will highlight your value proposition.  

With all of these elements in your strategy, you will have brand success.  

All this may not be as relevant to fiction authors who are simply wanting to showcase their books and talk about their writing journey (some authors are lucky enough to have huge support from their publishers in terms of marketing, so don’t feel the need to be on Twitter every day). But it’s highly important if you write non-fiction and wish to prove your worth as an expert in your field, if you want to interact with your readers, or if you are looking to create hype in order to sell more self-published books, attract an agent, or get readers excited about a new book release. 

A Subpar Website

You don’t have to invest a lot of money in a web designer. In fact, there are plenty of DIY website builders like Wix, Squarespace, and WordPress that are more than good enough for writers.  

However, you do have to ensure your site looks professional and accurately represents your brand. Your webpage is where readers (as well as reviewers, press, interested publishing professionals etc) can go to learn more about release dates or new announcements. It’s also a hub for your social media channels and contact info.  

Keep your domain active and make sure your site is up to date, has a press kit with working purchase links, author photo, your contact info, and that it all loads properly. It can reflect poorly on your brand if your website looks subpar. 

Stay On-Brand

Many authors gets sucked into Twitter wars or make mistakes in their career. That’s OK, we are all human, but often it’s not the strident opinion that the public and their fans take umbrage at…it’s that their opinion is off-brand. 

If you are an children’s author writing stories about equality, but you don’t think kids in the UK should have free school meals, you’re off-brand. If you write about saving the planet and you wear a fur coat to a signing event, you’re off-brand. If you spend a year posting funny content and wise writing advice, then all your post from then on are photos of your pet snake, people will stop following you. A huge U-turn is the fastest way to undo your hard work and stop your hard-won readers from trusting you. 

So pick three words that represent you, your values, and your work – and ensure all you do reflects that. 

Get Branding!

Author branding is something all writers should create a strategy for. Showing your readers who you are and connecting with them on an emotional level is key to building a fanbase. Yes, it takes dedication but as long as you avoid these common branding mistakes you will easily win the hearts (and trust) of your readers – and in turn, you will have an audience that will not only support you but encourage others to as well! 

A Writer's Guide to Inclusive Language

Disappearing into a great book can be a transformative experience - a form of escapism and an expansion of your understanding.  

When I’m diving into the world constructed by a creative author, I want to feel as though I belong in that world. Reading inclusive language is one of the ways in which all readers can feel connected to a story.  

So how can you ensure you don’t exclude any of your readers and you help them feel seen?  

Firstly, ask yourself this simple question… 

Why Are You Writing This Particular Story?

We all possess an unconscious bias, and no matter how hard we fight it those hidden prejudices can be projected on to our work. Before we begin exploring inclusive language, ask yourself these questions:  

• Am I writing about what I know? 
• Is the person’s identity, socio-economic status, race, and age relevant to the plot? 
• Is this my story to tell, or would it be better told by someone who has lived this experience? 

If the answer to any of the above is ‘no’ and you still want to write this story, we strongly suggest you do your research and work with critique partners/beta readers/sensitivity readers who have lived the life you are writing. This will not only strengthen the realism of your work, but it will grant you more respect when it comes to pitching your novel to agents or editors. 
 
As society changes, we need to remember our readers and their expectations change too. So, let’s look at how to write inclusive stories…  

What is Inclusive Language?

Inclusive Language Definition:

Inclusion is the practice of fostering a sense of belonging, by including many perspectives, imagining a diverse audience, a multiplicity of ideals, values, and experiences. Inclusive language is how authors show that they recognise their readers, whoever they are, and that they are welcome.  

Many people who belong to marginalised communities yearn to see and read about well-rounded, authentic, and diverse characters who are empowered. Characters with independent purpose in narratives, and therefore given the ability to make meaningful change. 

Inclusive language isn’t just the description of appearance or using appropriate pronouns; it’s also the use of language to portray power, interest, and direction. It directly addresses the violence of racism, sexism, ageism, ableism, transphobia, islamophobia, anti-semitism, homophobia, and heteronormativity. Use of inclusive language also avoids direct discrimination, implicit and unconscious biases, and other forms of prejudice.  

By practising inclusive writing, you will become highly aware of the language that has been used to communicate exclusion, bias, and hate. In order to appeal to ever-evolving audiences, it’s vital to be aware of out of date language, words, and descriptions, as well as those that have always been intended to cause offense.  

Why Use Inclusive Language? 

Inclusive language is important because it means you are thinking about your most vulnerable and marginalised readers. It’s important for us all to identify where our writing style inadvertently includes out-dated, offensive terms and work toward eliminating these – because we can’t expect our readers to sift through our work to find the good stuff.  

So many people experience the world through the writing of others, whether it’s in museum text, film, TV, literature; representation matters to everyone. Limited representations and stereotypes of people in our society does not just harm those who are misrepresented or erased, it harms all whose imagination is limited and keeps their worldview small.  

What Does Inclusive Language Look Like?

Power and agency are vital when considering your diverse characters. They must have autonomous, developed identities (so not just sidekicks or plot devices) who participate actively in the story and world. 

As experiences of marginalisation and exclusion differ across identities here are a few ideas and examples to consider for your writing.

Parents and Pregnancy

For many authors creating character profiles is a useful starting point when developing family dynamics.  

When writing inclusively you should be aware of: 

• Hetronormative family structures. Heterosexual romantic relationship(s) don’t have to be central to the familial history and structure.  
• Gender norms as affecting roles taken by parental figures (the mother doesn’t have to do all the cooking, the father doesn’t have to be great at DIY). 
• Assumptions of the nuclear family with two parents and one or more child. These erase polyamorous and blended families and is a western ideal that doesn't often include grandparents, aunts, uncles, cousins, and multi-generational households as the core familial structure. 

Language matters – use toughen up instead of man up, homemaker instead of housewife, husband and wife instead of man and wife. 

This doesn’t mean you can’t have a family that is made up of a married female mum, male dad, and 2.4 kids – it simply means that society doesn’t only look that way. It’s important to reflect reality in your work, as long as it doesn’t feel forced, gratuitous, or irrelevant. 

A book that explored the idea of family in an inclusive way is Candice Carty-Williams’s 2019 novel Queenie. The titular character’s family is central to her narrative and their history unfolds throughout the story with the family dynamic driving the narrative. Queenie’s family is her grandmother, grandfather, her aunt, cousin and her mother; as well as the family she creates in her ‘corgis’. The relationships feel authentic and complex - their dynamic is a natural part of the texture of the world.  

Gender and Sexual Orientation

It’s essential to use inclusive language when exploring gender experiences as well as experiences of sexuality across the spectrum of the LGBTQIA+ communities.  

This acronym is used to capture a wide spectrum of experiences, not just those of the lesbian, gay, bisexual, and transgender communities. The first three letters (LGB) refer to sexual orientation. The 'T' refers to transgender, and so to gender identity. The “Q” stands for Questioning or Queer, the “I” for Intersexual and the “A” for Asexual.  

Regardless of your own sexual preferences, remember the world is made up of many people with many different outlooks and lifestyles. 
 
This also applies to unconscious bias when it comes to gender roles and what it means to be ‘male’ or ‘female’. Think about non-sexist language such as:  

• Gender binaries and gender-neutral language (the idea that you have to be either male or female). 
• Framing around gendered appearances (e.g. describing someone as girlie or a tom boy).
• The effects of patriarchal assumptions that make it seem necessary to use ‘female’ as an adjective with professions that have assumptions of a male standard e.g. doctor or scientist. 
• Toxic masculinity that equates being a man to being tough and unemotional - and femininity to being submissive and sexualized or viewed with the male gaze to satisfy unrealistic fantasies. 

 Language matters - use gay instead of homo, sexual preference instead of sexuality, trans person instead of transvestite, humankind instead of mankind. 

The Vanishing Half by Brit Bennett discusses gender (and race) in an intimate manner. Reese and Jude’s relationship unfolds as a sweet experience of connection and insecurity of two marginalised people. Reese’s identity as a trans man is established early and his pronouns established and used consistently then on, with none of the narrative based on speculating on his gender. In fact it is society’s gender assumptions that become absurd, and painful when viewed from the perspective of a couple that sit outside of this.

Social Inclusion

Poverty and social exclusion are often overlooked when writing inclusively. The language used to refer to people of low socioeconomic status can strengthen negative stereotypes upheld by society, without exploring the systemic inequalities that create poverty and social exclusion in the first place.  

Things to keep in mind: 

• Consider talking about people’s socio-economic status rather than class.  
• Describing people as survivors rather than victims addresses the idea of agency and power inherent in inclusive writing.
• Describing people as poor or areas as ghettos, is offensive and dismissive, assigning value only to financial and material assets.  

In fact, if you show (not tell) your reader what your characters' lives are like you won’t need to refer to the words poor, low class, or slums. 

Trevor Noah’s Born a Crime: Stories from a South African Childhood describes the reality of living in a community that had been ghettoised by systematic exclusion and discrimination in Apartheid South Africa. The characters in his narrative are interesting and complex, not limited by stereotypical victim narratives, simply people who have to live in an excluded society.

Disability

When writing about the experience of disabilities it’s important to acknowledge the vastness of what is understood as a disability. As mentioned previously, if disability is not your lived experience, then work with those who can advise you.   

Things to consider: 

• Assumptions about what a disability looks like can result in invisible illnesses and mental health conditions being treated with scepticism and mistrust.  
• Framing of disability as something strange encourages tropes of disabled villains. Such as where disfigurement and scarring are used to signal wickedness (the James Bond franchise has been under fire for this recently); or mental health or childhood trauma is used to create a backstory that explains violent characteristics. These are dangerous and hurtful tropes with real-life impact.  

The ‘othering’ of disabilities detaches these experiences from our understanding of ‘normal’ experiences in society and supports social exclusion - despite the fact that 15% of the world’s population openly identifies as having a disability.  

Language matters - wheelchair bound implies a wheelchair traps its user, whereas wheelchair user articulates that their mobility aid provides freedom and greater access to its user. 

With mental health, the words mental, crazy, unhinged, unpredictable etc are biased and harmful (unless purposely used in dialogue to represent a character’s own views). Describe their characteristics without using words that are biased and rooted in ridicule or fear. 

Audre Lorde’s The Cancer Journals explores the nuance of dealing will long-term illness and disability, along with Black feminist theory, delivered through poetry and essays.  

Race and Ethnicity

Race is a social construct, but racism is a reality that affects us all.  

Ethnic diversity is often what people refer to when discussing racial differences; ethnicity is a mix of inherited features and shared cultures. It’s distinct from nationality, which is a legal status that assigns a person to the laws of a state or nation, as well as affords them protection by this state.  

Many readers will have, at some point, read ‘classic’ narratives with no ethnic diversity, or tokenistic and stereotypical representations (for instance, the language used in the much-loved classic, The Secret Garden, would not be acceptable today).  

When considering ethnicity in characters, remember it’s not always vital to describe the skin colour or nationality of your character through physical descriptions (you can allude to heritage via their name or setting, or simply let readers decide what they look like).  

If you must describe them, consider: 

• Our world is ethnically diverse, so your literary worlds should be thoughtfully described without dipping in to fetishized language focusing on features in an overt and uncomfortable way. When describing someone there’s no need to isolate body parts like lips or genitals, or describe skin tones using food.   
• The Diversity Guide is a great source of reference for inclusive language examples. 

Language matters - use uppercase ‘B’ in the word ‘Black’ when referring to race, ethnicity or cultural background, and lower case for the colour ‘black’.  

An excellent example of inclusive writing around ethnicity is N. K. Jemisin’s Broken Earth Trilogy. Though set in a fantasy world where racial identities do not correlate to our own, the character’s physical descriptions are detailed and rich enough that readers experience a varied cast of characters that are ethnically diverse, nuanced, and relatable.  

Age

I will end by exploring writing inclusively about age, which is essential as all our identities are filtered by age. For instance, referencing age can provide a restrictive lens that may ascribe ignorance and beauty to youth, and cynicism and wisdom to the elderly. 

Ageism affects people regardless of how old they are. Consider these intersections to help challenge stereotypes: 

• Ageism with gender assumptions, around pregnancy and desires for pregnancy. Is every woman over thirty desperate for children?
• Ageism combined with racism brings forth particular stereotypes and harmful assumptions (e.g. Black youths vs Black elders).  
• Ageism combined with disability can bring to light an array of pre-conceived prejudice. 
• The erasure of LGBTQIA+ elders support an idea that these communities are new in society without longevity and legacy. 

Language matters – although the terms old fart, little old lady, bitter old man and old hag are often used in jest, they are still insulting (unless they’re included in a character’s dialogue to reflect their own bias).  

For a great example of how to change a reader’s perception of age, Jonas Jonasson’s novel, The 100 Year-Old Man Who Climbed Out the Window and Disappeared, is a refreshing narrative from the perspective of an older protagonist that actively challenges the limited expectations of older characters, instead highlighting how all the experiences of his life created accumulated knowledge and perspectives that furthered his narrative and creative possibilities.

Evolution of Language

Bear in mind that movements to reclaim language that’s historically been used to offend, by those who these words were used against, is rising.  

Exploration around ‘crip culture’ reclaiming the word ‘cripple,’ or movements within the LGBT+ communities to reclaim the term ‘queer,’ are very interesting elements of inclusive practice that explore the complexity of power and positionality.  

However, these remain problematic for most writers unless they have lived that experience and have a very good reason to use self-deprecating language. 

The reclaimed language, among other debates and advocacies based on marginalised people telling their own stories, can and should be explored further by following the #OwnVoices hashtag (created by author Corinne Duyvis). Other related community discussions and campaigns, such as the We Need Diverse Books campaign, are worth researching.  
 
But please, don’t ask someone else to educate you. If you want to run ideas past someone, hire (that means pay) a sensitivity reader. 

Champion Inclusivity

If your intention is to create a greater sense of belonging, a richer and more complicated world that feels relevant with open possibilities, then it is always worth expanding your practice and considering the impact of the words you choose and the inclusivity of your text. We don’t always get it right, but it’s important to try. 

Because I believe there’s a reflexive relationship between inclusive language and inclusive society. As writers it’s our job to be aware of exclusions in society, to consider the agency in the characters we create, and to help move the world forward through the literary worlds we build.  

And remember, if all of this appears to be too difficult or unnecessary – maybe your story isn’t yours to tell. Draw from your own experiences. Bring your readers into your world, and in turn help them feel seen. 

Many an author, struggling to balance writing with the constant pressure of having to be visible online, often finds themselves asking – ‘But do I really need social media?’ 

Let’s take a look.  

Do Authors Need Social Media?

Yes and no. If the thought of spending time online trying to engage with strangers in the hope they might buy your book is distressing in any way, then the simple answer is don’t do it. My agent has never asked me if I have a social media presence, and neither has my editor. Social media takes time, effort and planning – it’s not something we all have the time or inclination for.  

However, it’s worth noting that while the UK industry doesn’t currently seem to mind too much what you do or don’t do online, this isn’t always the case in other parts of the world and the goalposts are always changing. 

A strong social media presence is beneficial in many ways – especially if you’re an aspiring writer or an independent author. Without the marketing clout of a publisher, social media is the cheapest (well, free) way for you to be seen.

Remember that your potential readers are likely to have at least one social media account to their name, if not several. Developing an author brand and connecting with your audience can massively boost your profile and get your books where you want them – in the hands and under the noses of readers and industry decision-makers.

This article isn’t a deep dive into the intricacies and algorithm theories of each social media platform. Feel free to research this once you decide to make the leap into the mire of author social media. This article is less of a how-to….and more of a why-to, when it comes to social media.

This may sound rather intimidating for a beginner but don’t panic, here are some tips on social media marketing for authors.

Social Media Platforms For Writers

Rule number one: know your audience.  The number of platforms you can use might seem dizzying, but you don’t need all of them. Social media professionals always say to focus on one or two. Ask yourself - Who will most likely read my books? Which social media platforms are they more likely to use? It might be worth looking at your comparative book titles before you start investigating. For instance, how do your favourite authors in your genre use their social media?

Let’s look further at some of the more popular platforms and look at how different authors are utilising them to their benefit. 

Facebook

Did you know 66% of the UK population is on Facebook? That’s a lot of potential readers meaning it’s a popular platform for writers of certain genres. Currently, the biggest expansion in regular users is coming from the 65+ age group, with younger users dropping off. Although it’s still the most popular platform in the world and (especially for genres catering to over 30s and parents) it’s a great way to connect with potential readers.

Before you consider creating your own author page, take a look at some of the reading groups that already exist and join as a reader (most of them won’t let you promote your own books, but occasionally they have exceptions). Crime novels are extremely well represented on Facebook – the UK Crime Book Club alone has 20,000 members. Being present in groups like this and interacting on posts by readers is a small but effective way to raise your profile (and you’ll find loads of other great books to read too!).

One author who is great on Facebook is Clare Mackintosh, who runs her own monthly book club group. It has 8,000 members, and people post recommendations and requests daily for new reads. Clare is very active in the group, often commenting and starting discussions as well as running the monthly ‘readalong’. She also offers various promotions and sneak peeks which are very popular.  

If you aren’t too keen, just a simple page where you share your news is fine – you can have a look at mine if you like. I don’t use Facebook a lot, but it’s useful for having a foothold that I can amp up later or use as a base for future advertising. It also keeps a nice record of various reviews and things to look back on and allows people to tag you in relevant posts. Or irrelevant ones – it happens! 

Twitter

Twitter is a popular social network for writers as it’s instant and in real time and focuses on short, succinct posts (though always add a picture if you can – they get 150% more engagement!) I find Twitter to be the simplest of all platforms to use - easy snippets, easy shares, easy interaction. This is where you’ll find your 30-49 year olds and is the most popular platform for male users; 68% according to these demographics.

You can find your people on Twitter by following other authors in your genre and checking what they’re up to, and by searching hashtags like #writingcommunity. If you’re lucky you may even go viral, which (although no guarantee of increasing sales) it certainly gets you lots of exposure and often media picks up on viral trends and posts. Regardless, you'll benefit from being part of a social network for writers within these smaller Twitter communities.

It’s worth remembering that Twitter is a good place for your readers to get to know a bit more about you as a person aside from your writing. So don’t just share promotions, write about other things too. What are you reading? What is your writing process like? Hear any good advice recently? Ask questions, and don’t forget to interact with other people’s posts. 

One of my favourite authors to follow on Twitter is Margaret Atwood. I like how she engages with her fans online by retweeting articles, promoting things she’s up to and even responding to fellow writers about her creative process. She ‘liked’ one of my tweets once and I nearly expired.

Instagram

Instagram is where you’ll find more women hanging out, and your slightly younger audience – 70% of users are under 35. Although that doesn’t mean us oldies can’t enjoy it – I love Instagram. You can use it to post pictures of yourself or your books, or anything really, and use hashtags to make your posts easier to find. 

Instagram is absolutely stuffed with book reviewers. They’re an amazing community to get involved with and can help get a real buzz going about your work.

It’s not just about the pretty pictures – I rarely post on my ‘grid’ – it’s the ‘Instagram stories’ that work for me, and for lots of other authors too. One of my current favourites to follow is Elodie Harper, author of Wolf Den, a novel set in Pompeii, pre-eruption. She often shares beautiful mosaics and art from the period, giving a wonderful taste of the time and the basis of her inspiration in her stories.

TikTok

Getting involved with ‘BookTok’ (ie book lovers on Tik Tok) is becoming a truly inspired way to reach the youngest of social media users. If you’re writing YA or older MG, get yourself on there! Tik-Tok is the fastest growing platform in the world and the most used – one hour per day on average – with more than a billion users.

There are already lots of authors paving the way on TikTok – one to follow is Victoria Aveyard, author of the Red Queen series. She shares all sorts, from insights into the publishing world, how to structure novels, to killing your darlings. She’s also really funny, which always helps.

Social media isn’t always about self-promotion, though. You can always follow just for fun, and BookTok really is just that – fun. It’s also a great way for an author to relax and procrastinate productively!

Other Social Platforms

While we’ve listed the main contenders, there are other platforms that might suit you and your needs more.  

Pinterest

Pinterest is the corkboard of the internet, full of tips and how-to’s on any subject you can imagine. Try searching up a topic you’re interested in and have fun ‘pinning’ all the articles to read later – you might even want to write and share your own! Many authors use social media platforms like Pinterest to create secret inspiration boards for their novels, and it’s a great way to link blogs to your website to pretty images. One of the good things about Pinterest is you don’t actually have to talk to anyone…

YouTube

YouTube is the platform for the hardcore videographer. Alexa Donne is a powerhouse – check out her videos for pretty much everything you need to know about anything ever.  

LinkedIn

LinkedIn is where you wear your suit. Professional profiles for connecting with other writers on a more business-level – basically an interactive online CV. Great for connecting with industry professionals too.

Goodreads

Goodreads…never mind. Probably best that no author goes on there unless they have a thick skin. But in all seriousness, many find it a great site on which to log their own reading progress, run book giveaways, and gauge the reaction to their books before they are published.

Social Media Advertising

All the stuff we’ve talked about so far is completely free. However, you can pay to harness the power that is the social media behemoth. Facebook and Instagram both offer paid advertising opportunities which can be very successful but do your research first! Learn how to set up audiences for your ad and how to clone audiences that other ads use. It’s much easier than staring at the back end of your ad and crying because no one is clicking through, believe me. There’s lots to consider but get it right and you’re on your way, because Facebook still remains the most targeted form of affordable advertising out there. 

How To Interact With Your Audience

Social media lets you directly interact with your audience. This can be amazing, but also a little scary. Here are a few tips on getting it right: 

The Three E’s

You might be asking yourself - ‘What the hell do I write about now I’m here?’  

A rule of thumb is the three E’s: when writing a post make it either Entertaining, Engaging or Educational. Or all three if you’re clever. People want to be entertained, they want to be part of things, and they want to learn (usually).  

Community Matters

Basically, your vibe finds your tribe. Cultivate your community so it’s full of the people you want, preferably ones you admire and care about. For instance, there’s absolutely no reason why Twitter need be a stressful place for you if the only people you follow are those posting about books, cats, and baking! 

You already know how to talk to the people important to you, so simply treat the people who now live in your phone/laptop the same way. These are the people whose feedback and opinion matters. If they like your posts, they might buy your book. If they like you too, they might tell other people to buy your book as well.  

Find Other Authors

One of the biggest draws to social media (especially Facebook, Instagram and Twitter) is how vital it is for finding other writers and building your own support network. There are legions of fellow writers all over the internet, on all the platforms, in all guises, at all stages of their careers. They are your people – go find them. Talk to them, ask them questions. Join groups and chats and hashtags. Writing can be a lonely occupation, but it doesn’t have to be. 

The wonderful thing about the #WritingCommunity on Twitter, especially, is that everyone is just as lost as you. Don’t be shy to create a page and then post along the lines of ‘Hi, I’m new to the writing world. I’m looking to follow and chat to other writers of xyz.’ Or ask for critique partners or beta readers. You’ll be surprised how many like-minded (and just as lost) writers jump at the chance to be part of your squad.  

Share New Writing Projects

There’s nothing quite as exciting to an avid reader as a teaser for what you’re writing next. How are you getting on? Are you editing yet? Can we read some, pleeeease? You get the picture. 

Demonstrate Audience Appreciation

An author who clearly appreciates their audience is a popular one. You can demonstrate this by offering exclusive content to your advocates, by including them in discussions, and by sharing their content as well as your own. Some authors even run fun giveaways, such as ‘Follow me and you may be picked to have your name appear as a character in my next novel.’ Include your audience in inventive and engaging ways! 

So, Is Social Media Useful For Authors?

Undeniably, yes! Social media is very useful for authors who want to create communities, find their audience and showcase their work. There’s no direct evidence that it will increase your sales, but it WILL create positive PR and get you exposure, which all helps. 

So get out there, have a quiet little chat or TikTok dance your way into the hearts of your readers. However you choose to use social media, make sure it works for you and you have fun! 

Are you a writer, daunted by querying, trying to snag both an agent and a traditional publishing contract? Are you concerned about your lack time or expertise to completely self-publish? If this applies to you, please keep reading this guide, which explores a lesser-known alternative: hybrid publishing. 

What Is Hybrid Publishing?

Hybrid publishing models blend together traditional publishing and self-publishing. Let’s compare all three publication avenues to help you better understand the positives and limitations of hybrid publishing. You'll determine if hybrid publishing is a viable option for you.  

Differences Between Traditional Publishers, Self-Publishing, And Hybrid Publishers

Traditional Publishers 

Obtaining a traditional publishing contract usually means you must query multiple literary agents to find one who believes your work can be sold to a traditional publishing house. Most traditional publishing houses (often referred to in the industry as ‘trad publishers’) only negotiate with agented authors. The agent will attempt, on the writer’s (your) behalf, to sell the writer’s work to a trad house, and obtain a book deal for the writer. Once a deal is secured, you sign a contract with the trad house. This is a significant risk and investment for the publisher.  

What Do They Offer?

Trad houses cover the entirety of publication costs and assume primary responsibility to sell and market the book. They provide authors an advance for their intellectual property, prior to publication. The “catch” is that the advance isn’t considered “earned” until the author’s book sells enough copies to equal the advance.  

Average advances for first-time fiction authors without celebrity status are somewhere between $5,000 - $15,000 (this varies considerably). Once that many thousands of dollars-worth of copies sell, the author begins to receive additional money. This is paid in the form of royalties (a percentage of total book sales). Both agent and trad house take a portion of those royalties.  

Considerations:

Trad houses typically own the rights to authors’ work, exercising significant control over what and how the author writes. That’s because trad houses focus principally on what will sell based on their knowledge of the publishing industry. They also value their own expertise on how best to refine, package, distribute, and market those raw ideas. All this is done to ensure the books sell - so they can recoup their investment.  

Once authors have a traditionally published contract, their job is simplified. They pay no money to publish their book. Rather, they receive money from the publisher, and that amount of money can be substantial. They can ignore editorial, production, printing costs, distribution, and other complicated publishing aspects. This they leave to the publisher, while focusing their efforts on writing a bestseller.  

Although the traditional publishing model is risk-averse, few new authors manage to obtain a book deal. Only one book out of five ever earns back their advance. These considerations have led many authors to turn to self-publishing.

Self-Publishing 

With self-publishing, the burden of the services provided for free by a trad house, are instead borne solely by the writer. The writer must not only write the book, but also prepare it for publication in terms of editing, cover design, layout, pricing, and much more.  

The only alternative is to sub-contract out all (or parts) of the process, unless the writer possesses the capabilities to do it themselves. Perhaps, even more intimidating, once the book is published, the writer is wholly responsible to promote their work, without the enormous influence and advertising budget a trad house can provide.  

Why Do It Yourself?

One advantage to self-publishing is the quick turnaround from book completion to publication. Publication times are as expedient as the author can make them. Your book will be out there significantly quicker compared to a trad house (which can take two years from signing a book to release).  

Additionally, if the author becomes a high-volume seller (more than 30,000 copies), completely self-published authors will come out ahead compared to those traditionally published. Moreover, while there are no upfront advances received, there is no quest required to secure an agent through lengthy querying (which can take years). There are also no contracts to negotiate, and no agents or publishers taking a substantial percentage of your profits.  

Finally, self-published writers have complete creative freedom to write what they want, how they want it. Without interference from a trad house focusing solely on book sales, the author focuses on what they desire. Sometimes, this works out just fine.  

We’ve all heard of self-publishing successes, like Fifty Shades of Grey, The Martian, and Eragon, which have far outsold many a traditionally published bestseller. But these successes are rare. Many writers are exploring their options on how to achieve their dreams of both publication and profitability.   

So is there a middle ground? 

Hybrid Publishers 

Hybrid publishers often offer the best of both worlds.  

They don’t accept just any book, so you still have quality control. But the gatekeeping is less stringent (i.e. no need for agents). They too want to represent quality writing, which enhances their reputation and increases their share of any profits.  

Just as with traditional publishing, not every work submitted is accepted by hybrid publishers. The book is first evaluated to see if it meets publisher standards and their business lines. But unlike trad publishing, there’s a cost.  

What Will It Cost You?

Publishing fees with some hybrids can be exorbitant (averaging between $10,000-$20,000). You are paying them to do what you could do yourself as a self-published writer, but with the kudos of their name behind your book, and their expertise. Some people are happy to follow this route, but many writers get exploited. So research who you are working with before you sign anything. 

Some hybrid publishers don’t charge direct, but you are expected to pay for your own editing and proofreading before submitting. You may forfeit some creative control. Each contract varies, so please be vigilant as to what you are expected to manage (and what they will) in exchange for a percentage of profits. 

Is It Worth It?

Once your manuscript is accepted, the editing, printing, and other stages of publication mirror those of a trad house. This leaves writers free to focus on writing. Depending on the hybrid model, many hybrid publishers also provide some level of marketing for their authors' books, as well as distribution.  

As opposed to complete self-publishing, hybrid publishing offers a “one-stop shop”. You don't have to slog to find editors, cover designers, and deal with getting your book onto various platforms. As well as all the other worries and expenses associated with self-publishing. And hybrid publishers can get your book published faster than trad too - often within six months. Not as quickly as one potentially could self-publish, but markedly quicker than one could ever be traditionally published.     

With hybrid publishing, royalties are higher for the author than with trad houses. Yet, let’s be clear. Most hybrid companies are smaller and less prestigious than their trad counterparts, despite their ability to mass produce books. Sales will be lower and cover prices may be higher (so readership will be lower too). 

Hybrid publishers seldom match the brand recognition and worldwide reading audience reach that a trad house can offer. It will be more difficult to get your book reviewed by elite reviewers if it doesn't come from a trad house, and it's challenging to make top bestseller lists outside of Amazon. One exception that stands out is author Laura Gassner Outing, whose book Limitless, published by hybrid publisher Idea Press ascended the ranks of the Washington Post bestseller list. 

Different Types Of Hybrid Publishers

Now that you have a better understanding of what hybrid publishing is, let's look at specific types of hybrid publishing, and which type may best suit your needs as an author. Some of the main hybrid publishing models include crowdfunding, assisted self-publishing, and partnership publishing. 

Crowdfunding Based

As the name suggests, a Crowdfunding-based hybrid publishing model means authors campaign to raise funds by asking for donations from interested parties. The hybrid press must attain a certain level of donations to move forward with publication and will ensure distribution to those who have pre-ordered the project. Should the project fail to reach that level of donations, it could be cancelled. Unbound, alias United Authors Publishing Ltd, is perhaps one of the best-known crowdfunding publishers.

Assisted Self-Publishing

Assisted self-publishing, formerly called vanity publishing, is another hybrid model that has suffered from an unfavourable reputation in the past. Extremely high-end self-assist publishing companies have emerged in the last decade, where authors can feel confident – if they have the funds – that their work will be professionally published.     

The self-publishing assist company I publish with, FriesenPress, is well-established, with a sterling reputation for professionalism. I retain full rights for my books and the royalties I receive are 50% higher than what I earn off Amazon, where my book is also published.  

FriesenPress has their own virtual bookstore which exclusively sells and advertises their published authors. FriesenPress also promotes any awards received by their authors and their authors' professional reviews on their social media pages. Downsides? Well, one is that authors are largely responsible for their own marketing as many hybrid publishers have very little reach. Another detractor is the cost - FriesenPress’ top-of-the-line package exceeds CAN$10,000.  

Partnership Publishing

Partnership Publishing most closely aligns to a traditional publishing system. This model means writers split marketing and production costs with the publisher. As the author, you are primarily charged with marketing, but both author and publisher lose or make money together. Thus the publisher is heavily invested in the author’s success, and will not accept just any book, if the publisher desires to remain profitable. 

Top Hybrid Publishers

Some of the most reputable hybrid publishers we have found include Amplify, Forbes Books, Greenleaf Book Group, IdeaPress Publishing, LifeTree Media, Mascot Books, and Scribe Publishing. As with anything as monumental as making the decision as to where to publish your book, and how, do your homework. There are numerous hybrid publishers out there. Take your time to research and find the best one for you.  

How Do I Select The Right Hybrid Publisher For Me? 

We've discussed some of the potential pitfalls of hybrid publishing. Hybrid publishing is not for everyone, because of these pitfalls. Yet, it is fairly easy to avoid these drawbacks by choosing the correct hybrid publisher. Here are some aspects to consider when selecting a hybrid publisher.

What types of books does the publisher publish? Some hybrid publishers don’t have the experience publishing specific genres, possibly including the genre you write in. Look for one that has enjoyed success in publishing books relevant to the sort of book you write.  

In the same vein, when you look at the books published, do they look professional, of superior quality? Could their books sit on the shelves of a major book chain, and look right at home beside traditionally published books, especially in terms of cover design? Speaking of major book chains, what sort of book distribution scope does the publisher have? Does the publisher have those critical relationships with outlets where you want to stock your book? Do they have their own bookstore, as another avenue to sell your books? Do they edit their books well? Does the publisher have a sterling reputation? Does the hybrid assist at all with marketing authors’ books? 

If the answer is “yes” to the above questions, then you may wish to consider the hybrid publishing route for your book.

Apples And Oranges

Taking care of the complex and potentially confusing nuances of publishing, enhanced retention of creative control, increased royalty compensation, and other benefits combine to make hybrid publishing a potentially viable option versus complete self-publishing, or the traditional mode. Every hybrid publisher is unique, and some can curtail creative freedom in a manner like trad houses. Yet if an author can find the right hybrid publisher, they might find a more attractive method of getting their work out to the world more expediently, and ultimately, more lucratively than with one of the big five trad houses or going it completely on their own as a self-published author. 

For writers who feel certain they will be consigned to self-publishing only, after lengthy unsuccessful querying trying to land a trad contract, the diversity of options available in hybrid publishing can be enticing.     

Budding writers often ask whether they should use their real name or create a pen name.

The truth is pen names can be very handy. Whether you don’t want your boss to know that you spend your nights writing about peacocking lords and their throbbing members, or you don’t want your aunt Susan to find out she was the sole inspiration for your serial killer MC. Hey, it’s her fault for being a countryside taxidermist, right?

In this complete guide to using a pen name we will cover the many reasons authors might consider using pen names for their work, explain why it might be right for you, and how to pick a pen name of your very own. And check out our post on the pros and cons of using a pen name to help you decide if it's the right move for you.

What is a Pen Name?

Simply put, a pen name is a pseudonym chosen by an author and used on their by-lines for their work. It’s also referred to as a Nom de Plume. Despite the words being French the expression originates from England, when the English failed to use the then common French expression Nom de Guerre (Name of War) which was used by the French at the time to describe pseudonyms. They later switched to using the catchier expression Nom de Plume (Name of Feather – as in a feathered quill).

Famous pen names include Lewis Carroll (Charles Lutwidge Dodgson), George Orwell (Eric Arthur Blair), Dr. Seuss (Theodor Seuss Geisel), Mark Twain (Samuel Clemens), and even the mighty Voltaire (Francois-Marie Arouet.)

Why Authors Use Pen Names

There are countless reasons authors may choose to write under pen names - from privacy concerns, legal reasons, or preferring the sound and visual aesthetics, to the desire to choose a pen name that will better appeal to their readers. The reasons can range from the obvious to the very specific.

In order to help you make your decision on whether or not you should use a pen name and how to use one, we will delve into the most common reasons pen names are used in the first place.

Privacy

Of all the uses pen names have, keeping your identity secret is probably the least useful. Yet, nonetheless, one of the most common.

Consider this, a book will flail and burn if not properly promoted, and since we know author promotion starts with your existing network, being completely secretive about your work will probably not do you any favours in the long run.

With that said, there are reasons authors would like to keep their identities secret from families, colleagues, and institutions. A few notable examples include stories inspired by true events or memoirs that depict toxic family members or dysfunctional family dynamics. Some authors may want to write about the domestic abuse they’ve experienced, but don’t want to write under their own name and have the work traced back to them.

Often people will choose pen names to retain privacy from their employers. Just because an employer can look you up on LinkedIn and Facebook doesn’t mean you want them to read your violent novels, or know that you write erotica, or have access to your dark poetry collections.

The truth is many authors retain their day jobs whilst simultaneously pursuing careers as authors and it makes sense to keep both worlds apart. Though the degree of anonymity you are able to retain is up for debate.

As we mentioned earlier, the success of a book depends heavily on marketing – basic requirements, such as author bios and author pictures, will still give you away – but you can still retain a degree of anonymity with employers and control what they see when they google you.

Pen names can also be beneficial if you are being critical of an employer or institution in your work. If you, for example, are on the police force but are writing about incompetent cops and corruption, you may wish to keep the two separate.

All in all, privacy plays a large role in people choosing to use pen names.

Change Gender

Female authors are (whether we like it or not) more popular in the romance genre, and male readers tend to buy more crime thrillers written by other men. This is of course all very outdated, but nonetheless factually accurate.

Of course, this won’t stop an author penning the book of their dreams - so those worried that the gendering of their name might affect their sales may opt for a unisex pen name, or a pen name with initials. Back in the mid-nineteenth century, when women weren’t as prolific in the world of writing, Mary Ann Evans wrote under the pseudonym George Eliot in order to be taken more seriously. And it worked!

Clashing Names

Some authors adopt pen names because their real names clash with, or are the same as, those of existing authors, actors, politicians or even people famous for a negative reason. Before setting off on your author career it’s probably a good idea to look at the viability of your name from a legal, practical, and even SEO standpoint (how easily Google can find you).

Something I realised only a year into my career was that Sylvester Stallone’s mother was named Jacqueline, which means I (Jacqueline Silvester) often have to contend with Rambo’s mom trumping my SEO. Of course, this isn’t going to affect my writing career too much, but if your name is similar or the same as someone with a lot of internet presence, you might want to consider a pen name. You especially don’t want your name to clash with an existing author or media personality, it will just cause unnecessary confusion and you will be fighting an uphill SEO battle.

Genre

It’s common for authors to pick pen names or alter their current name (i.e add an initial or swap to a maiden name or deviation) when switching genres. As an author you build a personal brand, and (hopefully) a loyal following. A readership will have expectations about what sort of work you release. So if you have a following that has read your last six quirky romance books and suddenly you release a bloody psychological thriller, they might be put off and lose faith in your brand. This is especially true if you’re making a massive leap in genre (erotica to middle grade, for instance) in which case it's vital you change your author name. You certainly don’t want readers to be confused or auto-buy your books, or for a child who has loved your kids’ mermaid stories to end up getting a hold of your much more…umm… 18+ mermaid content.

Another thing to consider is that authors often choose names that suit their genre. Names in children’s literature tend to be easy to pronounce, light and airy, with an air of magic or mystery. For example, the famous pen name Lewis Carroll sounds more delightful than his birth name Charles Lutwidge Dodgson, and Lemony Snicket (author of A Series of Unfortunate Events) sounds more whimsical and adventurous than Daniel Handler. Consider creating a new, more fitting, pen name when switching genres.

Aesthetical Preference

Some people simply don’t like their name and don’t think it will look good on the cover of a book, or the by-line of a heart-breaking poem. Sometimes authors want something with more flare, or a less common name. We can’t all have Kris Jenner’s foresight and be born into a family with perfectly trademarkable names peppered with alliteration, like the Kardashian clan. And we can’t all be born with a perfect sounding name like Stephen King. Although even King resorted to using a pen name (Richard Brachman) when he realised his incredible output required two names instead of one, so he chose a separate name for his more twisted work.

Author Output and Co-Writing

Speaking of Stephen King, in trade publishing authors are generally expected to release one book a year (it takes a long time for trade publishing to market and position all their books), so if your output exceeds that you may choose to use a different pen name so you can churn out more work. Stephen King did it, and so does Sophie Kinsella (who also writes under the pen name Madeline Wickham) because trade publishers will very rarely publish and market multiple books a year under one name.

Co-authors will often choose to co-write under one joint pen name too. It simplifies marketing and PR, plus one cohesive name on the cover instead of both names means their new work won’t be mistaken for their previous solo backlist.

How to Choose a Pen Name

As outlined above if privacy is a concern, or if you would like to distance parts of your life from your work, a pen name could be just the ticket. If you don’t like the way your name looks on a book, or if you don’t think it’s easy to remember or pronounce, or if you think you’ll be fighting an uphill battle with SEO, you should opt for a pen name. Whatever your reason (you don’t even need one), here are some ways to help you pick a pen name.

Did you know, like with any other trends, there are trends for author names in your genre?

Romance novelists, for instance, often choose names with a romantic flare. When choosing a joint pen name for our paranormal romance series Blood Web Chronicles, my co-author and I landed on Caedis Knight. ‘Caedis’ means ‘slaughter and bloodshed.’ We write romance, and the name sounds quite modern with a heroic surname, but we also wanted to make it clear we write dark paranormal romance. Had we opted to write more floral country romance, then a name like Rose Delacourt would have been a better fit. Or had it been BDSM erotica, we may have opted for Scarlett Pane. Yes, this pen name game is a lot of fun!

The first step of choosing the perfect pen name is research. Go to a bookshop (or go online) and browse your intended genre. See what trends you see in the way names look and sound. Examine the names in depth. What are their genders? Do they use full names or initials? Is there anything distinctive about the chosen names? Who is your target audience and what would they like? Ask yourself what sort of name your target audience would find memorable?

When you have a shortlist, choose a name that’s easy to spell and pronounce. Make sure it’s not already used and isn’t associated with anything bad (e.g. Fred West). Check the name’s SEO viability; are you competing against the name of a popular brand? For example, Kath Kidson might sound like a great pen name but, because of the brand, you would be crazy to use it. Even if it’s your actual name. Also check whether the URL is already owned. Having your author name as your website is ideal, so if you get to choose your name choose one where the domain name isn’t already taken.

Once you’ve completed all your research, start putting pen to paper and get brainstorming!

In Conclusion

Picking a pen name is a very personal choice, but one you can approach freely and confidently knowing that countless authors have chosen this route. Remember that a pen name is akin to a stage name - it serves a purpose and that purpose can be whatever you want it to be. Consider your genre first, your personal privacy preferences, the aesthetic appeal of your name, and make sure to check it for SEO, legal issues, commonality, and genre appeal.

Lastly, make sure that you absolutely love it – because if things go well, your author name will be everywhere!

Jericho Writers member Julia Stone has had a long and varied career, often using her background in psychology as a springboard into her writing and other creative pursuits.

Her first book, a psychological thriller called Her Little Secret, was published by Orion Dash in August 2021. We were honoured to talk to her about her journey to publication, and the expectations and surprises of commercial publishing.

JW: Tell us about your first published book, 'Her Little Secret'. Where did the concept come from? 

JS: When doing therapy work with couples, I sometimes hear two completely different versions of events; like a mirror image. She paints him as a miser. He describes her as wasting their savings. Both believe their interpretation is ‘the truth’. But how would I know if one of them was lying about the other? 

As a therapist, I don’t get to meet my client’s friends and family, I don’t see them at work or at home in the evenings. All I have to go on is what I see, hear and feel in the therapy sessions. But what if someone came for therapy and didn’t tell the truth? What possible reason could they have…?  These were the questions that got me thinking. 

Cristina, the therapist in my novel, has been trusted with a lot of secrets. Her client, Leon, is being selective with the truth because he wants something - something only Cristina can tell him. The story idea blossomed from there. 

JW: Had you done much writing before then? What’s your background as a writer?  

JS: My earliest published work was a letter to Jackie magazine in 1974 – I pretended to be a Vulcan and not understand the concept of love! My mother encouraged us to be creative and we wrote our own stories from a young age – although I have to admit, most of them were rip-offs of 'Mallory Towers'.  

In my 30-year career as a business psychologist, I wrote professional materials for client companies and contributed to managerial text books. Then in my early forties I came back to my creative side, completing an art degree part-time and studying scriptwriting. I brought writing into my artwork, as each sculpture was always accompanied by an imagined ‘backstory'. I also self-published an artist’s book - 'Heavy Clumping Cat Litter' -  a flash fiction/photography collection inspired by found shopping lists.  

Around this time, I was lucky enough to be shortlisted in several competitions for a script idea, a short story, and the early chapters of a novel. That encouraged me to think more seriously about novel writing. I had loads of ideas half-written in my bottom drawer but now I’d rediscovered the creative writing bug, so in 2017 I applied for the Faber Academy Writing a Novel programme.  

JW: What was your journey to getting an agent?

JS: During the six-month Faber course I produced a draft novel that sparked some interest from agents with three manuscript requests, but sadly no one offered representation. 

In 2018 I signed up to Jericho Writers and attended every workshop I could which really fired me up with enthusiasm. An idea came to me when I was driving on a long journey and I started work on a new story. I was thrilled when it was short-listed for Best Opening Chapter at the Festival of Writing that year. That gave me the courage to enter the Blue Pencil First Novel Award. As the book went from longlist to shortlist I was amazed and didn’t expect anything more. I was on my way to London for a meeting when I heard the novel had won and Madeleine Milburn wanted to offer me representation! I was so surprised and excited I missed the train, but it was the best ever excuse to be late for a meeting. 

In 2018 I signed up to Jericho Writers and attended every workshop I could which really fired me up with enthusiasm.

Managing expectations and emotions

JW: In what ways has your work as a psychologist complimented or contrasted with your work as a writer?  

JS: My background is in management consultancy where deadlines are set in stone and ‘time is money’ – back in the 1990s we literally had to keep timesheets and account for what we were doing every half hour. So, the time lags in the writing & publishing process were a bit of a shock. For the writer, there seems to be a lot of waiting - for a response, for feedback, for edits – and no idea of when this might come. Agencies and editors are inundated and it can leave the writer in a reactive position, feeling a bit in the dark. And, as we all know, that is when the doubts creep in. I do wonder if more could be done to explain what is happening and manage expectations? 

On the other hand, my work and experience in psychology helps me to cope with the ups and downs of the journey. I’m not immune but I know the tools and techniques that help manage any emotional reactions to disappointments and setbacks. Psychology has also helped me to understand personality, motivation, and behaviour. This is a great help with developing rounded and believable characters, although I don’t think you ever stop learning your craft. 

For the writer, there seems to be a lot of waiting - for a response, for feedback, for edits – and no idea of when this might come. Agencies and editors are inundated and it can leave the writer in a reactive position, feeling a bit in the dark. And, as we all know, that is when the doubts creep in.

The publishing industry: expectations vs. reality

JW: You signed a deal with Orion Dash, a digital-first imprint. What was that experience like? Was it what you had been expecting?  

JS: To be honest, I didn’t really know what to expect. What has pleasantly surprised me is the speed; the time scales are so much quicker than traditional publishing. The offer from Orion Dash was made in March 2021 and 'Her Little Secret' was published in August, having been through a significant structural edit in that period. The whole thing is a learning experience for me and I’m loving it. 

JW: You’ve also had work published before in your professional field of psychology as well as having experience in scriptwriting for training videos. How did this background inform your expectations of commercial publishing, and did anything surprise you?  

The rounds of editing! Aside from proof edits, no one has ever given structural feedback on anything I’ve written in my professional field. It was fascinating and something I hadn’t expected, although I really see the benefit. I think it would be helpful for writers to know how many rounds of rewriting they will need to go through at all stages: before they submit to agents, then before their agent submits to a publisher, and finally, with the publishing editor.  You’ve got to love the characters to stick with them through all this! 

I think it would be helpful for writers to know how many rounds of rewriting they will need to go through at all stages: before they submit to agents, then before their agent submits to a publisher, and finally, with the publishing editor.

JW: What are you working on now? If you’re writing the follow-up, how are you approaching it? 

I’m currently halfway through rewriting a previous psychological suspense novel, which has a totally different feel to 'Her Little Secret'. (That said, the protagonist is once again an unmarried, child-free woman in her fifties!) As always I start by working out the key plot points and write a 2-4 page synopsis as if I am telling someone else the story. I then find images that represent the main characters and anything relating to their environment and stick them in a notebook. Obviously, the story changes as the characters take it off in unpredicted directions, but this gives me enough to get started. By the time I’ve finished the first draft, the notebook pages are bulging with scribbled notes, mind maps, sketches, quotes and articles torn from newspapers. It’s the only way I know how to do it! 

JW: Any final advice to those starting out? 

Obviously sign up and get involved with Jericho Writers! From my own experience, I strongly recommend taking part in workshops, writing groups, and competitions. Ideally set up or join a writing group. I wouldn’t have stuck with it had I not been part of a mutually supportive writing group that I met during the six months at Faber. Writing can be a lonely job and we need all the support and encouragement we can get from others who are on this journey.  

About Julia

Julia Stone applies her creativity in her work as a writer, ceramic artist, coach, supervisor and therapist. She has had a long career in psychology and psychotherapy and now works part-time. She loves learning and was recently thrilled to pass her Level 1 exams in British Sign Language. Her second book will be published by Orion Dash in 2022. 

Her Little Secret is available in ebook, audio and paperback from Amazon.

Website: www.juliastonewriter.com 

Twitter: @julestake3 

Instagram: @julia.stone.writer 

Have you heard that we’re living in a golden age of small press publishing? Small publishers around the world are putting out a good proportion of the most exciting and innovative fiction and non-fiction, dominating prize lists and thriving in a way that means they are having an ever-increasing influence on the book world. 

This guide will introduce you to some of the most important of these big-hitting small presses, as well as explaining what makes them different from normal publishing houses and investigating the pros and cons of working with a small publishing company.

What is a Publishing House?

Let’s start with a rough guide to the basics processes of book production that most publishers follow:

1. Submission

Manuscripts are sent by agents, or, in some cases pulled from slush piles (which is to say, the collected manuscripts sent by individual authors.)

2. Acquisition

Publishers make offers for books. This generally includes an advance, outlines of royalties and publication date. Once the offer is accepted this will be formalised in a more detailed contract.

3. Delivery of Manuscript

Hopefully on time!

4. Editorial

This is where the author and editor work on structure, characterisation, and all the important nuts and bolts of the book. Done properly, this can be a long process with lots of back and forth between editor and author. Often, it’s done to a tight schedule.

5. Cover Design

This is generally done in-house, but freelance designers and illustrators are also used. The author is generally consulted about the cover - but rarely has final say.

6. Typesetting

The process by which words are laid out on the page, which is actually more complicated than it sounds. Making those precious sentences flow nicely, with the correct margins and no mess, is a job that takes real skill. 

7. Proofs and Publicity

Proof copies are made of the book for final copy-editing checks and to send to reviewers. At this point publicity begins in earnest, although publicity often starts earlier. Most importantly, book reps should have been talking about the book with bookshops.

Publicity campaigns still continue after books are released with posters, YouTube videos, social media campaigns and more. But are generally more limited…

8. Ebooks are Prepared

The typeset document (usually a PDF) is converted into ebook format

9. Printing and Binding

The actual physical books are printed at the publishers’ expense. Generally, at specialist print works, not in-house.

10. Warehousing and Distribution

The books are sorted, stored and sent out to the shops to fulfil their orders.

11. Books Arrive in the Shops

Hurray! But this isn’t quite the end of the process as (assuming things go well enough) the publishers still have to process sales figures and author royalties.

What is a Small Press?

In the UK and the USA most of the trade publishing industry is dominated by the Big Five presses: Hachette, HarperCollins, Macmillan, Penguin Random House, and Simon & Schuster. These are multi-million-pound businesses, each controlling numerous separate imprints and employing vast numbers of staff. They also don’t accept submissions unless they come directly from an agent.

Beneath that are smaller independent presses like Faber & Faber and Canongate, which are still companies with big lists and large numbers of staff. They often only accept agented submissions.

And then there are small presses – publishers who are much easier to work with direct. There are different definitions for what constitutes a small independent publisher. Many define small press companies which make less than $50 million a year (which is still pretty big!). 

One useful guide in the UK is the entry criteria for the excellent Republic Of Consciousness Prize for small presses which is an annual competition for publishers with fewer than 5 full-time employees. In the USA, where everything tends to be bigger, the equivalent prize instead defines small presses as those which publish an average of 18 or fewer published titles per year. 

It’s also useful to think of small literary presses in terms of atmosphere and state of mind. They carry out all the publishing processes listed above - but in a different way. They are like the micro-breweries of the publishing world, producing smaller quantities of (ideally!) high-quality work favoured by enthusiasts and connoisseurs. At best, they are run with passion for people who are passionate about books. They also provide a huge range of special, and particular, flavours. 

In the USA and Canada, meanwhile, there are hundreds (if not thousands) of presses catering from local to international interest and every kind of voice. Leading lights include Coffee House Press, Coach House Books, Melville House and Biblioasis.

In the UK, some of the best small presses include Jacaranda Books who state they are run by “talented women of colour whose aim is to promote and celebrate inclusivity and diversity in the publishing industry”, Dead Ink who focus on “new and emerging authors”, Influx Press who are “are committed to publishing innovative and challenging fiction, poetry and creative non-fiction from across the UK and beyond”, Bluemoose Books who explicitly state they don’t want “orange headed celebrity books” but do want “brilliant stories”, And Other Stories who “aim to push people’s reading limits and help them discover authors of adventurous and inspiring writing”, Fitzcarraldo who focus on “ambitious, imaginative and innovative writing”.

My own press, Galley Beggar Press tries to support writers of great literary talent writing outside the norm, who push the boundaries of form and language some of the best small publishing houses can still be more specialist. Two Rivers Press, for instance, publishes poetry as well as books about the city of Reading’s people, history, places, and culture.

Pros of Working with a Small Publishing House

This kind of specialisation is one of the great advantages of working with small publishing houses. If your work fits with their niche and ethos, you’re onto a winner. It’s also quite possible that fitting in well with a small house also means your work won’t work for bigger, more conservative and conventional houses. There are also several small publishers for new authors that accept unsolicited manuscripts, meaning you don’t have to go through the agent route to have your talent spotted.

There are further advantages to consider:

More Likely to Welcome New Authors

When it comes to small publishers accepting submissions, they are often more able and determined to take risks on new writers and new kinds of writing. And they deal with you direct! 

The fact that they have small lists of books with tight financial margins can be uniquely liberating. Because every book they put out is a risk, they don’t have to hedge their bets and can go all out on a book that they believe in. As a result, many of the best new writers in the UK and USA in the past ten years have emerged from small houses - and small presses that publish novels and non-fiction have won a disproportionate number of prizes and short-listings.

Greater Author Involvement

In large publishing houses different people tend to manage each part of the publishing process. They have established, regimented procedures which don’t enable so much author input.

Most notably, your editor will be mainly responsible for the first five of those processes listed above - but once they’ve signed off your book it can often feel like that’s the last you hear from anyone. You don’t have a contact who’s working on production - and the editor will know next to nothing about this stage of the process. If you’re lucky you’ll perhaps have a meeting with someone from the publicity team, but it can often feel like most meaningful contact with the publisher finishes long before your book comes out. 

Work with a Trusted Team of Professionals

At smaller presses, because the teams are smaller, the people who work on your book tend to work on most stages of its production - or at least have good knowledge of what’s going on at each stage. Your point of contact will be able to tell you more - and involve you more. Authors do not tend to have the final say with a small press any more than in a larger press, but they can generally expect greater consultation and involvement. 

Ideally, the best small presses will also give your book an extra level of dedication. They tend to take on books because they feel passionately about them. They don’t have books that are there to bulk out the list. They can’t rely on big name celebrity memoirs to put them in the black. So they have to get right behind everything they produce and push it as hard as they possibly can.

Cons of Working with a Small Publishing House

So far so great. But authors also need to be aware that a small publishing house may not be the best fit for them - and there are potential disadvantages to working with them…

Poor Author Advances

If you’re looking for a six-figure advance, you’re unlikely to find it with a small press. Some are philosophically opposed to giving too much money in advance because it so often means authors don’t earn out, don’t get to see any royalties, and can find themselves viewed as an unprofitable proposition as a result. Instead, small presses tend to offer more generous royalty rates because they see this as fairer. 

Lower Marketing Resources

Arguably, smaller publishers don’t have the marketing budgets or resources enjoyed by bigger publishers. For more writers this is immaterial, since it’s very rare that significant marketing money is invested in an individual author who isn’t already selling well - but it can make a difference as books begin to climb the charts. 

Smaller Distribution Opportunities?

One thing that big publishers can guarantee is a relationship with established bookstores and outlets, along with a good distribution network and a team of book reps who will work on getting books onto the shelves. Plenty of smaller publishing houses will also have good relationships with the shops (and perhaps even better relationships with some independent bookstores.) In the UK they may also use established distributors like Turnaround and Inpress who do the vital work of warehousing, distribution, and bookstore relationship management. Plenty of US independents also have excellent distribution. But it’s not always guaranteed so it is something to check before you sign on the dotted line. 

Eccentricity

From a commercial and authorial point of view the great strength of small houses can also be their weakness. All small presses accepting submissions are different. They all have their own personality and impact on the market. They all have different passions and beliefs. That’s fantastic if you find yourself in alignment. It’s wonderful if you’re writing the kind of book that you can work together on. But you should also be aware that this kind of relationship may not be for you or the best fit for your work.

Something for Everyone

Small publishing houses can provide many benefits for new authors. They are there not only to take a risk on good new work, but to love it and nurture it and give it the best possible push into the world. But you should enter any relationship with a small press with your eyes open and think carefully about the potential downsides. Confidence is a two way thing in publishing and you need to believe in your publisher as much as they believe in you. 

Small presses do great things for many writers - but so do the big five and other larger independent presses. It’s a big world out there and there’s space for everyone.

One of the questions writers ask most frequently is - “does an author need a website?”

With so many ways to promote yourself online now, from social media to forums, do you really need to go to the expense and hassle of creating a website for you and your books?

The simple answer is…yes!

In this article I will guide you through everything you need to know, from what makes a good author website, to whether you need one of your own. By the end of this blog, you will understand the perks of having your own dedicated website and how it can be instrumental to building your author brand.

Do Professional Writers Need A Website?

Whether you are an author, journalist, poet, playwright, freelance writer, or any kind of writer, it is likely you have asked yourself the same question. As a writer there are already so many things you need to do to get your work out there, this feels like one very large and unnecessary thing to add to your to do list.

Bear with me, because you’re about to find out how this may well be one of the most important things you can do for you and your future as a writer.

Regardless of the industry you are in, your online presence can contribute massively to your brand and the success of your creative work. You wouldn’t set up a new business without having a website – and being a writer or author is no different. 

According to Internet World Stats, there are over 4.2 billion internet users, and Google averages about 40,000 searches per second, so it stands to reason that the internet is instrumental to the success of any brand today. I’m sure even Shakespeare would have had a website if he were around today!

Having your own website doesn’t mean you need to be tech-savvy, or that you need to invest in a professional designer. But when your book is in the shops and the press or a reader Googles you, you want to make sure you are able to share everything about you and your work that you can. So where do you start?

Let’s look at this in more detail…

Reasons Why Writers Need A Website

Social Media Isn’t Enough

Social media platforms such as Facebook, Instagram, LinkedIn, Twitter, and Tumblr are great platforms on which to promote your businesses and the perfect place to engage with your audience, but you don't want your business to live solely on social media.

Firstly, you have very little control. Recently, Facebook, Instagram, and WhatsApp were down for around 6 hours, all at once! That’s six hours that people can’t find out anything about you.

Social media platforms can also delete or restrict accounts when they wish. And even though most of these platforms are established and been about for years, neither do we know if they will be around for ever – or as popular. 

Ideally, you want your brand to live on your own domain. You own and control your website; there are no rules or conditions you have to comply with. Your website belongs only to you, and you can post any kind of content you want and conduct any form of marketing or advertising on it that you wish.

Personal Brand Development

A personal brand is your identity – and when you are an author, that reflects on your work too. Just like any organisation’s personal brand helps convey their values and identities to its customers, your own personal brand helps you communicate who you are and what you stand for to your readers.

When you control what’s on your website, you control the narrative. Your author website provides a platform to tell your story, communicate a coherent brand image, showcase your expertise, qualifications, works, professionalism, plus shout about your publishing achievements to readers, the press, and other publishing professionals.

Example 1
Judy Moody is a fun children’s book series by Megan McDonald. The creative style and illustration of the author’s website perfectly reflects the brand image of the author:

Build A Community

A professional website presents you with an opportunity to build an active community where readers can interact directly with you, get an exclusive insight on you and your work, and provide feedback that you can use for future work.

You can also build a newsletter, which has a much higher ‘book sale’ conversion rate than most other forms of advertising. Visitors can subscribe to your mailing list where you can keep in touch with them weekly or monthly. These newsletters can attract a lot of interest in the long run as subscribers who are already in love with what you do are more likely to recommend your books or services to other people who are looking for great writers. Personal recommendations go a long way in promoting your personal brand.

Gain Audience Trust

Most people go online to search for more information about a person or brand. According to wpforms, 55% of people search the internet for a brand’s website – and that includes your book. You can lose respect and credibility with readers if you can’t be found online. A strong website that showcases your brand, your work, and you, is a great way of demonstrating that you are as reputable as you claim to be.

Example 2
Aside from the immersive experience Jennifer Egan’s website gives its visitors, it also showcases reviews from reputable sites which is a great way of building trust with her readers.

Interaction Opportunities

Just like all social media platforms, a website is a great medium for interacting with your audience. You can even create a forum on your website where members of your community can interact with you and each other.

You can also set up a blog on your website where you can get feedback from visitors. Links to these blog posts or forum topics can be shared on your own social media platforms, and are also likely to be shared by your community members – helping spread the word to their like-minded contacts.

Social media can also be instrumental in driving traffic to your website. Instead of creating a long thread or post on your social media personal pages, it’s always easier to share links to your website or specific pages – ensuring your marketing remains cohesive and everyone gets to hear about you.

Establish A Content Hub

A website also provides you with a great content platform on which you can showcase your work. Editors, publishers, press, and readers who are interested in your work can find everything they need, in one place, on your website. 

Example 3
Gretchen Rubin’s website provides more than just information about herself and her brand. Her website offers extra value as it’s also filled with blog posts, podcasts, quizzes, and other resources. This is highly appealing to her visitors and makes them more likely to return to her website.

Make Use Of Video

Another way to make your website stand out is by adding videos. Some people prefer to consume content by watching and listening, rather than reading, so including videos helps you cater to a wider audience. Embedding videos onto a website can seem daunting, but there's a wealth of information and resources available. Whether you're looking for a GIF compressor, tips on adding video captions, or an MP4 compressor, with a little research you'll be on your way to creating a website that your readers will engage with.

Be Competitive

Whether you like it or not, your writing should be treated as a business if you want to succeed. You want your author name to be found on search engines when people look for you. There are thousands (possibly hundreds of thousands) great writers out there - so how will your prospective readers find you?

A writer website gives you a competitive advantage as not only will it help people find you, but it boosts credibility and perceived value. Put simply, people are more likely to trust a brand with a dedicated website featuring detailed information and services than a business that doesn’t offer that.

Search Engine Optimisation (SEO)

Your website doesn't just provide information about you and your work, it can also boost your visibility on the internet. The more visitors you have, the higher the ranking on the search engine results page.

According to Forbes, 75% of people never go past the first page of search engine results, hence the need for your website to rank as high as you can on the organic search engine results page.

By incorporating SEO practices into a website for an article writer there is a decent chance of it being easily accessible. Regularly updating your website with relevant content and adding keywords to your content are SEO practices you should consider. So, if you are a romance writer specialising in books about Victorian detectives – make sure you use those terms as often as you (naturally) can on your website. Because when someone Googles ‘Romance novels featuring Victorian detectives’ you want to be the first person they find!

Example 4
In terms of design and functionality, Austin Kleon’s website is up there with top author pages. The website demonstrates his brand, it’s easy to use, and it’s evident that he updates it regularly and is always bringing out new books.

Save Time And Money

Aside from the fact that websites are affordable to set up and maintain, they can also save you a lot of time and money. When querying your work with agents, many ask for your website. Likewise, when press want to write about you and your book, you don’t have to keep sending long emails or press releases to each separate media company – simply direct them to your press kit on your site featuring bios, credited author photo download, and everything they need to know about your work and where to buy it.

Publication Platform

Having your own author website means you are free to publish your work, on your site, for free – whenever you want. As established earlier, there are no restrictions guiding the timing and content you can publish on your website. Many authors like to publish free short stories for their readers, or run competitions on their newsletters, or use this free content as a way to get people to subscribe to their newsletter.

Example 5
David Sedaris’s brilliant website showcases his books in a simple fashion. The “works” section on the website is unique, creative, and tells the whole story.

Also, publishing content on your blog regularly keeps your visitors engaged and helps you collect feedback. 

Derive Revenue

A website can also be a valuable sales platform – especially for self-published authors. As of 2021, 27.6% of the world population makes the majority of their purchases online. It’s easier, quicker, and faster to buy books online than in a bookstore (especially with those with mobility issues, living in remote areas, or unable to leave the house). And with the recent lockdowns, online book purchasing has seen its largest rise ever.

The best author websites have a payment gateway feature. You can integrate a payment system on your website that allows people to place orders for your book and checkout with ease or simply connect visitors to other distribution platforms such as your favourite indie bookstore, Amazon, or your publisher’s online shop.

How Much Does A Website Cost To Create?

Websites are cheaper and easier to set up and maintain than people realise. Your first stop is creating a domain name – this should be your author name. Luckily most people find that the url of their name isn’t taken. If it is, you can always add the word ‘books’ or ‘author’ after your name.

Next you need to design your site. If you haven’t a clue how to create your own author website, there are several DIY sites such as WordPress, Squarespace or Wix.com with a template collection from which you can choose any author website template and edit it to your style. Examples of inspiring author website design templates can be also found on Pinterest. However, if you want a unique author website design, you can always hire a professional.

Get Seen

I hope this guide has helped you understand the importance of having an author website, and why it’s worth the investment in time and money. Not every author wants a website, and perhaps if you write for fun or only have one book to promote, you may not see the need for it.

But remember, if your work is competing against that of dozens of similar writers – it’s the one with the largest online presence who will be found first!

One thing that every writer naturally wants to know is how many copies of their book they can expect to sell. But clear answers are hard to come by.

It isn’t just that book sales numbers for an individual title are dependent on so many different factors ranging from what kind of book it is, to who is publishing it, via a good dose of sheer luck. It’s also that industry figures for all book sales can be opaque and confusing. Making sense of it all is a considerable challenge. But hey! That’s why this guide is here. I won’t be able to make definite predictions for you in what follows, but I will be able to give you a good idea of how book sales are calculated, and how to make sense of book sales data. Along the way, I’ll also provide some useful benchmarks.

Book Sales Sources

First of all, let’s look into why book sales tracking is such a difficult business and why it’s hard to get reliable book sales figures.

When people ask how to work out how many books they can expect to sell, the temptation here is to invoke the old cliché about working out the length of a piece of string. But the truth is even that analogy won’t cover it, because there isn’t a single reliable measuring device for book sales data.

In the UK, for instance, print book sales charts generally rely on a system called Nielsen Bookscan (the US equivalent is called NPD Bookscan), which compiles point of sale data for bookshops. Which is to say, it counts how many books go through the tills. But it doesn’t count all books sold because not all shops that sell books are signed up to the system. It also doesn’t count sales from all websites, including the increasingly numerous and successful direct sale webstores on publishers’ sites. It doesn’t count ebook sales either. 

This already out-of-focus picture is made even fuzzier by the difficulty of getting reliable sales figures from major online retailers like Amazon. And that’s before you get to the problem of working out audiobook sales figures once you factor in the complexity of all the different streaming and ‘credit’ systems used by platforms like Kobo and Audible. It’s also before you get to the essential points that publishers and retailers don’t tend to make sales figures public anyway - and that you have to pay a healthy subscription fee to access Nielsen’s figures.

See? I told you it was complicated.

What are Average Book Sales?

Now, to add to the confusion… You might come across a few websites discussing average sales figures here and there on the internet. One figure that often crops up is that the average traditionally published title can expect to sell 3,000 copies in its lifetime.

Another famous figure is that the average annual sales figures for literary fiction are lower than 250 copies in the UK. Because I’m a publisher, I sometimes give talks to ambitious students on creative writing courses and have to share that melancholy figure with them. You can imagine how it goes down. And then I have to make things even worse. I don’t want to encourage too much cynicism about the average sales figures you might read online, but I do want you to think about how useful they are.

Once I’ve depressed those students with the 250 books figure, for instance, I remind them that this is just the mean average. And you have to know more than that to really understand books sales statistics. The mean average sales figure is calculated from the total number of books sold divided by the number of titles. Which is to say, if 100 books were sold, and there were ten different books the average sale of each book would be 10 copies. The trouble is that different books sell in vastly different numbers. That literary fiction figure includes hard hitters like Hilary Mantel and Booker Prize winners who may be selling close to a million copies in a given year. Which makes that 250 copies start to feel like an optimistic estimate!

It's Not All Doom and Gloom

Here’s another way of thinking about it. 

Let’s go back to that figure of 100 books sold. Out of those 100 books, one book might sell 10 copies. Another couple might sell five. Then, three or four might sell four copies. And so on, down the list. If you extrapolate that out into the real world, it means that while the small number of bestsellers might skew the average figures, there are other useful calculations to make.

It’s often a good idea, for instance, to look at the median figures as well as the mean average.

Just a reminder - the mean is the total of the numbers, divided by how many numbers there are. So, for example: (4+4+6+15+100) ÷ 5 = 25.8

To find the median, you order the numbers and find out which one is in the middle of the list. If we look at the following list: 4, 4, 6, 15, 100 then the median is six. 

(Just for statistical completeness, the mode, meanwhile, is the number that appears most often. In the example just given, it’s 4. It’s harder to relate this directly to book sales since the figures vary so much - but I mention it here in case you’re ever looking at figures that can be usefully rounded up or down.)

There’s a useful article written by Lincoln Michel over on Electric Lit explaining that out of the books to hit the number one spot on The New York Times bestseller list in 2014, mean sales were 737,000, a figure which was heavily skewed by the 8 million copies of 50 Shades Of Grey that were sold. The median was 303,000.

More Cause for Optimism

Confession time. I’ve kept something back from you. So far, I’ve been talking about annual sales figures. That’s distinct from the weekly sales figures that are used to compile book charts. And also, crucially, for the lifetime sales of a book. These, you’ll be glad to hear, tend to be higher. Indeed, if you’re lucky enough to have a book that comes out in both hardback and paperback, you could find yourself selling more books in your second year than your first. And even if you don’t, you can hope for some accumulation as time goes on. 

What’s more those average figures I’ve been quoting may be on their way to being out of date. The book industry has been growing. In 2020 print book sales rose by 8.2% in the USA. For the year ending on Jan. 2 2021, units rose to 750.9 million, from 693.7 million the year before. (I know! That’s a lot of books!) In the UK, meanwhile, there were also reports of increases in 2020, even if the Nielsen Bookscan system wasn’t operating as usual. The Publisher Association reported that fiction sales income rose 13% to £285m, sales of digital consumer books rose 26% up to £125m and also said 'there was a 47% rise in UK sales of audiobooks (up to £39m), while the value of consumer ebook sales rose 18% to £86m.' 

This may be a blip. 2020 was a highly unusual year after all and books became a source of comfort as well as a very good way to fill time during lockdown. But there’s hope that plenty of people will have re-acquired the reading habit. It certainly seems that shops that have reopened have been enjoying brisk sales as people have also rediscovered the joy of browsing*. 

*Another interesting fact - it’s very hard to talk about overall annual sales figures until after Christmas. I’m writing this article in October 2021. Plenty of stores will still be hoping that more than half of their annual trading will be done in the next few weeks. Christmas is the big time in book world. In fact, many of the top selling books each year aren’t even released until October. So we won’t know about the top selling books of 2021 for a while.

Most Popular Genres

Time for another confession. Literary fiction may be the genre that most interests students on creative writing courses - but it is not the only game in town. In the UK, in 2017, Nielsen Bookscan figures showed the crime books had become the bestselling fiction books, with 18.7 million sold, compared to 18.1 million general fiction titles. Statistica have also put out research showing that the mystery/thriller/crime was most popular genre in the USA. 47% of their survey respondents said they had read a crime book up to July 2015. Meanwhile, a writer called Geoff Affleck did some useful number crunching on the US Amazon store back in 2019, for instance, and discovered that a mighty 25% of the top bestselling ebooks on Amazon were Romance, Women’s Fiction, and Teen novels (and, he noted, a good proportion of those were “the kind with ripped, bare-chested hunky men on the cover.”) 

Perhaps the best way to sell books is to become a writer of ebook romance? 

Meanwhile, adult nonfiction sales have also continued to grow. Affleck also provided the following top list for print books (with the number in brackets being the average Amazon ranking of the top five books in each category):

1. Biographies & Memoirs (10)

2. Self-Help (15)

3. Religion & Spirituality (20)

4. Health, Fitness & Dieting (22)

5. Politics & Social Sciences (24)

He also did a breakdown of ebook sales using the same method:

1. Religion & Spirituality (61)

2. Biographies & Memoirs (96)

3. Business & Money (123)

4. Self-Help (146)

5. Cook Books, Food & Wine (171)

Best Selling Books of All Time

Let’s carry on in an optimistic vein and look at the top ten best-selling fiction books of all time. It’s fun to dream, after all. 

1.The Hobbit by J. R. R. Tolkien

140.6 million copies

2. Harry Potter and the Philosopher's Stone by J. K. Rowling

120 million copies

3. The Little Prince by Antoine de Saint-Exupéry

100 million copies

4. Dream of the Red Chamber by Cao Xueqin

100 million copies

5. And Then There Were None by Agatha Christie

100 million copies

6. The Lion, the Witch and the Wardrobe by C. S. Lewis

85 million copies

7. She: A History of Adventure by H. Rider Haggard

83 million copies

8. The Adventures of Pinocchio (Le avventure di Pinocchio) by Carlo Collodi

35-80 million copies

9. The Da Vinci Code by Dan Brown

80 million copies

10. Harry Potter and the Chamber of Secrets by J. K. Rowling

77 million copies

A few caveats. These figures are estimates. This list doesn’t include older titles like Miguel De Cervantes' Don Quixote (which some estimate at having sold 500 million copies), or Charles Dickens’ A Tale Of Two Cities (some say 200 million copies). JRR Tolkien’s The Lord Of The Rings isn’t in there either, because of the confusion over the fact it’s been sold both as a single book and with its three parts separated out.

Final Numbers...

Okay. Back to reality. Not everyone gets to sell 100 million books. Sometimes, you might be lucky to reach 100 people. And, okay, we don’t hear as much about those books at the lower end of the spectrum. We don’t, as this article has explained, even get to hear how many copies those books have sold without subscribing to expensive aggregators like BookScan. Publishers only really tend to share those figures with their authors and agents. Not because they’re trying to hide anything, but because there’s no real demand that they should. 

There are also the feelings of the writer to consider. I can tell you, for instance, that I am not keen for anyone to know the sales figures of some of my own worst-sellers…but, I hope with time, I’ve also grown realistic about these things. 

The main lesson here is that you shouldn’t just measure success in terms of hard sales. Bringing a book to completion is a victory in and of itself. It takes skill and dedication - and if you touch only one reader with your work, that still means you’ve had an impact, which has to count for something.

When I used to dream about being a published author, I always imagined taking a paperback off the shelf and seeing my name on it. I’m working on book fourteen now and none of them have my full name on. Instead, I have two pen names - Rhoda Baxter and Jeevani Charika. 

A great many authors use pen names (or a ‘nom de plume’ if you want to be fancy) for a whole variety of reasons. 

But what are the pitfalls to look out for? Do the positives outweigh the negatives? Read on to find out.

Why Writers Use Pen Names

Steven King is also Richard Bachmann, Nora Roberts is also J D Robb, Jill March and Sarah Hardesty, and Dean Koonz has had so many names that it’s hard to keep count. Having all these different names seems unnecessarily complicated. So why do it? 

Here are some common reasons:

• Privacy
• Brand differentiation
• Disguising gender or race
• To consolidate several writers under one name

All of these and more are discussed below and, because this is a pros and cons article, there are some pitfalls to watch out for too.

Advantages of Writing Under a Pen Name

Privacy

This is probably the number one reason that most people want a pen name. Being a public personality can be scary. It may be that you don’t want prospective employers (or clients) to put your name into Google and come up with all the dinosaur sci fi novels you wrote. Or perhaps you write erotica, and you really don’t want your friends and family to know (or worse, if you’re a teacher - the school to know!). If you’ve written something highly political or an exposé about real people, you might not want journalists hounding you for comment. 

There is no wrong reason for wanting to maintain your privacy. In this hyper-connected age, it’s nice to be able to put some space between your public persona and your private life.

Branding

Some genres have expectations attached. A name like Amy Silver lends itself well to a Christmas romcom, for example, but might jar a bit on the cover of a psychological thriller. But ‘Paula Hawkins’, now that’s a nice thriller name. In case you haven’t guessed, they are the same person writing in two very different genres. 

If you write in more than one genre, having two pen names helps you keep your reader groups separate. Sticking with the Paula Hawkins example - having two names stops a reader expecting a romcom and getting a thriller.

Some authors write across genres under the same name, but your publisher may ask you to think about using a different pen name if your new book is a departure from your usual style, or if they want to build a new brand for you. For me, the Jeevani Charika books all feature at least one Asian protagonist, while the Rhoda Baxter ones are mostly about white protagonists.

To Create a Distinct Public Persona 

It can be helpful to have a distinct writer persona, especially if you’re shy in real life.

One of my favourite things about having a pen name is that ‘Rhoda’ is slightly different to the real me on social media. While the fundamentals were the same, she’s more outgoing, and much more cheerful than I am. When speaking at events I always feel less self-conscious if I imagine that Rhoda or even Jeevani Charika is a completely different person to me. 

Hiding Your Gender

If you’re a woman writing in a traditionally male dominated genre, you might want to use a male pen name in order to sell more books. If you're a man writing romance or sagas, you might consider writing under a female pen name. Many writers like to keep things ambiguous and use their initials and a last name (which doesn’t have to be their real last name). 

Making Your Race Less Obvious

Okay, this is a contentious one. This was one of the reasons my early romcoms came out under the name Rhoda Baxter, rather than my Sri Lankan name. 

My first book was about Sri Lankans. I got a lot of very nice rejections from agents with notes along the lines of ‘I like it, but I don’t know where I’d place it’. After a while, I wrote a second book - a romcom about a white heroine. I found a publisher (in the US) relatively quickly. They asked if I was going to use a pen name. I’m a microbiologist by training, so I named myself after Rhodobacter sphaeroides, the bacterium I did my thesis on). ‘Much easier to Google’, the publisher said, approvingly. 

I used my own photo in the bio and talked about my Sri Lankan heritage openly - this was not a catfishing exercise - but it meant that on the shelf, my romcom looked like all the other romcoms. 

That was 2011. I didn’t get a publishing contract for a book under the name Jeevani Charika until 2018. I know a few other romance authors of colour who started off using white-sounding pen names to get established and then moved to using names closer to their real ones as romance publishers became more open to the idea of non-white names on the cover.

It's not a good idea to try this if you’re actually white.

To Make Your Name More Memorable

If you have a fairly unremarkable name, then you can have fun choosing a dramatic and memorable author name.

To Differentiate Yourself From Another Author With a Similar Name

Occasionally, you’ll find two different authors who have the same name. This is a huge pain because it confuses retailer algorithms, and it confounds readers. You can avoid this by using a pseudonym or just adding a middle initial to your name. 

To Combine the Work of Two (or More) People

The author Juliet Bell writes Bronte retellings set in the early 20th century. Behind the name are two authors (Janet Gover and Alison May) who write romance and women’s fiction. Sometimes a prolific pen name like Franklin W Dixon (The Hardy Boys) and Carolyn Keene (Nancy Drew) can be supported by a whole host of ghostwriters.

As a Whimsical Touch to Enhance the Book

Occasionally, you see pen names that are closely related to the characters in the book, which make it look like the book was written by one of the characters. For example, Daniel Handler’s children’s books in A Series of Unfortunate Events are presented as the memoirs written by Lemony Snickett.

Because the Publisher Requested it

Sometimes publishers will ask you to choose a different pseudonym - either for branding reasons, as discussed above; because you’re too prolific and they can’t publish more than a couple of books under each name in any given year; or simply because they want to market you as a ‘new’ author (especially if your last book didn’t sell very well). 

Disadvantages of Using a Pen Name

There are undoubtedly many advantages to using a pen name, but it’s not all sunshine and roses. Here is the counter argument.

Your Friends May Not Recognise the Book as Yours

Imagine you’ve just told your friend about the publication of your new book. Being a supportive and delightful person, they talk about it in the pub later ... except they can’t remember your pen name. Since friends and family can be a good way to spread the word, you could lose some word-of-mouth recommendations.

More Names Mean More Marketing

I found this out to my cost. When the first Jeevani Charika book came out, I excitedly set up new social media accounts and a new website. But keeping up a presence in all these places is quite hard work with one name - keeping up TWO was exhausting.

In the end, I gave up and changed the name of my Rhoda Twitter account to include both names. I still maintain two separate websites, though. Despite the websites mentioning the other pen name, not many readers click through from one site to the other. 

Achievements in One Name Don’t Translate to the Other

As I mentioned before, readers don’t often go from one pen name to another, even in genres that appear to be closely related. So your achievements in one pen name will mean nothing to readers who read the other pen name. 

In real life, you could win a major award, but none of your friends would know about it because they didn’t make the connection.

Sometimes the consequences of this disconnect can be massive. An inverse example is Robert Galbraith - whose novels did moderately well, until it was revealed that Robert Galbraith was a pen name for JK Rowling. The books became instant bestsellers.

Financial Complications

It is usual to sign publishing contracts under your real name, despite the books coming out under a pen name (you can request that your identity is kept confidential). This makes it easier for the publisher to pay you, as they can send payment to your real name. 

If you need to keep your identity secret, you can sign contracts in your pen name, but that may make it harder for you to prove that you are the owner of the copyright and there may be additional hoops to jump through to get your royalties paid.

Consolidation Difficulty

What if one of your pen names becomes a runaway bestseller? You might want to consolidate all the other books you have under the more popular pen name.

This is difficult, but not insurmountable. Before the Shopaholic books took off, Sophie Kinsella wrote novels under the name 'Madeleine Wickham’ - they have now been remarketed as ‘Sophie Kinsella writing as Madeleine Wickham’, so that Sophie’s readers can find them easily.

Being More Than One Person is Confusing

Okay, this might be just me, but sometimes I forget which writer persona I’m meant to be. If you’re going on a podcast, for example, it’s good to work out which persona you’re going to be beforehand, especially if your pen names belong to very different genres.

Sometimes Readers Feel Betrayed

This is a strange one. Using pen names is long established in the writing world (George Elliot, George Orwell, Mark Twain are all pseudonyms), but some readers are offended by well-known authors using new pen names. They feel like the author is ‘lying’ to them, especially if an established author is being presented as an exciting new debut. There isn’t a lot you can do about this, apart from telling your followers when you’re starting a new pen name. 

Legal issues to Using a Pen Name

• It is not advisable to use an established author’s name as a pen name. If you write a horror novel and stick ‘Stephen King’ on the cover - you will almost certainly hear from his lawyers. 
• You can trademark a pen name.
• Signing a contract under a pen name does not let you get out of your contractual obligations.
• In the US, you can register copyright under your real name or your pen name (but the length of copyright is different).

So Should You Use a Pen Name?

Now that you know all the pros and cons of using a pen name, should you use a pen name? There is no right or wrong answer. Personally, I like having pen names (although I find having two hard work). The pen names provide a tiny bit of separation from my books, which helps me feel a little less awkward about promoting them. Think about the pros and cons and work out what would work best for you.

Good luck … whatever you end up calling yourself.

You’ve just typed ‘The End’ and you know that this story or article is hands down the best thing you have ever written. I believe you. I do.

But before you go attaching your work and bashing out an email where you will tell the recipient that this story will take the world by storm, let’s take a little time to concentrate on arguably the most important part of your road to publication: Your story pitch.

With submissions in publishing at an all-time high, with most agents receiving around forty to fifty submissions a day, the job of your story pitch is to (as quickly as possible) make your story stand out from the crowd.

In this guide we will look at how to grab the attention of your pitch reviewer from the minute they open your email.  In just the opening line, we are going to make your reader sit up and take notice of your submission. Not only that, but we’re also going to tell them why it will sell, why they should pick your story above all the other submissions, using the example below of a story pitch template.

So, before you go hitting that send button, let’s talk about why getting your story pitch right is important and what you need to do to get it right the first time.

What Is A Story Pitch?

A story pitch is a succinct way of explaining what your story is about, what makes it right for the person you are pitching it to, and why it will sell.

Pitches are used throughout the publishing industry, be it journalists pitching to newspapers and magazines, screenwriters wanting the next hit on Netflix, or authors hoping to grab an agent’s attention with a view to bagging that all important publishing deal. 

Regardless of where in the industry you are aiming to see your work, a good story pitch is vital if you’re hoping to break into this highly competitive market.

Why Is It Important To Know How To Pitch Your Story?

As a new writer, the question I most dreaded was, ‘What’s your story about?’ I would describe what happens at the beginning of the book, waffle on using words like, ‘oh and then’ and ‘meanwhile,’ and after five minutes I would see the person’s eyes glaze over. Publishers, agents, and booksellers do not have that time.

Not only do you need to be able to pitch your idea quickly, but they will also need to when they try to sell it to publishers or bookshops.

The good news is that if you can show them how easily your story will grab a reader’s attention from the onset, then you’ve just made their job a whole lot easier.

How To Pitch A Story

Right, so you have this killer story, you know it’s something special, so how on earth do you describe this masterpiece in just one line or, at best, a short paragraph? 

The easiest way is to focus on the key elements of your story (for novel submissions, forget about your side characters and subplots for now, that will all become apparent in your synopsis). To hone your pitch, you need to concentrate on the key elements of your story, why it will fit that publishing establishment and why they need you.

So, what does a good story pitch include?

• A hooky first line
• A short paragraph describing your story by focusing on the key elements. For fiction these will be your protagonist - the event that upsets their world; what they hope to achieve and what is getting in their way
• A popular comparison to explain genre, setting, theme
• A reason why your work will fit that establishment
• Credentials explaining why they should work with you

Simple right? But what if you’re not sure of the answers to these questions?

Know Your Story

Before you begin writing your pitch, you must be able to identify the key elements of your story.

For a novel submission, here are five key components you must highlight when writing a good story pitch.

1. Your Protagonist

The first thing a pitch reviewer will be asking is who is your protagonist and most importantly why should we be rooting for them? You might know the answer to this, but to pitch successfully, you need to tell that agent/publisher why your readers are going to want them to succeed. Unless we are rooting for them, why should we care what happens to them? Why would we keep turning the pages?

Your explanation of your protagonist can be as simple as a bubbly hard-working woman called Helen who has never caught a break, or on the other end of the spectrum, we could have Rob, a grieving father who has tracked down the person who killed his daughter.

2. The Event That Upsets Their World

Now we know and are championing your protagonist, what happens to push them out of their comfort zone and into a new world?

This is very important because this is often where you will find the hook of your novel, the reason that a reader will have picked up your story from the shelf, the thing that screams out from the blurb.

So, does Helen, the bubbly hardworking woman suddenly get offered the job of a lifetime? Or does Rob the grieving father kill the wrong person?

3. What Do They Eventually Want To Achieve? What Is Their Goal?

Now we have your lovable protagonist thrown into a new world, what is it they want? Does Helen now want to leave the new high-pressure job? Does Rob want to atone for his mistake?

4. What Is Standing In Their Way?

Next, what is stopping your protagonist from getting what they want?  Has Helen become tangled up in some dodgy dealings with her new employer? Does Rob’s victim’s family come after him?

Now you know these answers, it’s time to show where your story fits in the market.

5. Compare Your Story

Finally, and very importantly, what book can your story be compared to?

Not sure? No problem, these comparisons can be a mix of literature, film or simply an author. It’s all about highlighting the story and the style of writing. Feel free to mix them up! The above examples could be ‘If Sophie Kinsella had written The Firm’ or ‘Dexter meets Gone Girl.’ 

Take some time to think about comparisons, your examples should reflect your genre, protagonist, and style.  

Do Your Research

Congratulations, you can now identify the key elements to your story and you have your comparisons ready - so what now?

The first thing is to research the organisation you are targeting. Take some time to look at the novels on their lists, or if you’re pitching a magazine or newspaper check if they have published similar articles and when? 

Follow Submission Guidelines

I know you’re chomping at the bit to get your story out there, but a word of caution. Check the submission guidelines. If the agent/editor/magazine asks for a one-page synopsis, do not send them three. If they only accept email submissions, do not send them a hard copy.

If you can’t find submission guidelines on their website, then contact them for clarification.

Ensure A Clear Subject Line For Email Pitches

Once again, make sure you comply with the submission guidelines. Often an agency will have an email address specifically for submissions; the most common format in this case would be to have your book title followed by your name in the subject line. Check what they are looking for.

Engage With A Strong Opening Line

Right then, here we go.  You’ve checked who you are sending your submission to and you have stuck to the guidelines - so now it’s time to grab their attention.

Remember that first impressions count, so before you explain your idea in more detail, grab your pitch reviewer’s attention with the very first line.

A good way to do this is by using the words ‘what if’ or ‘imagine’: ‘What if you landed your dream job only to find out that you couldn’t escape it?’ or ‘Imagine if your daughter was murdered and you knew where her killer lived.’

Within your first line you have grabbed their attention, pitched your hook, genre and shown your protagonist.

Construct The Pitch

Now is the time to expand your story pitch in a short paragraph revealing those all-important key elements:

 ‘Imagine if Sophie Kinsella had written The Firm, this is what you get in my romantic comedy THE DREAM JOB where we meet Helen who…’ or ‘With shades of Gone Girl and Dexter, my psychological thriller I KNOW WHERE YOU LIVE follows Robert Green, a grieving father who is set on a path of revenge when he finds out where his daughter’s killer lives…’ 

Provide Compelling Reasons To Publish

You have their attention, they like your idea, so why should they consider your story for publication as opposed to the other pitches in their submission pile?

Easy, you tell them! 

You tell them where it sits in the market, which titles are similar but what makes your story stand out: Do you have an unusual protagonist? Is it set over the course of just one week? Or in a village during a power cut? 

This is your chance to show them you know what you’re talking about and how this book is going to make them (and you!) a lot of money.

Tell Them About Yourself

You’ve done it, you’ve intrigued them - now they need to know about you.

Tell them about your qualifications, your credentials and background but keep it brief.  If you haven’t got any qualifications, explain why you’ve decided to become a writer.

If you have been published before, mention this and provide a link to any relevant online resources or profiles. 

Thank Them For Their Attention

Last, but not least, thank the pitch reviewer for their time and attention.  Always be polite and professional.  If you have established a positive professional relationship already, they may keep you in mind for future projects. 

Story Pitch Template

Excited? I am! 

You now have all the tools to pitch your story - so here is a basic story pitch template to help you along the way:

• Subject line: Follow the guidelines for story pitches to agents/publishers. This will often be your book title followed by your name.

• Salutation: Be sure to address this to the correct person. If you are unsure who will read your submission, a simple ‘Hi!’ will suffice.
  
• Headline and Introduction: Start with a simple and brief ‘I hope this email finds you well’ then get straight to your one-line story pitch or headline, if you are approaching magazines/newspapers.  Make this as engaging and grabby as you can! For fiction, here is where you can use your ‘Imagine’ and ‘What if…’ sentence starters.
  
• Story Summary:  Make this a short, concise paragraph where you focus on the key elements to your story.
  
• Story Relevance: Explain who this story will appeal to, why it stands out from the crowd, why it will sell.

• Author Bio: Add your credentials, background, qualifications, or if this is your first foray into the publishing world, explain why; be passionate about your decision.
  
• Contact Details: Give details of how you wish to be contacted.  Make sure this is all correct. One typo in an email or missing number in your phone number could mean all the difference.
  
• Thanks: Thank them for reading your pitch, be polite, friendly and professional at all times (especially if you are rejected).

Writing A Story Pitch

And there we have it! I hope that this guide helps you understand the importance of your story pitch and what is needed to pitch successfully. 

We first met Wiz when the opening of her debut novel was longlisted for Friday Night Live at the 2020 Summer Festival of Writing. She went on to win our bursary for the Self-Editing Your Novel course, and after receiving six (!) offers, is now represented by the RCW Literary Agency.

'Ghost Girl, Banana' was pre-empted by Hodder Studio and will be published as its major summer launch in 2023. Here, we got to chat to Wiz about staying true to your heart as a writer, the importance of a writing community, and more.

JW: Tell us a little about your background as a writer. When did you start writing?

WW: I was an absolutely voracious reader as a kid, and I think that naturally led me to think it would be something fun and easy to do as a job - haha! I remember when I was about six, I sent a hand-drawn children’s manuscript to Hamish Hamilton, called Tilly and the Flower People. It was about a gang of rebellious tulips plotting a coup against their greedy human nursery boss (don’t ask). One of the editors sent me the loveliest reply - a rejection, obviously, with two bits of advice: 1) Never send your original MS through the postal system and 2) Keep trying.

I actually started my career in a different field, studying screenwriting at the National Film and Television School where I had the privilege of being taught by some of the greats like Stephen Frears, Mike Leigh and Ken Trodd. My graduation film won a couple of prizes on the international film circuit and from there I was picked up by the BBC. I subsequently worked on a few projects, but ultimately none of them were green-lit - another hard lesson in rejection!

JW: What was the first piece of work you put through the submissions process? What was that like?

WW: My first adult submission was for a novel that I believed sat firmly in the genre of literary/upmarket commercial. What I was subsequently told by two agents - who offered me representation - was that I’d written an “unintentional thriller” and could I please make it more of one! I absolutely love thrillers as a reader, but in my heart knew that this was not my natural home as a writer. I also knew that I was in this as a career rather than a one-book thing, and worried how I would follow this, having set up readers’ expectations of my work. As a result, and after much soul-searching, I turned down both offers and started again...

Finding a community

JW: How has having a community of writers around you helped with your writing journey? Do you have any advice for writers trying to find their community?

WW: I think the best thing a writer can do - apart from reading everything you can get your hands on - is to find a group of people who understand you. For writers, that’s other writers because no one else can quite comprehend either why we do what we do, or the struggles of the journey. I was incredibly lucky to discover the Twitter writing community early on, especially the #VWG (Virtual Writing Group) who have been absolutely instrumental in keeping me going, but there are other outlets available too: in-person groups, creative writing initiatives/courses (like Jericho Writers!) Instagram and Facebook.

The best way to find your tribe is to engage with others. You have to put in the effort because writing is a reciprocal act. What I mean is that it’s not just about creating; you’re always looking to find and understand your audience. It’s intimidating at first, but just say hi, offer suggestions to questions, enter competitions or things like #pitmad, #askagent and #WritersLift, or congratulate someone else’s achievements. By and large, the writing community is incredibly generous and inclusive, despite occasional pockets of unpleasantness, and you will be welcomed.

You have to put in the effort because writing is a reciprocal act. What I mean is that it’s not just about creating; you’re always looking to find and understand your audience.

JW: Tell us about Friday Night Live. What was that experience like?

WW: I was a festival novice when I entered and didn’t think I had any chance of being longlisted, so it was wonderful to have that validation. And just entering a competition is an act of faith and bravery, so I have a lot of admiration for anyone that does it. I didn’t reach the shortlist of FNL but my experience with Jericho did lead to me winning the Self-Edit bursary that year, and being noticed in other competitions, so it’s definitely worth putting yourself out there. I will add that the quality and standard of teaching at Jericho Writers is wonderful, but if you can’t stretch to the cost of a professional assessment or a course, the Summer Festival of Writing is a brilliant, affordable alternative that gives you access to some of the greatest speakers and workshops on writing.

The fairytale choice

JW: You submitted to six agents and received four manuscript requests within an hour. You also received six offers! How did that feel? Was the process what you expected?

WW: I’m still reeling, actually! It’s an enormous privilege and a thrill to have that response to your work, but I do think a lot of it came down to timing and a public appetite for more diverse stories. This wasn’t my first rodeo, and I’d been told previously that my writing was sound but my voice was too marginal for the market. Because of this, I was girding my loins for rejection again (and the famously long wait for a response), so to have that turnaround was a bit bewildering. I remember speaking to my friends in the #VWG and saying “X has asked for a meeting. What does this mean?” You always wonder “is this the call?” because sometimes it isn’t; sometimes it’s a request for a revise and resubmit (an “R&R”), but it just happened that all six offered representation. And as much as it was an absolute fairytale situation, I can’t even begin to describe the agony of making a final choice and having to turn people down. It felt really alien to me, and I do think it’s important to remember that agents are people, too, and they are also said no to daily - be that through editors, publishers or sometimes even writers!

I do think it’s important to remember that agents are people, too, and they are also said no to daily - be that through editors, publishers or sometimes even writers!

JW: Rather unusually, you’re represented by two agents. What is your working relationship with them like?

WW: I am incredibly blessed in that department. I have to say that the wonderful Claire Wilson is my primary agent at RCW and helps me day to day with absolutely everything, but Peter Straus has also taken me under his wing and emails me with incredible advice, offers editorial notes, or sometimes just emails to ask if I’m okay. It’s incredibly collaborative and nurturing, as is the whole agency. Claire’s assistant Safae and all at the foreign rights team are also majorly amazing. I’m working on that “difficult” book two now and Peter and Claire have both been brilliant in terms of their insights.

JW: How did the offer from Hodder come about?

WW: Claire drew up a submissions list for both the UK and US. We’d spent the previous five weeks rewriting the manuscript (twice) to try and make it as strong as possible before sending it out as we wanted to catch people before the summer break. The “nos” came quickly, and quite fast, but the fact they were all for different reasons helped me view them as subjective rather than a fault with the book itself. And that’s the thing. A book lives for a long time in these early phases and for that reason you absolutely NEED an editor to be in love with it 100%. Some of the editors were incredibly passionate about the book, but it fell at the acquisitions meeting stage for one reason or another. I do think there’s this misconception that only one person has to love your book for it to be published, but it actually takes a village to get to that finish line.

Luckily, we did have a fair bit of interest from both here and in the US, but when I had my first meeting with Sara Adams at Hodder I knew instinctively that she was who I wanted to work with. First of all, she’d brought her lucky cat to the meeting (haha) but secondly, her whole team was on board already and loved the book. Most importantly, however, Sara understood the story to its bones which is crucial to me as a writer. We were immediately on the same page about what might need changing/tweaking whilst maintaining the heart and integrity of the novel. That combination was irresistible to both me and Claire. And can I just add that I am so glad to have had an agent at that point; not just for the professional connections but for the negotiations that took place after the offers came through. It was stressful enough handling the phone calls, let alone doing all the figures behind the scenes!

A book lives for a long time in these early phases and for that reason you absolutely NEED an editor to be in love with it 100%.

JW: Finally, do you have any tips for writers working on their debut right now?

WW: In much the same way as any creative field, writing is a skill acquired over many years of dedication and training, and the journey is fraught with disappointment and “almost there”s. Keep the faith, but also keep reading and learning. No one can write your story your way, so as tempting as it is to compare yourself to others it’s also counterproductive to finding and loving your own voice. Your voice is what makes you special and uniquely qualified to tell your story. Write with your heart rather than with one eye on the market (you’ll always be behind the curve) and do it as if no one is looking. Find a support network of other writers and be generous and sincere in your praise. Connect with agents professionally and courteously and don’t trash talk on social media, even when you’re at your lowest. And if you achieve your dream, whether that’s finishing a book or being published, or being successfully published, don’t pull the ladder up after you. I wish you all the very best on the journey.

About Wiz

Wiz Wharton is a prize-winning graduate from the National Film and Television School. Previously published in non-fiction, she has appeared on various broadcast platforms, including radio, television, and print media. Her debut novel, Ghost Girl, Banana - based on her mother’s posthumously discovered diaries - is a dual narrative examining the search for belonging and identity, set between the last years of the Chinese Windrush in 1966 and Hong Kong’s Handover to China in 1997. Wiz currently divides her time between London and the Scottish Highlands.

Read more about Wiz on the RCW website;

or on The Bookseller.

Connect with Wiz on Twitter: @Chomsky1

What is copyediting, and why is it a vital part of the writing process?

Before I was a traditionally published writer, I thought that you had one editor. I imagined this editor would give me structural feedback, fix all of my spelling and grammar, and ta da! It would all be ready for the printers. I was wrong, very wrong. Editing isn’t one process; it has several levels to it. In traditional publishing you will receive a structural edit from the editor who has commissioned your work, often a line edit, to check every line to make sure that each sentence is as effective as possible, a copyedit, and finally a proofread.

But whether you are hoping to be traditionally published or are self-publishing your own work, a copyedit can mean the difference between a good book and a great one.

So what is copyediting and why do you need it? Below you will find information on why a copyedit is so important, how a copyedit differs from proofreading, and exactly what a good copyedit involves.

What Is Copyediting?

Copyediting is a process of revision, which focuses on eliminating grammatical and factual errors, ensuring consistency and improved readability.

That sounds straight-forward, yet a copyeditor does more than fix your grammar and dodgy formatting. Yes, they can spot when you’ve written ‘weather’ instead of ‘whether’ and when you’ve accidentally popped an apostrophe for possession in the word its (we’ve all done it!), but they also do so much more.

A copyeditor will notice if you are repeating words. They will spot if in one paragraph you’ve spelled your drink as ‘whiskey’ and in the next chapter it’s ‘whisky’; they might even stop you from writing a sentence that is running on without any punctuation whatsoever so that if you tried to read it out loud your face would be turning blue and you would be on the verge of passing out (see what I did there?).

Consistency also plays a huge part in the copyediting process. Your copyeditor will scour your manuscript to spot if your character’s eye colours change from a glacial blue in the first chapter to a muddy brown in the thirtieth, and those all-important moments where you’ve slipped from first person to third person, then back again.

And then, of course, there’s the dreaded timeline. The word a lot of us flinch at the mere mention of! Yes, your copyeditor will be there, calendar in hand, to tell you that those dates don’t fit correctly with events you have described.

So, let’s look at the copyediting process in more detail.

What A Copyeditor Does

The role of a copyeditor will largely depend on the condition of the manuscript in front of them, where it will be published, and the time/budget available. Their job is to offer revisions of the following key elements:

• Align title order and apply consistency in fonts and headings sizes
• Check and amend spelling and grammar errors
• Check continuity of place/character names 
• Check continuity of character and setting cosmetics
• Improve clarity of language, ensuring the narrative runs smoothly
• Ensure that the correct captions are with the appropriate photograph
• Confirm citations match the content of the reference section
• Highlight potential legal liability, with a view to keeping you and your manuscript safe from possible legal action against you
• Highlight overuse of jargon
• Suggest changes for repetition
• Raise discrepancies in the timeline

When you receive your copy edits back, for the most part, your copyeditor will correct your manuscript digitally with track changes on so you can see exactly where you have made (often laughable) mistakes; remember that character, Brian? Well, you have called him Brain for most of your manuscript, but look, your wonderful copyeditor has ironed out all those Brains for you. Phew!

There are times when your copyeditor will need your input if they are unsure of your meaning, or think rewording a sentence would help make your manuscript run smoothly. They will add a comment on your document to bring this to your attention.

It’s considered quite rare by today’s standards, but should they find themselves working on a paper copy you may find that a copyeditor will use copyediting symbols which a proof-reader may use. In this case, the hard copy would be passed to another editor before it comes to you. At this point some of you may be saying - hold on, I thought a copyeditor was a proofreader? Fear not, my friends, I shall explain all…

Difference Between Copyediting And Proofreading

Remember how I said at the beginning that there are several levels of editing? Well, proofreading is the last one. Once your manuscript has been copyedited, you will now have a revised version of your manuscript. You have agreed/declined their amendments (yes, you can disagree, it is still your book!) it is then time to have a proof-reader examine your work.

You may be thinking - why do I need a copyeditor if it then has to be proofread anyway? 

As we’ve already discussed, a copyeditor’s job is to not only look at spelling and grammar but offer an in-depth scrutiny of your manuscript.

By the time a proof-reader receives a manuscript, it will be an almost finished piece of work; it will have been to typesetting and the pages in front of them (a PDF if it’s a digital copy) will look like the pages in your book.

The job of the proof-reader is to correct any errors that have fallen through the net and they will be focusing on the finished product that is about to go to print. A proof-reader will be ensuring that the house style of the publisher is met. For example, you may have written okay, but your publisher’s house style may be OK. They will look at your page numbers, ensure no pages are missing and even check for repetition of words that sit above each other – often referred to as stacking — in the text.  

At the proofreading stage, there should be no major changes in the text, just the odd one-word correction or possibly a paragraph if it’s deemed necessary. If there are too many errors, a proof-reader may return the proof and request further copyediting. 

In short, a copyedit will contain a vast number of revisions based on the quality of your writing, the content of your story, as well as the layout and any syntax errors.

A proof-reader’s corrections are often minimal as they are working on the final draft of your work.

They are there to put the icing on the cake, to straighten your tie, to make sure your knickers aren’t tucked into your dress before you leave the house.

Why Copyediting Is Important

Copyediting is an invaluable part of the publication process. Without it, you may be sending out a manuscript where your main character is called Brain not Brian, where your characters have the ability to change eye colour at any given time in your novel, and where a year in your work may actually be fourteen months long. You may think your manuscript is ready to be published without a copyeditor, but even the most established and experienced writers make mistakes.

Copyeditors are the quality gatekeepers of the publishing world and may well hold the keys to your success.

How Long Does Copyediting Take?

Writers by and large are an impatient bunch, so how long will you have to wait to have your work copyedited?

For a fairly clean manuscript by a professional author, a copy editor will read approximately 1500 words an hour.

For a less experienced writer on average it would take 1000-1250 words an hour.

If you are thinking of taking the plunge, all reputable copyediting services will be able to provide a quote and an expected delivery date.

Do I Need A Copyeditor?

Whether you are self-publishing or hoping to be traditionally published, copyediting is a vital part of the publishing process. Without it, the quality of your work may suffer and the wonderful story you are telling may be put aside in favour of the enigmatic blue-eyed Brian whose exciting story unfolds over the course of just one year... not a year and two months.

As my own work is currently off to be copyedited, I would like to thank copyeditors everywhere; you are my heroes, and Brian and I are forever in your debt. If your work would benefit from copy-editing, try our copy-editing service. Or, try our line-editing service.

Natalie Chandler began researching and writing her debut novel, 'Believe Me Not', in 2020, and attended the Summer Festival of Writing to build up her confidence before seeking agent representation. She's now represented by Liza DeBlock at Mushens Entertainment, and recently signed a deal with Headline Accent. Natalie kindly shares her story and some words of wisdom here. 

JW: Tell us about finishing your book – where did the idea come from, and how did you go about turning that idea into words on a page?  

NC: ‘Believe Me Not’ was born from a dream, believe it or not (delighted to have got a pun in so early on). I woke up thinking about a disorientated woman trying to find her baby son despite everyone she trusted insisting she didn’t have a child - and the idea just wouldn’t be quiet until I sat down and started writing.  I’m very much a pantser so I had no idea where the plot was going or what was going to happen. But my protagonist, Megan, was already fully formed and she drove the early chapters. I did a lot of research – I hate getting details incorrect – and was fortunate that one of my best friends works in the NHS and she not only patiently answered my countless questions but also put me in touch with other mental health professionals. 

For the first time, I had no other distractions, due to the small matter of the world coming to a halt with a global pandemic. No lunch invites, no exhortations for ‘just one drink’ or weekend getaways. I was writing practically full-time and it was flowing like never before. I had nearly finished the first draft when I saw an advert for the Summer Festival of Writing and decided, since I was Doing This Properly, it would be a sound investment. It turned out I was right. I came away feeling empowered, knowledgeable, no longer a complete amateur – and ready to edit until I could edit no more.   

JW: How did you land your agent?

During the 2020 Summer Festival of Writing, I attended every webinar led by an agent. I wanted to learn as much as I could about submissions before jumping into the fray again, having previously tried to find representation for two earlier novels and been unsuccessful. Jericho Writers provided such wonderful opportunities to, for the first time, really discover the secrets of the industry and I felt much more confident in my submissions package after applying everything I’d learnt. I also booked several agent one-to-ones, which were nowhere near as terrifying as expected! One of the early ones was particularly brilliant. She ripped my opening pages to shreds and it really stung at the time, but when I sat down to work through her deeply perceptive notes, I realised she’d helped me improve tenfold and I was so grateful to her. From then, I had a stronger package to present at one-to-ones and I gained three more full requests from subsequent sessions.  

By this point, I already had six full manuscripts on submission and was prepared to wait to see what the feedback would be when, out of the blue, I saw on Twitter that Liza DeBlock at Mushens Entertainment had opened her submissions that morning. I’d followed Liza for a while and really liked her style so I decided there was nothing to be lost in contacting her. She replied within hours asking for the full manuscript and just over a week later, I was signing on the dotted line in a state of wonder, disbelief and sheer joy.  It had been nearly a decade since I sent out those first tentative letters (no email back then!) seeking representation and I was so thrilled by the opportunity to become part of the Mushens Entertainment family – a dream agency I had followed since its creation – that I didn’t quite dare to believe it was finally happening.  

JW: What was the process of choosing an agent after a number of full manuscript requests?  

Liza was the first agent to call – she read the full manuscript in 48 hours and left me the most wonderful voicemail telling me how she loved it so much she’d stayed up half the night to finish it, which I intend to keep forever! As soon as we got talking, I was amazed by her excitement and her sheer passion for ‘Believe Me Not’. She already understood the characters and themes and we were completely on the same page regarding edits and improvements. I knew we’d clicked but Liza encouraged me to continue talking to the other agents who had the full manuscript and see what their thoughts were. They were all lovely and so encouraging but my gut was telling me I was going to accept Liza’s offer. My partner told me to listen to the voicemail again and said ‘anyone that enthusiastic is going to be your most valuable ally. She’s 100% committed to you and the book and you can’t ask for anything more’. That sealed it for me. 

JW: What is your relationship like with your agent now?  

Wonderful! Editing together was the best experience – the book grew stronger and I learned so much working alongside a talented professional for the first time. Liza’s cup is always half-full and she approaches everything with positivity. She checks in regularly whilst still giving me total autonomy in the writing process, and she always has time for me despite being super busy. I can discuss any problems or concerns with her and know I can trust her advice and guidance.  

My partner told me to listen to the voicemail again and said ‘anyone that enthusiastic is going to be your most valuable ally. She’s 100% committed to you and the book and you can’t ask for anything more’. That sealed it for me. 

JW: So you got your agent, but then what? What was the submissions process like?  

‘Nerve-wracking’ is probably the best description. There had already been interest from a number of editors when I gained representation so we started with a list of twenty initial submissions to mostly Big 5 houses after we’d done two rounds of edits. I knew there are always rejections so I’d steeled myself but we were getting fantastic feedback and after three weeks, the magic word ‘acquisitions’ was whispered. Days later, Liza called with the news that Headline Accent wanted to meet me and was offering a two-book deal – I was really going to be a published author! 

JW: Has everything met your expectations so far, or have there been a few surprises?  

As a debut, I didn’t expect to be given the level of autonomy and control I have.  Even though I’m learning fast, I’m still inexperienced, therefore I’d anticipated more instructions and fewer discussions. I was impressed that my thoughts and opinions are valued and how it has been constantly emphasised that it is my book and I am free to decide what works best. 

Editing together was the best experience – the book grew stronger and I learned so much working alongside a talented professional for the first time. Liza’s cup is always half-full and she approaches everything with positivity.

JW: Has this experience taught you anything about the publishing industry and pursuing your goals?

Primarily, I’ve learned how lovely people in the publishing industry are! Everyone I’ve met has been so generous with their time, advice and encouragement. I’m very grateful. Don’t be scared to ask questions and take every opportunity to learn and network. If being an author is what you really want, understand it won’t happen overnight – sometimes it takes a decade. Stay committed through all the rejections and keep going – write anything, write everything, but keep honing your craft and growing as an author. You’ll feel like giving up many times but never forget you write, above all else, because you love it.  It’s all worth it the moment you get the voicemail that will change your life! 

About Natalie

Natalie Chandler was educated at the University of Durham and currently works in behavioural education, specialising in social, emotional and mental health issues.  Her debut psychological thriller 'Believe Me Not' was written during lockdown and delves into the fractured mind of a woman abruptly diagnosed with psychosis, as she fights to prove the existence of her baby. 

'Believe Me Not' will be published by Headline Accent in March 2022. Natalie is represented by Liza DeBlock at Mushens Entertainment and divides her time between London and the rural North of England. 

Entrepreneur and Jericho Writers alumna Jan Cavelle is phenomenally successful, having grown her own 20-year-strong business from scratch and published a book of expert insights into growing a business, ‘Scale for Success’, with Bloomsbury in 2021. Whether it’s a business or a book, the journey is never easy - and Jan kindly shares her experience of non-fiction publishing with us here.  

January 2020 seems a different world away for all of us.  I was paying little attention to tales of an old lady dying of some unknown disease in remote China.  In fact, I had gone off-grid, telling no one what I was doing.  It was too big, too heart-stoppingly important to me.   

One chilly day that January,  I hauled myself upright at around three in the morning and drove to London, terrified of missing my appointment.  I spent most of the four-hour wait in a tourist hotel pushing congealed eggs around my plate and wondering just how many cups of tea it was possible to drink.  Finally, I walked around the corner to the hallowed offices in Bloomsbury Square to stare in awe at the Harry Potters on display in reception.  

I had gone off-grid, telling no one what I was doing. It was too big, too heart-stoppingly important to me.

But let me take you back a little.  My childhood dream was to write a book, but life and, as a single parent, an abrupt need to make a living took over.  I started a business on a shelf under the stairs in our tiny Victorian cottage and, from non-auspicious beginnings, grew it to something mid-size.  Single parenthood and solo-entrepreneurship are both a recipe for isolation, so it would be years before I met other entrepreneurs. 

Entrepreneurs are an interesting bunch.  They come from all sorts of backgrounds and work in virtually every sector.  They are hugely driven, often obsessive, yet the majority are far less judgemental, far less worried about who they are talking to, and more interested in the quality of what is being said.  Most – definitely not all, but most - are highly intelligent and have great stories to tell. 

By chance, I saw a business publication advertising for a blog writer. Remembering my writing dreams,  I answered, and thus started a decade of writing for a digital publication called Real Business.  I also joined Jericho Writers. 

When I finally parted company with the business, my first thought was retirement.  It took about two weeks for me to miss writing.  

I went back to writing articles, but the dream of a book still niggled.  I started working my way through the Jericho Writers resources, focussing on the merits of attempting either self- or traditional publishing.   

It took about two weeks for me to miss writing.

I had decided to write about sales, my strength - and with the confidence I gained from the articles, I was somewhat cavalier about the writing.  However, to play safe, I submitted my first draft to be assessed by one of the Jericho Writers team.   My editors had always been rather nice to me, so I was unworried when it came to the feedback phone call.   

By five minutes in, I was having to ask for a couple of minute's break because I was crying so hard that I couldn't actually hear. The expert tore it to shreds.  The concept was wrong, the writing careless on fact and atrocious on style. 

It was the very definition of tough love.  It says much for my love of writing that I kept going, and much for his judgment that when I re-visited the manuscript a few months later, I was beyond appalled that I had even considered anyone reading it.   

Chastened, I wrote another manuscript.  I followed all the instructions on the Jericho Writers website and researched likely agents and publishers.  I treasured the reply that told me it was well written (but not for them).  Elsewhere it was silent.   

Relaxing in the glorious summer of 2019,  I had another idea.  People often advise you to write about what you know, and what I know best is how hard it is to scale a business.  I also knew that it is a business stage that many people struggle with.   Suddenly, I realized I had a subject that could potentially be of genuine use to a reader, unlike my somewhat self-interested previous attempts. 

My problem was that I was no expert.  But I did know other people who had achieved the leap successfully.  I started off by attempting to interview friends and get their expertise.  Not an easy experience, with both parties in unfamiliar roles and keen to get back to the usual bottle of wine. 

I dug out old contacts, people who I barely knew.  I trawled the net endlessly for businesses that looked on an upward curve.  A massive hulk of a book, going from start-up through scale-up, started to take shape. 

People often advise you to write about what you know... Suddenly, I realized I had a subject that could potentially be of genuine use to a reader.

At around three-quarters of the way in, I realized that I had forgotten the trad vs self-publishing quandary, and worse, I now had an obligation to do something with this thing to the people who had kindly given their time. 

Back to my Jericho Writers knowledge bank, I went.  I knew that many of the people interviewed would be less than impressed unless it was traditionally published.  Old school, perhaps.  I spent a month putting together three submissions.  The one to Bloomsbury bounced back on my email.  

That bouncing email was the wild piece of luck that we all need from time to time.  Tired and frustrated, I sent a quick tweet off to Bloomsbury to tell them the email was down. It was just before Christmas, so perhaps it was the festive spirit,  but I received a charming reply suggesting I send a brief outline of what I had been trying to send through to the respondee's personal email. 

I thought no more about it.  Other publishers, too, were notably silent.   I was dumbfounded over Christmas to receive an invitation to come into Bloomsbury's offices. Hence finding myself pushing around the congealed egg in January. 

The initial meeting was held in a room full of would-be writers, all of them having the weaknesses of their proposals pointed out to them by the editors.  The size of my project was demolished as being far too broad and my use of UK entrepreneurs was no use to a global publishing house.  I argued - I can split it.  I can get other entrepreneurs. 

I was packed off to the country to form a submission.  Luckily I could still draw upon Jericho for it.  I muttered "possibly for Bloomsbury" into the ears of overseas entrepreneurs and found it a magic key to get them talking. 

Hearing back is not a quick process.  The book had to be approved by several layers of international hierarchy.  At each stage, I was genuinely stunned and delighted to have got that far.  Finally, however, a contract was offered, and I was on my way to being (magic words) a published author. 

I muttered "possibly for Bloomsbury" into the ears of overseas entrepreneurs and found it a magic key to get them talking.

'Scale for Success' came out in February 2021 in the UK and July in Australia and America.  It contains the stories and wisdom of 30 genuinely amazing people from across the globe.  I didn't want to go for the Bransons or the Musks (not that they would have talked to me either), but I wanted relatable people, and I am still stunned by their stories. 

Working with a range of people meant a vast amount of extra work.  They all had to be found, convinced that the idea was good, interviewed, and their approval of what I had written obtained.  If I hadn't so loved hearing their stories, it would have been a nightmare. 

Non-fiction is unbelievably overcrowded.  The self-publishing market has gone wild under the "a book is your business card" mantra.  Looking for a backup plan, I spoke to a few of the publishing coaches who take a fat fee for helping you self-publish.  All were confused by my expressed desire to write "a good book." 

Entrepreneurs of decidedly mixed-level writing skills are employing hugely expensive PR companies to tout them as the next Tolstoy.  There is little chance to compete in the sunshine with that if you are writing for the love.   Reviews on Amazon are so precious – I can read the stars but haven't got the nerve to read the words. 

As for the future, I am having a bit of a ‘what-now’ moment.  I produce a stream of business interviews and articles for my website and other publications, but I would love to do another book. Whether Bloomsbury or any other publishing house would love me to do another book is something for the future. 

About Jan

Jan Cavelle is a writer and entrepreneur who successfully grew and ran her own business for over 20 years. She was chosen as one of the first 50 Female Entrepreneurial Ambassadors to represent the UK in Europe and has been invited to speak on Newsnight. Jan contributed to Real Business for many years and her first book, ‘Scale for Success’, was published by Bloomsbury and cited by publications such as Elite Business, Irish Tech News, Medium, and the Undercover Recruiter.  

Find out more about Jan here.

Buy ‘Scale for Success’ from Bookshop.org here.

Interested in Creative Non-Fiction? We offer a six-week crash course that could be the perfect way in to your new project.

Read about finding an agent for your non-fiction here.

Learn how to write a non-fiction book proposal here.

Getting rejected by literary agents? Here's what to do next.

It isn’t easy, to become a children’s book author. From deciphering endless submission requirements to learning that your dream children's book publisher doesn’t accept submissions from authors without an agent, it can be difficult finding the right home for your work.

In this article, I will endeavour to make the process of getting a children’s book published a bit clearer for you, as well as include my top picks for children’s book publishers. Because let’s face it, there are a lot of options out there, and you should be armed with the best possible knowledge out there.

You’ll learn the submission requirements for some of the top children’s book publishers, as well as some examples of children’s books these companies have already published so that you can choose a publisher that aligns with your current book. 

Still plotting your next book and unsure if you are writing at a level that’s optimal for children? I encourage you to read our existing post regarding everything you need to know about creating a children’s book, from start to finish!

Now, onto the publishers.

Best Children’s Book Publishers

Before I discuss some of the top children’s book publishers and their most successful children’s books, I should note that not all children’s book publishers accept submissions directly from authors. Some only accept submissions from literary agents, and you should keep this in mind before falling in love with any one publisher.

It is also important to know which category your work falls under. While this may not seem necessary right away, some publishers may only be looking for certain submissions at certain times. And some children’s book publishers may not even accept certain varieties of children’s books. 

The most common submission types are as follows: 

• Children’s fiction
• Children’s non-fiction
• Children’s picture books/board books

Of course, you can also further divide children's fiction and nonfiction by age group/demographic (middle grade fiction and nonfiction, YA/young adult books, chapter books etc), and by genre too (fantasy, action/adventure, romance etc) which further complicates the process of researching children's book publishers.

If you are unsure if your current manuscript meets any of these categories, you may wish to consider our Children’s Manuscript Assessment program. Through this editing service, our  team of editors will read your entire manuscript and give you structured editorial feedback that you can use to craft your work into shape. If your editor thinks your work is ready, we’ll also help you find the right agent, for free.

Now, let’s get onto the children's book publishers. Keep in mind that the following is only a summary list of some of the best children’s book publishers and that many more exist. I do hope that one of these choices suits your publishing needs perfectly!

1. Bloomsbury Children’s Books USA

With offices around the world and prominent publishing houses in both the US and the UK, Bloomsbury Books is a top contender for children’s book publishing. Established in 1986, Bloomsbury has many popular children’s book authors across every age group. Their YA fiction has grown increasingly popular, their authors often topping the New York Times Bestseller list.

Their kid’s division covers all books for any age, from picture books to young adult novels. Bloomsbury is known for publishing high fantasy YA fiction and heartwarming tales that help provide kid-friendly entry points into emotional intelligence topics. Some of their most popular authors and series are Ruby Finds a Worry by Tom Percival and Defy the Night by Brigid Kemmerer. 

The unfortunate news is that, unless you have a YA book ready to go, Bloomsbury only accepts submissions from a literary agent. However, feel free to take a look at their website for any more useful information, including their various adult and children’s book authors.

2. Houghton Mifflin Harcourt

Houghton Mifflin Harcourt, known as HMH for short, has gone through a few changes in its recent past. Now known as either Clarion Books or Mariner Books, this company has been a mainstay in children’s publishing since 1832. From board books to graphic novels, HMH publishes just about any children’s book you can think of.

HMH has worked hard to develop programs for more unique voices in publishing, including new authors in their children’s publishing division. Entitled VERSIFY, this fantastic publishing program reflects a need for accessible and powerful prose and poetry—in children’s picture books, novels, and nonfiction. HMH strives to publish work that can celebrate the lives and reflect the possibilities of all children.

For the most part, HMH is an agent-only submission publishing house. However, their VERSIFY program does accept unsolicited submissions during certain parts of the year. Learn more about HMH and its various submission opportunities here. 

3. Holiday House

Established in 1935 as a publishing company for young readers, Holiday House is a wonderful organization to submit your children’s book to. Their books are processed and distributed as a division of Penguin Random House, and they publish children’s books from ages 4 and up. From picture books to nonfiction informational handbooks, they are publishing some of the most creative and educational children’s books out there.

Given their commitment to education and teaching children about major childhood themes, their website’s search engine for currently published books is in-depth and informative. From young readers books such as Lunch Box Bully by Hans Wilhelm to riveting and humorous YA fantasy like the Devil series by Donna Hosie, Holiday House no doubt publishes something for every kid in your life.

Holiday House does indeed accept unsolicited submissions, which is great news for those of you without an agent. They don’t have the time to respond to every submission that they receive, but they will of course reach out if your manuscript interests them. You can learn more about their variety of books, list of awards received, and their submission process here. 

4. Chicago Review Press

An independent publisher founded in 1973, the Chicago Review Press strictly publishes nonfiction, including an award-winning selection of children’s nonfiction. They are firm in their desire when it comes to children’s picture books: they do not accept them, whether fiction or nonfiction. However, that doesn’t mean you are completely out of luck. If you have a fantastic nonfiction book for children, their submission process is clear and easy to follow on their website!

While nonfiction children’s activity books are their bread and butter, their topics range broadly, from the history of American environmentalism all the way to Salvador Dali. There are a lot of perks to publishing with a small independent publisher, including the fact that they accept unsolicited submissions without an agent. If your book fits the niche that is the Chicago Review Press, they are an award-winning publisher that would be happy to have your nonfiction children’s workbook!

5. Flashlight Press

Looking for another publisher searching for very specific submission guidelines? Check out the specificity needed from Flashlight Press, a children’s book publisher hunting exclusively for books that explore and illuminate the touching and humorous moments of family situations and social interactions through captivating writing and outstanding illustrations. What does this mean, exactly?

Well, if your book targets 4–8 year olds, is under 1000 words, and has a universal theme fitting with many other Flashlight Press titles, you may have found a home for your book! Their titles vary wildly in themes, but all of them have to do with childhood themes and concerns. All of the books tend to tackle these themes with a sense of humor, such as I Need My Monster by Amanda Noll, and Carla’s Sandwich by Debbie Herman. 

So long as you are familiar with the rest of Flashlight Press’s work and think your book has a similar thematic feel, their submission process is easy. Feel free to submit without an agent too, and check out Flashlight’s website here.

6. Simon & Schuster Children’s Publishing

An American publishing company started in 1924, Simon & Schuster is a powerhouse, capable of publishing 2,000 titles annually under 35 different imprints. Their children’s publishing division is just as lauded and award winning, and they publish just about anything ages 0-12 as well as everything young adult. 

There’s no shortage of award-winning selections published by Simon & Schuster, including the ever-popular To All the Boys I’ve Loved Before series by Jenny Han, and the City Spies series by James Ponti. Simon & Schuster may not be the easiest publishing company to publish with for your first book, especially because they don’t accept submissions without an agent. However, they should definitely be a publishing company to reach for as you grow as a children’s author! Learn more about them here.

7. Chronicle Books

San Francisco-based favorite Chronicle Books has a wonderful eye for the unique and aesthetic storyteller. Their children’s books are beloved and unique, and this small independent publisher receives more than 1,000 submissions a month for their YA department alone! They publish most children’s books ideas, including activity books, art books, board books, picture books, chapter books, young adult, games, and gift and stationery items.

While they accept a wide variety of children’s publishing themes, it is important to note that, since Chronicle receives so many submissions, they are hoping for the most unique and innovative stories out there. No pressure, right? At any rate, check out their submission process and desires here!

8. Ladybird Books

UK-based and another division of the Penguin Group, Ladybird books is perfect if you’ve got a bedtime story to tell. Their lineup of children’s books is primarily geared toward younger audiences, from toddlers to roughly age ten. They have many award winning series published under their name, including many Peppa Pig books. 

Their offerings also include a long list of informative nonfiction titles, such as books about the human body and our natural world. While publishing for any division of Penguin may seem complicated at first, they have provided an easy to read guide regarding their submission process. I believe having an agent would be useful if you are hoping to submit to any Penguin Group. 

9. Quirk Books

Looking for a smaller publishing agency for your unique and captivating children’s book? Publishing only around 25 books a year, Quirk Books is based in Philadelphia and is searching for the most original, cool, and fun ideas out there. Is your book creative enough for Quirk? It’s one of my favorite publishing companies, having taken the helm on series such as the Miss Peregrine anthology by Ransom Riggs.

Quirk Books has a very informative and helpful submission page, found here. They have clearly outlined books that they are interested in, as well as appropriate emails for your submissions. From popular YA series to nonfiction books for young readers, Quirk publishes just about anything, so long as it’s quirky.

10. August House Publishers

A more traditional publishing company, August House Publishers are seeking children’s book authors committed to folktales, diverse and memorable. They enjoy stories from many diverse backgrounds, as well as stories that work well as oral tales, stories meant to be passed on from generation to generation. They also have a soft spot for scary stories and stories that can be used in a classroom environment. 

August House is committed to children’s publishing, and there’s no shortage of awards gifted to them for such a commitment. If you have a picture book made especially for young readers or a story related to folktales, stories from the oral tradition, stories from diverse cultures, scary stories and resource books about using stories or storytelling in the classroom, August House Publishers may be the right choice for you. You can email them and learn more about their submission process here.

More Great Children's Book Publishers

11. Macmillan Children's Books

12. Hot Key Books

13. David Fickling Books

14. Balzer And Bray

15. Quarto Kids

16. Usborne Publishing

17. Hachette Children's Group

18. Little, Brown Books

19. Scholastic, Inc.

20. Lerner Publishing Group

Frequently Asked Questions

Who Is The Biggest Publisher Of Children's Books?

There are several big children's book publishers, including: Bloomsbury; Simon & Schuster; Ladybird books; Macmillan Children's Books; Usborne Publishing; Hachette Children's Group; Scholastic, Inc.; and Little, Brown Books.

How Do You Submit A Children's Book To A Publisher?

To submit a children's book to a publisher, you first need to decide whether you want to find a literary agent first, contact the publisher directly (rare, but not impossible), or self-publish. It's helpful to do some research beforehand to find out where your book fits in the market (in terms of age range, genre, hook etc). Then, ensure your manuscript is as well-edited and finely tuned as you can make it, and then proceed to query agents, contact publishers, or begin the self-publishing process; whichever is applicable. Make sure that you carefully read the agent's/publisher's submission guidelines before sending your work to them.

How Long Does It Take To Publish A Children's Book?

As with any book, it can take quite a while to publish a children's book. Between coming up with the initial idea, planning, writing, researching, editing, and contacting literary agents/publishers or self-publishing, it requires a lot of time and effort. How much time varies widely on a case-by-case basis, but, from start to finish, it generally takes around 1-3 years. Of course, this is an approximation, and some books are published in far less time, while others take much longer to be published. Whether you choose to be traditionally published or self-published also makes a big difference.

How Much Do You Make Selling A Children's Book?

How much authors make from writing a children's book depends on whether they've already published successful books or have an existing audience, whether they have foreign rights, and even things like how recently the book was released can affect sales figures. Writers generally get an advance; the amount of which can vary based on the popularity of the book's topic, whether they're a first time author or an experienced one, and many other factors. If the book has illustrations, the author will split the royalties with the illustrator (unless the author is also the illustrator), so they will both get around 3.5-6% of the book's sale price, rather than 7-10% royalites for the author of a non-illustrated children's book. If you have an agent, a proportion of your royalties will also go to them.

Conclusion

While I hope you found a few excellent children’s book publishers from this list, do keep in mind that there are many more that are worth your consideration. Whether you have an agent or not, there are always publishers seeking the best new stories out there. Yours could very well be one of them!

What are some of your top publisher picks for your children’s book? Are you still crafting your book? I encourage you to take some time exploring our website for many publishing resources, and perhaps consider joining the world’s leading online writers club! Happy writing!

Aliya Ali-Afzal became a member of Jericho Writers in 2019, signing with her agent in 2020. Aliya’s debut novel, ‘Would I Lie to You?’, will be published by Head of Zeus in the UK and Grand Central Publishing in the US in July 2021. Having already proven to be in-demand at auction, it looks set to be incredibly popular. Aliya is represented by Juliet Mushens of Mushens Entertainment. We spoke to her about the working relationship between author and agent, and the surreal experience of choosing a publisher from an online auction.  

JW: Hi Aliya! Great to talk to you. We’re really intrigued by the concept of your debut - where did the inspiration for ‘Would I Lie to You?’ come from? 

AA: The initial inspiration came from something that happened in my own life. I had been on a big spending spree, and when I got home, my husband called to say he had lost his job. I felt a surge of panic - then guilt - as I thought about all the money I had spent, especially as my husband didn’t know about it. This sparked the idea about what would happen if someone had spent a lot more in secret, and unless they could put that money back quickly, they risked losing everything. 

I’m fascinated by human nature and when I worked in London as a career and life coach, I saw how people’s sense of self can sometimes get caught up with how much they earn and what they have, rather than who they are. I also wanted to explore what happens after someone makes a terrible mistake. Can we ever put things right and can others ever forgive us?  

JW: How did Jericho Writers membership help you with your writing journey? 

AA: I became a member of Jericho Writers in the Spring of 2019, when I had just started editing my novel. I listened to every single podcast and video in the resource library! There’s a really broad range of topics covered including plot, characterisation, editing, writing cover letters and synopsis. I also loved watching Slushpile Live. 

In September 2019, I attended the Festival of Writing in York for the first time and loved the panels and workshops. In my one-to-one session the agent asked for the full manuscript, which was an incredible boost for my confidence. It was also very helpful meeting other writers who shared their experience and tips about the submissions process. I felt inspired by hearing stories about writers who had found agents, after countless rejections! 

All these things helped enormously when I started submitting in November 2019 - which resulted in me signing up with Juliet Mushens in January 2020. I would recommend that writers sign up with Jericho Writers immediately! 

"I became a member of Jericho Writers in the Spring of 2019, when I had just started editing my novel. I listened to every single podcast and video in the resource library!"

JW: In what ways have writing groups helped you along in your journey to publication? 

AA: Our group meets every fortnight to give honest feedback, help with plot ideas, synopsis, advice on cover letters, agents, and publication. We also provide each other with that other vital ingredient for writers- moral support! The group has been invaluable and feels like having my own personal hotline whenever I need help! 

Knowing each other’s work intimately, we feel comfortable enough to point out things that could be improved or are not working. By workshopping regularly, we also shift the focus from writing being ‘good’ or ‘bad’, to work that is simply being edited and improved. This is an important distinction. As well as learning how to give clear, productive feedback, it is important to know how to receive and process feedback too. Over the years, I’ve almost developed an intuition about which feedback I want to take on (often something that most people in the group agree on), and which elements of the feedback I disagree with. After a while, you learn to trust your own instincts as well, and it is important to be able to reject feedback sometimes too, even if you value and accept it most of the time. 

"[We] provide each other with that other vital ingredient for writers- moral support! The group has been invaluable and feels like having my own personal hotline whenever I need help!"

JW: Can you tell us about how you found representation with Juliet Mushens? 

AA: Juliet was my dream agent and there were several reasons why she was at the top of my list. I knew that she represented some incredible writers, who all raved about what a great agent she was. She was super successful and brilliant at her job, but also seemed very passionate about it, which I admired. I followed her on Twitter and found that we shared a similar sense of humour and a love of beautiful dresses, which also convinced me that she would be my perfect agent! 

I attended an excellent Guardian masterclass that she presented on how to find an agent, but was too shy to go and introduce myself or even ask a question. I did, however, take lots of notes! By the time I submitted to Juliet via the slush pile, I had done months of research about her wish list and wrote a targeted and personalised cover letter. Juliet asked for the full manuscript the same day that I submitted to her. Five days later, she emailed me to offer representation. It was, without doubt, the best email I had ever received in my life! 

In total I submitted to five agents and it took me seven weeks to find representation. I had expected it to take months, even years, so I was blown away at the speed at which it all happened. Some of this was of course down to luck and timing too, but I think it also helped that I did months of research, preparation and hard work before I started to submit.

JW: What’s your working relationship with your agent like? What do you think are the benefits of having an agent? 

AA: Juliet is an incredible, extraordinary agent. Despite being insanely busy, she is always available for me and makes me feel as if I am her only client! She is direct and honest in her communication and I love that – I'm the same and I feel comfortable saying what I think to her. We also instantly got on when we met, so I really enjoy working with her too. 

The most valuable aspect of having Juliet as my agent is that I absolutely trust her opinion on both business and creative matters. I have consulted her throughout the publication process and value her advice. This is especially important as a debut, when you can feel out of your depth. 

Juliet is also a brilliant editor, and gave me extensive editorial feedback. I love brainstorming with her, and it helps that we are both obsessed with working on the manuscript until it's perfect, however many rounds of edits it takes! 

"Juliet asked for the full manuscript the same day that I submitted to her. Five days later, she emailed me to offer representation. It was, without doubt, the best email I had ever received in my life!"

JW: Can you describe the auction? 

AA: It was a surreal and very exciting experience. Under normal circumstances, we would have visited each publisher’s offices for the auction, but under lockdown, everything took place on Zoom. Each publisher’s entire team- editorial, marketing and publicity - pitched to me and Juliet, showing us presentations about their publication plans and creative visions for ‘Would I Lie to You?’ We also chatted to see how we got on. 

After years of wondering if I would ever get an agent or any interest at all from a publisher, I suddenly had three publishers, each wanting me to choose them! It was a great feeling to have these amazing publishers telling me how much they loved my writing and discussing my characters with me. It boosted my confidence enormously, both in my writing and in my story. Juliet debriefed me after each pitch and outlined all the factors I needed to consider before making my decision. 

JW: Do you have one last piece of advice for the JW members? 

AA: Prepare, prepare, prepare, before you start to submit! 

About Aliya  

Aliya Ali-Afzal is studying for an MA in Creative Writing at Royal Holloway, University of London, and studied Russian and German at University College London. She is an Alum of the Curtis Brown Creative novel-writing course. Aliya lives in London and is a career and life coach.  

Get Would I Lie to You? from Waterstones

From Bookshop.org

From Amazon

Follow Aliya on Twitter: @AAAiswriting 

Paul Braddon discusses the publication process for his debut sci-fi/speculative fiction novel, ‘The Actuality’, published by Sandstone Press in 2021 and optioned by BBC Studios.

Paul’s connection with Jericho Writers began with a series of manuscript assessments by Liz Garner. Paul also attended our Festival of Writing for several years and was shortlisted for Friday Night Live in 2013. He got his agent in 2018, and you can read about his journey to finding representation here.

Set in a crumbling future England where human life has been bioengineered and subsequently outlawed, ‘The Actuality’ follows Evie, an example of near-perfect AI, as her hiding place is exposed and she is forced to take to the streets and make critical judgements about who she can and can’t trust.

We loved that alongside explicit sci-fi themes, ‘The Actuality’ has notes of philosophy and human psychology which invite the reader to question what sets humans apart from machines. Its pace and journey-led structure would make it ideal for television.

We sat down with Paul to discuss his debut, his experience working with his publisher Sandstone Press, and what it was like to have his work optioned by BBC Studios.

JW: Hi Paul! When we last spoke, you had recently been signed by your agent. What role has she played since she took on ‘The Actuality’?

The first thing Joanna (Joanna Swainson – Hardman & Swainson Literary Agency) helped with was making the manuscript as attention grabbing as possible. One of the challenges was ensuring that none of the tension dissipated during the opening chapters. To achieve this, I made sure that a reference to accumulating events appeared on every page. We also added a prologue to provide a foreshadowing of events and a chilling strapline (‘Fear makes her human / Humans make her fear’), which is now on the front cover of the hardback.

Once the manuscript was ready, Joanna drew up a list of editors to approach and sent it out. We had favourable feedback from quite a few but Sandstone Press was first to the table with an offer. Joanna called to let me know in April 2019 – it was my birthday and the best birthday present I could have had.

We were very happy to go with Sandstone. They’re a great indie publisher and having recently won the ‘Not the Booker’ with the dystopian ‘Sweet Fruit, Sour Land’ by Rebecca Ley, were keen to build a thread around speculative fiction. They had great ideas on how ‘The Actuality’ could be given a final polish and their enthusiasm was infectious. It took a few weeks to finalise the contract, with negotiations handled by Joanna, and then it came through to me to sign.

JW: What has been the subsequent process of working with your publisher?

Once the UK and Commonwealth rights had been acquired by Sandstone, the editorial work began. My editor, the talented Kay Farrell, gave me as the main challenge the reordering of section 4 (the novel is in five sections). She was absolutely right – the flow here was not working as well as it could. After spending a few weeks on a revised draft, I returned it and to my huge relief, had nailed it.

The manuscript was then passed back and forth a half dozen times. It was all small things, like she’d challenge why a character was behaving in the way they were and I’d go back into a scene and try to understand her concerns. It was down to me to find solutions and make the changes. Kay’s role was to challenge but I’d usually find that she was right, and an improvement could be made. By October 2019 we had an agreed draft ready for proofreading.

The proofreader – Georgie Coles – did an excellent job tidying the punctuation and ensuring consistency. Her changes were largely invisible – just as they should be – but afterwards the novel felt slicker and smoother.

The cover then went out to the designer. I was asked to contribute ideas but had no expectation of what the creative mind of Heike Schüssler would come up with. The trade loves ‘different’ and her eye-popping, all-the-best-colours-from-the-children’s-paint-box design has garnered praise from all quarters and has been successful in heralding the novel’s literary ambitions. Christina Dalcher – author of the bestselling ‘VOX’ – submitted a lovely review and from it, the word ‘Exquisite’ was taken and added to the front cover.

Next came typesetting and I was sent a pdf to check. Whenever I read the text through, I saw little things I wanted to change and although at this stage I wasn’t meant to be doing anything other than checking for typesetting errors, I persuaded Kay to allow me a few more tiny edits.

Arrangements for the audiobook were also now completed. Sandstone don’t publish audiobooks themselves but sold the rights to W.F Howes – the audiobook specialist. The audiobook for ‘The Actuality’ is now complete and is read with great sensitivity by the actress Eva Feiler. Having been used to only hearing myself read my words, it’s such a pleasure to hear them spoken so movingly.

In January 2020, I met with Ceris Jones, the Sandstone marketing exec, to discuss promotional plans, including the venue for the launch event – we were assuming a central London bookshop – and in the background I was compiling a list of attendees…

…which is when the virus struck!

Initially Sandstone tried to stick with July but when it became clear that bookshops would be closed, deferred publication to February 2021.

The delay was a disappointment but also a silver lining, as it allowed time for an option for the TV/Film rights to be sold to BBC Studios, helping create a buzz ahead of publication.

In the leadup to publication, social media activity has mounted. ARCs (Advanced Review Copies) have been sent out to reviewers to drum up excitement. One highlight is a piece on the BBC Culture website which positions ‘The Actuality’ in the footsteps of Mary Shelley’s ‘Frankenstein’. I think this is lovely and works on so many levels, not least in that there is indeed something of the gothic heroine in my ‘electric’ character Evie.

The revised date for publication – Thursday 18th of February 2021 – is now upon us. As before, bookshops remain closed, but Sandstone have gained experience with online events and we have a Q&A on Twitter planned for lunchtime – plus hopefully an evening event to follow soon. I will also definitely have a proper launch party when circumstances allow and the wine can be safely shared around!

‘The Actuality’, Paul Braddon. Sandstone Press, 2021.

JW: How would you place ‘The Actuality’ within the sci-fi/speculative fiction market? 

‘The Actuality’ straddles sci-fi / dystopia and literary fiction. What is rare about it, is that the story is presented through the point of view of the AI and maybe because of this, reviewers have engaged. In the words of The Publishing Planet:

‘As an exceptionally designed and advanced AI, Evie is outside the category of human but feels like the most human character in the book. Braddon’s ability to write about this rough and brutal world through the eyes of such an elegant and honest character is beguiling.’

I love that they love her.

JW: The world in the novel is quite bleak – does this reflect your perception of what the future could be like or are you more optimistic?

The setting of ‘The Actuality’ is 2135 and the impact of climate change has taken its toll on the environment and society. The UK has fragmented, suffers bitter winters and baking summers and the population has drastically shrunk as a result of a decline in fertility caused by unchecked pollution. All of this is completely plausible.

However, our potential saviour is science – technological advance has created this mess, but it is quite within our wits to use further advances to find our way out. The rapid growth of electric vehicles is testament to this and the implementation of artificial intelligence will enable machines to aid us in the quest.

JW: In very exciting news, ‘The Actuality’ has been optioned by BBC Studios! Can you explain what the process has been like so far? 

It was amazing getting the news that we had an offer for the TV and film rights from BBC Studios. Joanna spotted the screen potential of ‘The Actuality’ right from the start. Her agency works with a specialist dramatics rights agent called Marc Simonsson who has all the studio contacts here and abroad and had been championing it, albeit the crucial lead came from a pitch made by Sandstone, with Marc expertly negotiating with BBC Studios to close the deal. The great thing about being optioned at this stage is that it gives us valuable pre-publication publicity.

JW: What’s next for you, and how are you approaching new projects?

‘The Actuality’ was written as a standalone novel but the potential to develop the story is part of the appeal to BBC Studios and if a TV series is commissioned I might well revisit Evie’s world. I love dystopian/speculative themes and hope to work more in this genre. The novel I am currently working on however is a bit different – I’d love to say more because I’m very excited by it, but it’s early days and I can’t risk jinxing it!

From Paul’s Agent, Joanna Swainson (Hardman & swainson Literary Agency)

JW: Hi Joanna! Thanks for chatting to us. What was it about Paul’s manuscript that originally drew you to it?

JS: I was initially drawn to Paul’s manuscript by the prospect of reading a novel set a hundred years in the future, in a ‘broken down England where technology has lurched forward then all but seized up’. This was how Paul described it in his pitch and although it sounds depressing, I immediately saw a vivid backdrop to a story with wonderful potential for exploring human nature. And then as soon as I started to read, I was hooked in by the atmosphere he creates and the protagonist, Evie, a beautifully drawn character who kept surprising me.

JW: As an agent, what kind of thing are you looking for right now?

JS: As an agent, I’m genuinely open to representing a wide range of fiction and non-fiction. Particular areas of interest in fiction are novels which explore the darker side of human nature, so crime and thrillers and horror (and folk horror). But I do also like funny and uplifting, too! And in fact, I think a book should put a smile on your face, whether it’s through humour itself, or irony, or sheer ingenuity of character or writing or whatever it is. We’re here to marvel and be entertained. I’m also a big fan of history and folklore, whether in fiction or non-fiction.

JW: Could you comment on what it’s like pitching work in the sci-fi/speculative fiction market right now?

JS: There are possibly slightly fewer editors you can approach for sci-fi/speculative fiction but pitching into this market is much the same as pitching in any other – it’s tough out there, but if the work is amazing then it should get the deal. If it’s speculative with cross over (i.e. book group or literary or other categories) appeal, then all to the better. But then sometimes you don’t really know if it will cross over until it’s published and embraced by the masses and it very much depends on how a publisher positions a book too.

About Paul Braddon

Paul Braddon lives in London with his wife Mary and son Thomas. He got the writing bug after coming runner-up in an essay competition as a teenager and went onto study English Literature at Reading University.

You can check out Paul’s website here and follow him on Twitter here.

Links to buy ‘The Actuality’:

From Sandstone Press

From Amazon

From Bookshop.org

Hardman & Swainson Literary submissions information here.

Got a manuscript ready to submit? Our renowned AgentMatch database has up-to-date information on every agent in the UK and US – perfect for compiling your shortlist.

We first met Steffanie Edward in 2018 when she became the first recipient of our Self-Edit Your Novel Course bursary.

Two years later, we caught up with Steffanie to find out what it’s been like to sign her debut contract with a digital-first publisher, without the help of an agent, discuss writing for oneself, getting past the first draft, and, of course, her fantastic achievement with Bookouture.

JW: Lovely to chat with you. Where are you at with your writing process right now?

S: At the moment I’m doing structural edits – it’s all new to me. I’ve had my work looked at through manuscript feedback, but it’s nothing like this. Structural edits are much more detailed, and all in your hands. Rather than being given specific suggestions on where and how to make changes, you’re tackling specifics where you have to read the whole novel again and again to tweak and implement changes. It forces you to go deeper into your characters, makes you interrogate who they really are and why.

JW: Your debut, ‘This Other Island’, comes out in May 2021. What can readers expect from it?

S: It’s fresh, it’s different. It has lots of twists, turns, and surprises. Working with my editor, Isobel Akenhead, is helping me produce a novel which will have the biggest impact on readers it can possibly have, and I’m loving it.

JW: How did you land your book deal?

S: I was submitting to so many agents and just getting nowhere. Three or four of them said nice things in their rejection, but it was still a rejection. Then I signed up for a book surgery offered by Peepal Press. It was suggested that mine was quite a common journey for black writers – they often end up at independent presses because they can’t get an agent, and so it was suggested that I tried submitting to independent presses, like Peepal Press. I felt quite demoralised, but I submitted to a few independents. And then the Jericho Writers Summer Festival of Writing came up. I watched the Bookouture interview with Jenny Geras, and thought, ‘I really like this woman.’ Sometimes you just get a really good vibe. Jenny was saying all these nice things about how they don’t believe in slushpiles and you don’t need an agent to submit to them. I still didn’t submit – I thought I’d just get another rejection. Then the Jericho Writers newsletter came out and Harry did a write-up on Bookouture. He was very encouraging. He mentioned that if you do the maths, you’re more likely to get through with Bookouture than you are with an agent, just based on the number of submissions they accept per year. And there was another Jericho Writers piece about Bookouture encouraging black writers to submit to them. So, in the end, I submitted twice!

JW: How did you feel when you found out Bookouture wanted to publish your novel?

I was so overwhelmed. I’d had so many rejections from agents, I think I’d had 28 rejections. But then Isobel’s email said she was so pleased my book was assigned to her because she ‘absolutely LOVED IT’. I couldn’t believe it – it was an amazing moment.

Debi Alper [who runs our Self Edit Your Novel Course] was the first person I told because she was always there with me. Every little disappointment, every time I had doubts, she’d say ‘just keep going!’ Every time I contacted her, she came swiftly back and really helped to prop me up.

JW: That’s a lovely relationship to have. Do you think you’ll contact Debi for the draft of your second book as well?

S: Yes, I’ll always be running things by her! I feel really blessed that I’ve met her, that she believed in me and that she kept encouraging me to hang in there. ‘Keep submitting,’ she’d say. ‘You just need to find the right person at the right time.’

JW: How did you discover our Self-Editing Course in the first place?

S: I joined Jericho Writers in August 2018 mainly because I’d get access to loads of webinars and other things that I could tap into to learn more about writing and getting published. Then I saw the Self-Editing Course advertised and I thought, ‘well, I’ve got this novel I’ve been working on for the last ten years. Let me see if I can get moving on it.’ I’m not working – well not paid work anyway. I look after my mum who has Alzheimer’s, so I applied for the bursary and thought, nothing ventured, nothing gained. When Jericho contacted me to say I’d been successful, I couldn’t believe it. That was my first opening door.

“I feel really blessed that I’ve met [Debi Alper], that she believed in me and that she kept encouraging me to hang in there.”

JW: What has it been like to work with Bookouture?

S: So far, I’ve found everyone to be very on the ball, easy to talk to and efficient. When I was submitting to agents, I noticed how young many of them were and I remember saying to Debi, they’re not going to get me, they won’t get my story. Not only am I a mature writer, but I am also a black writer. She told me I should just go for it.

My editor, at Bookouture, Isobel Akenhead is young enough to be my daughter, but she knows her work and has a good eye for what works and what doesn’t. Also, she loves my work and actually gets it.

JW: That’s exactly what you need. Sometimes, especially for a debut author, the publishing process can be really daunting. What was it like to negotiate the deal without an agent there backing you up?

S: I didn’t like it. It took me away from the creative process to something more business orientated. On Debi’s advice, I joined the Society of Authors, and I sent the contract to them for feedback and advice. They gave advice on things I should query, but very little changed at the end I thought I’d take a chance and be positive about Bookouture because this is the contract that would launch my career, and they seem like a great fit.

Everything moved quite fast. I just couldn’t believe this was happening to me, or that I was the person this was happening for.

JW: It must be very overwhelming. Bookouture do things like royalties slightly differently don’t they?

S: They don’t do advances, but they give you 45% of your sales. It really suits me.

JW: They’re doing a few things that are quite radically different, which I think is so intriguing. Are there any challenges that you’re facing right now as an author, and how are they different to challenges you might have faced in the past?

S: I feel now that I’ve signed a contract, I’ve joined the big league. So, I can’t get demoralised, or say, ‘I can’t be bothered to write today.’ But the great motivating thing about it is that I’m not writing in the hope that a publisher or an agent will take me on. Things are clearer, I know the stories I’m writing will be published. I love writing, find it satisfying all my efforts are being rewarded and it’s exciting, so it’s all great.

JW: How long have you been writing for?

S: I started writing seriously in my thirties. I wrote a novel when I was living in Abu Dhabi, despite knowing nothing about writing. I sent it off to all these agents in England, and all of them said ‘get stuffed,’ basically. I abandoned it, and then when I came back to England I started going on courses and getting my short stories published. I was really into Octavia E. Butler, who wrote sci-fi. All her main characters were black, and I liked that about her – I liked that they were women as well. I thought perhaps I could write a story like that.

My first novel, which was the one I submitted to the Self Edit Your Novel course, was literary fiction with Caribbean magical realism (there are lots of myths and legends in the Caribbean). I’d been writing that for so many years and couldn’t get past a certain point, and the course helped me to get past that point and actually finish it!

JW: Let’s talk about first drafts. Do you have a method that you stick to? For example, do you give yourself a certain amount of words to write each day or set deadlines?

S: That’s exactly what I do. For my second novel, which I’m writing now, as part of the Bookouture deal, the target is 1500 words each day. Sometimes I even manage 2000. For my previous novel, the target was 500 but then I realised I could do much more! You definitely have to have an element of planning. I didn’t do enough of that for my first novel. But as you’re writing it’s like some magic happens in your brain – ideas just come to you. Things just happen! You just have to keep going until you’ve got that first draft completed. Put it down for a bit, then come back to it for a second draft, which is likely to be more challenging than the first because that’s when you change things, find certain things don’t fit well into the plot; some characters disappear, another might enter etc.

“That’s the writing process. It just has magic in it.”

JW: How different is your final draft to your first?

S: With ‘This Other Island’, I started the first draft thinking I’d only have one point of view and one protagonist. My final draft has three points of view and the plot itself has become much more intertwined – with more twists and surprises. Having to write a synopsis, query letter and pitch, helped me to identify the main theme in the novel. When I was submitting to agents, some asked which novel or author your novel would sit comfortably next to. Though irritating at the time, that helped to get me focused on the themes in my novel too. With the help of Isobel, I’ve identified more themes running through ‘This Other Island’. And I feel even more proud of the novel. I have always been fascinated by the consequences of not knowing who your parents are.

JW: That’s interesting, where do you think that fascination comes from?

S: I think it comes from my culture – perhaps a historical thing from slavery when many children were sold off and didn’t know their parents. Parents had children they had to say good-bye to and never see again. I think it’s important to know who you are, who your people are, and who you’re connected with biologically If you don’t, it could lead to dire consequences.

JW: Of course. Do you feel like writing became a kind of catharsis in that sense?

S: Maybe, but unplanned. The idea for this novel actually came from my mother, when I listened to her talking about her journey to England on a ship. Then whilst plotting and getting the story out, things came through and eventually the whole thing worked. That’s the writing process. It just has magic in it.

JW: Do you have any tips for writers who might be working on their first draft?

S: Have a plan – you don’t necessarily have to know the end, but make sure you know what the characters are going to go through and have a rough idea of what you want to happen. Many seasoned writers say write the first draft for yourself. Don’t worry about the reader yet. I agree. It’s the best method for me.

From Isobel Akenhead, Steffanie’s Editor At Bookouture

JW: You must see a lot of submissions at Bookouture. What was it about Steffanie’s novel that stood out for you?

Isobel: From the moment I started reading Steffanie’s novel, I was captivated by the story she was telling, the characters she’d created, and her entirely distinctive voice. It was a book I couldn’t stop thinking about! In talking to Steffanie, it became clear that we felt the same way about this beautiful novel, and shared a vision on publishing and readership, that made the editorial partnership feel strong right from the outset.

JW: What are you currently looking for at Bookouture and how can writers help their chances of success?

Isobel: [At Bookouture] we have an open submissions portal, and are equally delighted by direct and agented submissions, which we endeavour to respond to within a matter of weeks. Writing a compelling synopsis, and enclosing the entire manuscript are practical things you can do to help its success, but in terms of content, we simply want powerful, gripping stories that readers won’t be able to put down.

Whether that’s romance, crime, historical fiction, or more book club reads, broadly at Bookouture we’re just looking for commercially written stories that we think a large audience of readers will love.

With two books already on the way, Steffanie Edward is a Self-Edit Course alumna to watch. We’re so glad Steffanie found our resources useful and can’t wait to see the debut of this exciting new author on our shelves. You can follow Steffanie on Twitter at @EdwardsaEdward.

Don’t forget to view our bursary opportunities here.

See more success stories from the Self-Edit Course for yourself at #SelfEditAlumni on Twitter.

More about Steffanie’s deal with Bookouture here.

Submit your work to Bookouture here.

About Steffanie Edward

Steffanie Edward was born in St Lucia but brought up in London. Her writing career started with short stories, five of which have been published. Two of them came runner-up in a Darker Times Fiction flash competition. Her novel ‘This Other Island’, was longlisted for the SI Leeds Literary Prize.

Her first attempt at writing a novel was over twenty years ago, whilst living and working in Abu Dhabi. That novel, Yvette, didn’t make it into print, but the main protagonist, has muscled her way into Steffanie’s debut novel, This Other Island. Her second novel, My Mother's Gift, was released in 2022. The strong emotional themes in her novels make them very powerful book club reads.

For more on Steffanie, see her Twitter or Amazon author page.

Neema Shah talks to us about her experience with Jericho Writers and her debut novel ‘Kololo Hill’.

We were first introduced to Neema Shah on our Self-Edit Your Novel Course, and then at the Festival of Writing in 2017, where she was longlisted for two out of our three competitions that year. Her work was noticed by agents who were keen to read more, and now we can’t wait for the release of her debut novel ‘Kololo Hill’ (18 February 2021), the first in a two-book deal with Picador. We chatted to Neema about how she got her agent, balancing writing with other commitments and telling underrepresented stories. 

JW: Hi Neema, lovely to talk to you! Could you start by telling us about your background as a writer? When did you know you wanted to be an author? 

N: I actually started off doing a law degree and then went into marketing as a career. I only decided to take up a short creative writing course because my work offered us the chance to do an extra-curricular thing – and I was just hooked. I remembered how much I loved writing as a child, and now I just can’t imagine my life without it.  

JW: It’s really strange how life can work out like that! Your debut novel, Kololo Hill, is coming out in February 2021 with Picador – where did it begin? Did you start with a particular character, or maybe a concept? 

 N: I grew up reading lots of fiction about other places and times, but I found that although there was fiction about the British-Asian experience and the Indian experience, there was nothing about people like my family. I also knew a bit about the expulsion of Asians from Uganda by Idi Amin in the 1970’s – I was always astounded that people could be sent out of their country in just three months. Those two things were really interesting to me, and that’s really what sparked my story. I wanted to explore different viewpoints, because people like my family aren’t necessarily that well represented in fiction.  

JW: How did you discover Jericho Writers? 

 N: I found out about both the Festival of Writing and the Self-Edit Your Novel course back when Jericho Writers was called the Writers’ Workshop, and I used both in my early stages of writing. I had heard really good things about the Self-Edit course – all of which turned out to be absolutely right. Not only did I meet Debi Alper and Emma Darwin but I also met a really great writing friend, Daniel Aubrey, who continues to beta read for me. There are so many great things that come out of the Self-Edit course and I just love it. I’ve recommended it to so many people since. 

Off the back of that, I decided to go to the Festival of Writing. That was such an incredible, intense day with lots of workshops – I also did the agent one-to-ones. There were three competitions that year – I came runner up in ‘Best Opening Chapter’ and was longlisted for ‘Pitch Perfect’. I’ve used those on my submission letters since and they’re really well-recognised! 

I’ve had loads to do with Jericho Writers and you‘ve been a really key part of my journey. 

JW: Do you have any tips for writers working on their first draft? 

N: I really feel that a lot of writing is psychological. We spend so much of our time having doubts (which are natural), and you have to push those aside. In an early draft, it really is ‘just keep writing.‘. I’ve been thinking a lot about psychology through my day job in marketing, and the idea of the rational and emotional sides of the brain. When you’re writing, you want to ignore the rational side (which is telling you it’s awful) and access the emotional side. I know there are some writers who will write the first paragraph and edit it straight away, but I find it easiest to write a draft without looking back at all. 

Keep on going past the next few drafts and accept that to get a novel finished it can sometimes be boring. It’s just keeping going that’s really important. You also have to have space away from your draft, because you’re far too close to it when you’ve just read over it. 

JW: Can you tell us about your journey to finding an agent? 

 N: I did lots of research – I even made an Excel spreadsheet because I knew I was going to contact quite a few agents and would need to keep track of it all. I also went to events where agents were talking and read blogs so I could get a sense of what agents were like. I made a shortlist and starting by submitting to about 10-12 agents. I was lucky because some of the agents had been on competitions I’d been listed in, including the Festival of Writing, who had said they wanted to read more when it was ready. 

I had a lot of rejections, but quite a few manuscript requests, which was brilliant. I ended up with two great agents offering to represent me and I was really spoilt for choice. 

JW: I also wanted to ask about your gorgeous book cover – what do you think of it? I noticed that it’s modern Batik print – was that an idea that came from you? 

 N: I love it so much! It wasn’t the first version – the designer had come up with a few concepts based on fabrics and she wanted them to be related to the story. If you look closely on the cover you notice that as well as the Batik print, which is common to Uganda and India, there’s also an imprint of an Indian passport. There are so many little details working together which you might only see on a second look. I was blown away because I love looking at covers but I never considered how much thought and conscious choice goes into it. 

‘Kololo Hill’ by Neema Shah. Picador, February 2021

JW: How are the challenges you’re facing as a published author now different to challenges you might have faced in the past? 

 N: When I first started out, I didn’t know any writers at all. Doing the courses definitely helped, as I’ve kept in touch with quite a few people I met there. Twitter was also great for finding other writers, particularly ones to beta read for. There’s a massive writing community there, and the #bookstagram community is also huge. 

I do think the publishing industry is getting much better for underrepresented writers (I’m an example of that), but I did have few experiences that I was quite taken aback by. There’s still a way to go, but it is better than it was even five years ago. 

I also find there is a slight lack of transparency about what it’s like to be an author. Advances are all different and the way you’re treated in terms of marketing can be very different. Picador are brilliant and they’ve been really transparent with me, but from my understanding that’s not always the case. So, I think finding communities or people going through similar experiences is such a big help, and that’s a piece of advice I would give whatever stage you’re at with your writing. 

At the one-to-ones with Jericho Writers, I got really detailed feedback on my opening chapters and my covering letter – that kind of thing can be quite hard to come by and looking for those resources can be really helpful. 

JW: How do you organise your time between writing and generating free content for your online platforms (blog and YouTube channel) and having a day job in marketing? 

 N: The funny thing is that I wrote ‘Kololo Hill’ on my commute, on my smartphone! So, just making use of what would otherwise be dead time really helps. I’m lucky enough to have a good work/life balance as my job is quite flexible. That said, it’s only now that I’m promoting ‘Kololo Hill’ and starting book two and working a day job that it’s starting to feel like a bit much, so I am trying to get better at organising myself. It’s so important to save energy for your creativity – just being creative takes a lot out of you! I try to write early in the mornings before other things get in the way. 

 “There is a slight lack of transparency about what it’s like to be an author… Finding communities or people going through similar experiences is a big help, and that’s a piece of advice I would give whatever stage you’re at with your writing.” 

JW: You mentioned that you’re a big fan of books on the writing process. Are there any other books, perhaps works of fiction, that particularly shaped your writing? 

 N: One of my favourite books is ‘Small Island’ by Andrea Levy (based on the Windrush generation, which definitely inspired me). My other favourite books aren’t necessarily the kind of thing that I write about but are things I’d love to write more of – ‘Fingersmith‘ by Sarah Waters is amazing – it has an amazing twist and I’d love to write a book with a proper twist because it’s so hard to do. 

For ‘Kololo Hill’ I used a lot of blogs, online photography and a couple of TV shows. I also went on a research trip to Uganda. In terms of first-person experience there wasn’t that much available in writing though. That’s another reason why it was important to me to make sure that story was told, even if in fiction. 

JW: Are you reading anything good right now? 

 N: I’ve been getting into audiobooks, and I’m listening to ‘Elevator Pitch’ by Linwood Barclay. I’m reading a proof I was given of ‘The Smallest Man’ by Frances Quinn, which comes out in January, and I also just finished ‘If I Can’t Have You’ by Charlotte Levin, which is a really good debut from 2020. 

From Jenny Savill, Neema’s Agent (Andrew Nurnberg Associates)

JW: Hi Jenny. What drew you to Neema’s work, and in what ways was it a strong submission?  

JS: Where do I start?!  Her manuscript had a strong opening. The action was firmly rooted in a terrific sense of place and time – a place and a time that I knew a little about from TV as a child but had never really understood. Seeing the 1972 expulsion through the lives of one particular family and their friends was such a brilliant lens through which to show a massive political and social upheaval. That coupled with distinctive, flawed characters whose story I felt compelled to follow, and whose lives continued in my imagination long after the last full stop, made for an impressive submission. I do love a novel that illuminates a life or lives in a way that does away with preconceptions or conventions. I love to be surprised by characters and by the turn of events in a story. ‘Kololo Hill’ does this beautifully. 

As an agent, Jenny is always keen to find new voices in 7+, Middle Grade and Young Adult writing. Jenny also represents authors writing for adults. She is on the look-out for writers of literary fiction, commercial and literary women’s fiction, well-written thrillers and psychological suspense, historical fiction (the whole gamut – including alternate histories), memoir and narrative non-fiction. She welcomes originality, depth, and the ability to move and surprise in submissions.  

 If you’re interested in submitting your own work to Jenny or other agents, AgentMatch is a great tool to refine your search and develop your perfect shortlist. Find out more here.  

 If you can’t wait until 18 February to read some of Neema’s work, take a look at her website here for more insightful writing tips.  

 More about Neema Shah here.  

About Neema Shah

Neema Shah is an author, blogger and marketer. Her debut novel Kololo Hill will be published by Picador on 18th February 2021. She came runner-up in the ‘Best Opening Chapter’ and was longlisted in the ‘Pitch Perfect’ competition at the Festival of Writing in 2017. She has also been shortlisted for the DGA First Novel Prize and Bath Novel Award, both in 2018.

To the uninitiated, the process of getting a book published can feel like an unfathomable mystery. It’s entirely forgivable to feel daunted by how to get your book published as a writer and how to get a book deal.

Finally holding your book in your hands can feel like a very distant dream for any new writer - let alone getting that all-important book contract!

So what do you do when you’ve finished your story? Should you even finish a full manuscript before you send it to literary agent, or is it better to send a partial manuscript with your query letter? Who do you send it to? Who will best be able to look after your work? How do you find a publisher? What are most agents looking for? Do you even need a literary agent? What about publishing it yourself?

And these questions are just the tip of the iceberg.

But don't panic, because in this article I will be outlining everything an emerging writer needs to know before they get anywhere close to a publishing deal.

How To Get Published- The Three Main Paths

Even to the initiated, the publishing process can feel mysterious and confusing. I’ve been in the industry for over twenty years but that doesn't mean I find it in any way straightforward. Although that’s also what makes it interesting and exciting.

There are many possible routes from manuscript to published book. The following guide will provide you both with the map you need to start finding your way through those woods - and some good reasons to start putting one foot in front of another.

The first thing to know about getting a book published is that there are three main paths: traditional publishing, self-publishing and hybrid publishing. I’ll describe each of these in detail as this article goes on, but briefly, for now:

Traditional publishing is the route where you sign a contract with a commercial publisher who will be responsible for getting your book made and then out in the world, in the shops and into readers’ hands. This should also include editing, marketing and distribution. More on that later.

Self-publishing is, as the name suggests, the route where you take on the responsibility of producing, marketing and selling your own work.

Hybrid publishing is, as the name also suggests, a kind of blend of the two, where an author might pay for some of the services that traditional publishers supply and do the rest themselves.

There are also numerous other options including crowdsourcing, putting work on fan forums, online platforms like Wattpad, and approaching various specialist forms of micropress. But I’ll get to all that as we get deeper into things.

For now, let’s focus on traditional publishing because I know it’s the aspect of getting published most authors at the early stage of writing are curious to hear about, and what most have in mind as their desired end point.

Traditional Publishing 

Traditional publishing is what a lot of people think of when they consider writing a book and getting it published. It’s so traditional that you can trace its lineage at least back to Guttenberg.

The business of printing and selling books is still recognisable from the 15th century. ‘Traditional’ is a useful label to use to conceptually separate this kind of publishing from self-publishing and hybrid publishing. Not that any readers consider it when browning through books in a store.

Traditional publishing is what the majority of people think of when they think about publishing at all. It's the business of seeing an author’s manuscript through from completion to the moment it is sold in the shops - and of trying to make a profit from it.

The UK and US publishing market is dominated by the ‘Big Four’ (Penguin Random House, Hachette Livre, Harper Collins and Pan Macmillan) who are responsible for numerous imprints publishing all manner of literary fiction, genre fiction, and non-fiction and have multi-million pound annual turnovers. There are also dozens more medium sized publishers like Bloomsbury, Oxford University Press, WW Norton, Faber & Faber and Canongate who also have annual turnovers in the millions. And then there are hundreds of smaller independent presses and micro-presses catering to all kinds of tastes and interests.

How To Get Your Book Published Traditionally

Finding the right publisher for you can be tricky, so here are some key things to consider.

Importantly, this form of publishing does not cost the writer anything. Instead, the publishing house pays the author. Generally a traditional publisher will give writers an advance against royalties (anything from £100 to £100,000 and more) and then a percentage of the sales (generally something in the region of 10-25%) once that advance has earned out (ie the book has sold enough copies to make back that publisher's initial investment).

It's important to note that the advance is rarely a reflection of the quality of the book that has been acquired, but can be determined by how much interest it has had (ie if more than one publisher wants it then it may go to auction), or it may reflect the writer's past successes or ability to sell books (ie a celebrity). This is why a literary agent is important, as they will do their best to negotiate the very best deal for you.

The publishing house also foots the bill for all the other vital parts of the book production process such as cover design, editing, print, distribution, marketing, and promotion.

Already you can see the benefits of having a literary agent and not having to pay for all the important and expensive parts required to get your book published - but there are also more advantages for writers:

Having A Literary Agent

Agents are like brokers for the publishing industry. You're a lot more likely to get a great book deal (and have your announcement appear in trade press, such as the much-coveted Publishers Weekly) if you have an experienced and supportive agent. More on how to get one further down the article...

Agents are experts at getting books in front of publishers, at knowing what publishers will want to see, and they often already have a great relationship with editors - knowing which publisher and editor is most likely to sign your novel.

Most agents will also work with you on your manuscript to help get it into shape before submission, looking at sample chapters and suggesting edits. There are many different agencies with a vast range of specialities, so not only is it vital you approach the right ones but that you form a strong working relationship with them.

Successful authors can work alongside these agents for years and years, and together they build great careers for one another. But remember you only need an agent for a traditional publication, not when you go out and do it yourself!

Editing

Good publishing houses have skilled and experienced editors who are experts at helping writers make their books as clear and complete as they can be, this applies to both fiction and nonfiction books. Editors should help with line edits, structural edits and everything in between.

For instance, a great editor will help fiction writers bring their characters to life, avoid plot holes, keep a grip on pacing, and keep to the ideal word count. They will also help non-fiction writers martial and order their arguments, check their facts, and avoid mistakes.

Editors will have a good understanding of the readers you want to reach out to, as well as the nuts and bolts of the writing process. They will often be the best in the world at what they do and their help can be invaluable. Very few great books have become a success without the help of an equally great editor!

Professional Production And Printing

As well as working on editorial, publishers are responsible for copy-editing and proofreading manuscripts and also for getting them properly typeset. (Typesetting is the art of getting arranging words on the page so they look good, without strange gaps and more. It is a crucial, if generally invisible part of the process. Read more about it here.)

Traditional publishers design covers and write blurbs, as well as help find great quotes from top authors to help promote your work. They also oversee the printing of the books (normally via an offset printer, not digital print on demand) and the preparation of ebooks.

All these things are complicated technical processes involving considerable skill and knowledge. Without a traditional publisher, doing these jobs properly can cost a lot of money (and those who self publish soon learn the hard way that doing these things yourself can damage sales and careers).

Publishers also have the capacity to print very large numbers of books, if need be, leading us on to storage and distribution.

Effective Distribution

Once books are made, the next challenge is to store them and get them out into the shops when they are needed. Publishers have established networks to get this done and a dedicated sales team - not to mention the budget to promote them in the trade press.

They also have the necessary relationships with bookshops and other retail outlets to persuade them to stock the books. Remember, not all books that are published by a traditional publisher is guaranteed to end up in a bookshop - many factors are at play to ensure a book becomes a bestseller (even a book published by big names).

Publicity And Marketing

Talking of networks, the traditional publishing route also offers the best chance of getting your book seen by reviewers and journalists. They have the media contacts and the ability to achieve the necessary column inches.

If your book starts doing well they should also have the marketing muscle to make sure even more people hear about it via social media, digital advertising, PR, and trade press.

Kudos

Thankfully, some of the stigma has gone out of self publishing, especially as we are seeing more and more established and traditionally published authors become hybrid authors and releasing books both ways.

But that doesn’t mean that there isn’t still some prestige to getting a book published with established and well-regarded publishing houses.

If you spend a lot of time on places like Twitter, you may see a lot of criticism of publishers being gatekeepers and arbiters of taste. But take that with a pinch of salt. Partly because some of that social media bile comes from resentment, but also because being a gatekeeper is a publisher’s job and part of their strength.

For better or worse, publishers can bestow a seal of quality and approval (let's be honest here, we all know a book published by Penguin and stocked in Waterstones is going to probably be better edited than a self-published book, with few reviews or press coverage, that you can only buy on Amazon).

The simple fact that a traditional publisher is prepared to put their time and money into a book is a demonstration to the world that someone other than the author believes in it - and not just in the ability of the writer, but the fact that book is more likely to appeal to a wider audience. After all, publishers aren't signing books to be nice. It's a business!

The fact that these big publishers are reputable professionals who know the industry and the market (or, at least, they ought to be!) and that they believe in your work should be a demonstration that the book has potential.

So it stands to reason that most authors start out wanting their book to be signed by one of the top four big publishing houses. But that doesn't mean that route will find you money and fame.

In fact, a lot more money can be made (and a lot quicker) publishing your book yourself! It just involves a lot more skill, time, money and know how...

Self-Publishing

With this option of the publishing industry, authors take responsibility for the production and marketing of their books and all other parts of the process. Generally, this means they will publish ebooks of their works on platforms like Amazon and Smashwords. But they can also produce audiobooks of their work, print on demand paper copies, and even pay for their own print runs and book storage.

All this means that authors take responsibility not only for the words on the page, but how they are presented. It might be that they do all the work themselves, or they employ professional editors, copy-editors and proof-readers, cover designers and typesetters to help them present their intellectual property in the best possible condition.

There are also agencies who can help you convert your finished manuscript to ebook form - or you can use the in-house explanations and templates provided by platforms like Smashwords.

Once you've produced the necessary computer files, there aren't normally too many more upfront costs when it comes to how to producing your own ebook. The platform you choose is generally supportive and easy to use, and they will help you get it out to readers while taking a percentage of each sale.

Print on demand suppliers like Lulu.com provide a similar system. They will offer you a cost per book based on your production specifications. The print on demand supplier will then take a percentage from the sale of each copy sold on their store, and pay some royalties to the author.

If you choose other print methods and print in bulk, you will generally be expected to pay those production costs yourself and will need to find a place to store all these books and sell them at either events or through distributors.

People choose to publish their books themselves for three main reasons:

1. They've tried the traditional method, had no luck securing a literary agent or publisher, so decide to go out there on their own.
2. They understand that their choice of genre or fiction is niche, and better suited to readers who look online for these kinds of books (because they aren't commercial enough for book stores and big publishers to stock).
3. The author is already established in their own right (ie big social media presence, or an expert in their field) so they know they will be able to make more money using their already-established captive audience and communication channels, and can sell books that way.This normally works best for a nonfiction book (ie you're a famous gardener with a number of garden centres around the world where you can sell your book) or you're a huge TikTok star and can promote your novel that way.

 However you choose to produce your own book, or why, here is a list of reasons why it may be the right choice for you:

Ease Of Access

 Perhaps the clearest advantage of self-publishing is that just about anyone can do it, and there are very few barriers to entry. If you want to write about cowboy mermaids in space, you can, there is absolutely no one stopping you!

Speed

You can also get your book out quickly.

When considering how to get your book published, ask yourself how important the timing is. A traditional publication may take three years from final draft to bookstore shelves (you need to find an agent, go on submission, secure a deal, then wait 12-18 months for your book to be released).

Most platforms offer a step by step process that helps you through production. This means that with just a small amount of know-how you can convert your manuscript into an ebook within hours. And it doesn’t take much longer for that book to pass the quality control checks on whichever platform you choose. After that you can start selling.

You Generally Get A Higher Percentage Of The Profits

 Because there are far fewer people involved in the publication process and because there are fewer costs involved in getting your book out as an ebook, you can also generally expect to receive a higher percentage of the profits from each sale of your book than you would in the traditional publishing industry. (There are caveats to bear in mind here though. Self-published ebooks generally also have to have a lower cover price to attract buyers - so you’re only going to get a larger percentage of far less money. The books also tend to sell fewer copies.)

Control

Since you are in charge of the publishing process you also get to make all the decisions about when the book comes out, cover design and pricing. Plus you have full access to sales stats and get paid royalties monthly, not quarterly or yearly.

You Get To Unleash Your Creativity

Okay, this isn’t for everyone. Often book covers and their related artwork are best left to the professionals. But if you do have design skills, creating a self published novel gives you a great opportunity to make the most of your design, illustration and photography skills.

Hybrid Publishing

Also sometimes known as co-publishing, author-assisted publishing, or partnership publishing (and, more misleadingly, indie publishing) hybrid publishing is an umbrella term for a mix of traditional publishing and doing it yourself.

Generally, the publishing company offers professional publishing services when it comes to things like cover design and typesetting - and sometimes they will even take on distribution. But the author pays some of the upfront costs of getting the book made and into the world. Although don't get these mixed up with vanity publishers, who we strongly recommend you stay clear of!

Many people opt for Hybrid as a 'self-publishing but with help' alternative. Here are a few advantages:

Ease Of Access

Because they are not taking a risk on your writing, hybrid publishers are often more likely to take your work on. The flip-side of this is that they will not always care about it as much - but if you have realistic goals and enter into the partnership with open eyes it can be a good way to get a decent quality version of your book out into the world.

More Control

Since you will be footing the bill that should also mean you get more say over the look and feel of the book, book cover design, when it's released and how many copies are produced.

High Royalty Rates

Many hybrid publishers offer attractive royalty rates. But a word of caution here - because you are paying them upfront, they have less of an incentive to help promote your book as they have already earned from it.

Other Publishing Models

You can publish a book with a publisher in more than just three ways, as there are a huge variety of publishing companies out there. Other options include:

Micropresses

There are dozens of high quality small independent publishers in the UK and USA who represent books by all sorts of writers, releasing both top quality fiction and non-fiction. There are different definitions for what constitutes a small independent publisher or micropress, so let's take a closer look.

Some say it’s a company that makes less than $50million a year (which is still pretty big!). One useful guide in the UK is the entry criteria for the excellent Republic Of Consciousness Prize for small presses which is an annual competition for publishers with fewer than 5 full-time employees.

In the USA (where everything tends to be bigger) the equivalent prize instead defines small presses as those which publish an average of 18 or fewer published titles per year. They generally operate more like a bigger publishing house and are likely to offer you a traditional publishing deal.

But all small presses accepting submissions are different. They all have their own personality and impact on the market, with different passions and beliefs. They cover everything from:

• Science fiction
• Children's books
• Young adult books
• Hardcore literary fiction
• Short stories
• Non-fiction books
• Specialist books
• LGBTQ+ books
• Travel books

And much much more!

Smaller presses (including university presses) are often specialists, with distribution options to reflect that, and in most cases you don't need to submit your work via an agent. But, the flip-side of that, is that your book may not reach as many people.

Crowdsourcing

This is an interesting alternative way to get your book published. As in hybrid publishing, the crowdsourcing publisher offsets some of the risk of publication by asking the creator to raise the funds necessary to produce and print a book.

But in this case, they are asking their target readers to help out!

In the UK the publishing company Unbound has published several successful and well-regarded books using its crowdfunding platform. And Kickstarter.com is now one of the biggest publishers of comics and graphic novels in the world because creators have had so much success on their platform.

Crowdfunding can work for creators because it connects them directly with their audience, the process of raising money for a work can also help to raise its profile and generate excitement. Plus, because many platforms have reward tiers that allow creators to offer extra incentives to their funders, it means creators and their fans get to work on a project together.

Digital First Publishing

Some big companies like Harper Collins have digital first imprints, a division that only produces ebooks and distributes them on relevant platforms. Many even accept un-agented authors.

Some genres (ie crime and thrillers) do incredibly well as ebooks, and if a book become an instant bestseller the publisher may choose to then print the book too.

Most digital contracts do not offer an advance and the publisher has a much lower investment in each book than under their traditional models. But this can also mean they sign on a multi-book deal, they can get it out sooner, and often pay higher royalty rates.

Amazon Publishing

Amazon offer a digital and print service that helps you quickly build your book and get it to market on the Amazon website. It's one of the quickest ways to get your book ideas published and out into the world, and as they also offer a publishing service they have a ginormous captive audience to publicise it to.

Fan Fiction Forums

This is niche but it can often be a great way to build a dedicated readership.

If you’re a fan of something and love writing about it, there may well be people who love reading about it. There are numerous forums for the Star Wars universe, Harry Potter, the Twilight saga - and much more. Famously, the multi-million selling 50 Shades Of Grey started life as Twilight fan fiction and there have been other self published authors who have found mainstream success in this way by being snapped up by a traditional publisher.

And even if such breakthrough stories are rare, publishing on these forums can be a really good way to reach readers and practicing your craft.

Wattpad

Wattpad calls itself “The world's most-loved social storytelling platform” and is so big it deserves a heading of its own.

With a community of millions of readers, writers publish their work directly via the site across a huge range of categories from adventure, LGBTQ+, romance, nonfiction books, books for young adults, historical and fan fiction. There are also - inevitably! - a whole range of erotic categories.

A number of Wattpad stories (mainly YA and romance) have even become successful TV series and films (ie Through My Window, The Kissing Booth, the After trilogy).

How Do You Get A Book Published?- General Tips

We’ve seen the main publishing options that are available, but many writers at the early stages of penning their novel will still have questions about how to write and publish a book.

 So here are a few of the things that will help you on your journey:

Get Editing

The first step (no matter what publishing route you decide to take) is to get your manuscript in the best shape it can be. Finish it. Read it. Re-read it. Carefully check for elementary spelling and grammar mistakes as well as all the important matters of structure, plot holes, characterisation, flow, argumentation (we have a blog post on everything a writer needs on our site).

It often helps to set your manuscript aside for a while after you have finished writing. And also to print it out so that you can read it away from the screen in a new context. If you have trusted beta readers, bring them in too.

Consider Getting Professional Help

If you are uncertain about the quality of your work and how to develop it further, it can help to get a professional assessment.

Yes, friends may offer to help, but you really need an expert who is objective and honest. Professional writing mentors can answer all kinds of questions that may be nagging you.

• Is my query letter OK?
• How do I choose a book title?
• How long should my book be?
• Will anyone want my non fiction?
• Is my writing strong enough?

A mentor or professional editor will not only read your book proposal and manuscript, they will have had some of the same battles with finding the best publishing routes that you have and will guide and support you. Most writers find these services invaluable.

 Take a look at the mentoring, editing and agent match services we offer at Jericho Writers.

Attend Writing Conferences

A good writers’ conference will give you the opportunity to meet industry professionals, to ask questions about what they are looking for and why, and listen to talks from established traditionally published writers, self-published writers, agents and publishers.

Being part of a writing community is important when it comes to meeting fellow writers who are also learning how to publish a book with a publisher. They are a great place to swap stories, give each other encouragement and to learn that you aren’t alone.

Why not take part in Jericho Writer's York festival of writing, our Summer Writing Festival, or join our FREE writing community!

Scope Out The Market

Determine your genre, have a look at the kind of books that are being published in that genre and who is publishing them, and try and gauge what the public enjoy reading. This will help you decide the best route to market and how to get your book published the right way.

Approach Literary Agents

We've already discussed how it's not possible to get a publishing deal with the big top four publishers without an agent. So how do you get one? 

Most literary agents have what we call an MS Wish List - this is a clear outline of the kinds of books they are looking for and the kind of writing they enjoy reading. Do your research and draw up a list of those who are more likely to want to read your work.

It can be a bit of a mine field, but luckily you can find plenty of free resources on the Jericho Writers website:

A list of US literary agents along with tips on how to write your query letter

A list of UK agents along with tips on how to write your query letter

Discover our agent match service to help find your dream agent

Some more useful tips on how to approach agents

Put Together A Submission Pack

 If you wish to become a published author of fiction, a submission pack is what literary agents ask to see once you have a finished manuscript and are seeking representation. In most cases, a submission pack consists of a query letter, a brief synopsis (and maybe a chapter by chapter summary) and a sample of your work. If you are writing non fiction it may be simply be a concept and some examples of writing plus credentials along with your query letter.

The most important tip about the submission pack is that you should carefully check on the website of each agent and publisher to see what they are asking for. Follow their submission guidelines carefully (some even request a certain font type and size).

Some may want to see a full manuscript. Some may want sample chapters. Some may want a chapter-by-chapter summary. Or some will have different requirements for different kinds of books. Make sure you tailor your submission accordingly. It’s not only good manners, it demonstrates that you know who you are applying to and care about what they want.

Here are more articles on the subject:

You can read a sample query letter here - along with some useful hints and tips

Here's a guide to writing a novel synopsis

Here's more information on how to present your manuscript

Build Your Author Platform

 If you can raise your author profile through writing a blog post, being in the press, attracting social media followers and winning writing competitions, it can help to stand out to literary agents and publishers. Most writers like to start with at least a Twitter or Instagram account to appeal to their target audience.

Although building up your author profile before sending out a query letter isn't vital to your success and won't automatically lead to a book proposal (most literary agents, acquiring editors and readers simply want to read a great story), it can help grow a bigger audience for your writing, regardless of the path you wish to take to publication. 

Now You Know How To Get Your Book Published!

Phew. You made it to the end - well done! I hope the information shared has helped you understand the best route to publication.

I also imagine that most of you reading this will be at the early stage of your writing career, whether fiction or non fiction. And the vast majority of you debut authors will now be wondering what the heck you've gotten yourselves into.

Well don't worry, the writing community is a fun and supportive one, so at this stage just take your time and focus on writing a great story. Maybe bookmark this article and refer back to it at each stage of your journey.

Time To Get Going

The key things to consider, when choosing how to publish your book, is what you want out of it. Do you want to set your sights high and aim for the top dream of traditional publishing, see you books in Barnes and Noble and Waterstones, and even make the New York Times bestseller list? Do you want to write a book every two months, be in full control, and make lots of money? Or do you simply want to hold your book in your hands and have it read by your nearest and dearest?

Whatever you choose, this article demonstrates that there are many routes to publication, all of which have the potential to make you happy and proud. And at the end of the day, all that matters is that you finish your wonderful story, and that you share it with others.

So go on, get out there, and make it happen. Because we are right there beside you, cheering you on every word of the way!

Creating an agent submission pack for fiction is reasonably simple, with clear guidelines. But nonfiction book proposals can be a little trickier.

In this article, I'll show you how to write your own nonfiction book proposal that will work for a literary agent and a publisher. I’ll provide a sample proposal and give you examples of what to do (and what not to do) as you put your proposal together.

We’ll start off by considering what nonfiction publishers actually want from you. Their wants drive what you need to give them. In effect, we can just build a template book proposal where all you have to do is fill in the blanks.

Easy, right?

Write A Nonfiction Book Proposal In 4 Steps:

1. Prepare a query letter – include a book overview, target audience, USP, writing CV, and motivation for writing.
2. Add a bio – including a professional resume and platform, i.e. social media, blog, mailing list etc.
3. And a market overview.
4. You’ll also need to send sample chapters, book outline, and introduction.

What Is A Book Proposal?

And what do publishers want from it?

A book proposal is a pitch to a publisher. Quite likely, you reach that publisher via a literary agent, so the first pair of eyes on your work will be those of an agent, but either way, your final target is a publisher.

So, when you’re writing a nonfiction book proposal you need to think about what makes your book stand out.

Your pitch offers the traditional publisher the opportunity to acquire a nonfiction book, authored by you, on the subject set out in your proposal.

In exchange, the publisher will (assuming they’re keen to proceed):

• agree to publish your work
• pay you an advance
• pay you royalties if and when your advance is ‘earned out’ by book sales.

You will receive a slice of that advance payment once a contract is agreed. The remainder of the advance will be paid out, typically, (a) on acceptance of a complete manuscript, (b) on hardback publication, and (c) on paperback publication, if you have one. If your nonfiction book only comes out in one edition, the last two chunks will come as one.

Clearly, publishers make their money by acquiring books with commercial potential, so it makes sense to pitch them with interesting book ideas.

Here are some things you should cover in your proposal:

Subject

What do you want to write about?

Audience

Why do you think anyone would be interested?

Competition

What other titles are there in your area? Or, to be rather more accurate: what titles in your area have made money? That’s important, because those comparable books will form an important part of any acquiring editor’s in-house pitch at the time of acquisition.

Angle

How does your book differ from everything else that’s out there? Why does the particular angle you bring feel urgent, necessary and compelling?

Authority

What qualifies you to write on this topic? Why should anyone listen to you?

Platform

What platform do you have to generate publicity or visibility for your book? Answers might include large followings on social media, a regular broadcast presence, or a position as a columnist in a major national newspaper or magazine.

Title

It’s almost possible to overlook the title, just because it’s so damn obvious. But a great title counts for a huge amount. A good title should do two things. It should communicate what the book is about, but it should also do that in a sexy, edgy, novel, exciting way.

A book called A Journey of Self-Discovery would be unpublishably bad. A book called Eat, Pray, Love could just be an international hit. Or just think how many extra sales Yuvral Noah Harari achieved by calling his first book simply Sapiens. That’s a huge subject with an utterly enticing one-word hook. Perfect! Do likewise.

Intended Word Count

Honestly? You won’t know this until you’ve written your book. But say something. 70-90,000 words would be about right for most memoirs. A 100,000-word book would be about 350 pages in print, so think roughly how long you want your finished book to feel.

Anything over 120,000 words will have a slightly epic quality for the reader (and be more expensive for the publisher to produce), so only aim for high word counts if the subject matter is really worth it. (The American Civil War: yes. One somewhat interesting murder in Minnesota: no.)

All that is to look at your proposal from a publisher’s point of view, but they have to think about things from a readers’ perspective as well. So they will also want to know:

The Pitch To The Reader

How would you go about pitching the book to a reader, rather than to a publisher? Does that pitch feel compelling, or a bit flat?

Writing Skills

Can you write decently? What is the actual experience of reading your book going to be like?

Detailed Subject Matter

What is your book actually about? It’s all very well to say (for example), that your book will be a history of Rome. And good – that’s clearly the kind of subject matter for which there is a perennial market. But what will the actual, detailed, chapter by chapter content be?

You need to be able to outline your content and do so in a way that will make sense to someone who has little prior knowledge of your topic.

These questions have to be answered by the proposal you offer to the publisher/literary agent. In effect, your proposal will simply go through these questions one at a time and answer them in a way that will give the strongest possible reassurance to the people holding the chequebook.

What Should Be In Your Book Proposal:
A Template

A nonfiction book proposal template might run roughly as follows.

(Why only “roughly”? Well, several reasons, really. First, non-fiction is a very varied field, and the basic template will need to bend a bit depending on what’s on offer. Secondly, there’s no required industry-standard format, the way there is with screenplays. That gives you some wiggle room. And third, you may be stronger in some areas and weaker in others. There’s nothing wrong with constructing your proposal so as to make the most of your assets!)

Right. So things may vary, but a good place to start is as follows:

1. A Covering Letter (Or Query Letter)

Your covering letter will deal with the following elements:

• Purpose: Explain why you’re writing in the first place.
  Example: “Dear Annie Agent, I am writing to seek representation for the attached book proposal, A Puzzle in String”
• Subject matter: Explain what the book is about.
  Example: “My book is a popular science book that explains string theory in terms that laypeople can understand [etc].”
• Audience: Explain who you think will be interested.
  Example: “The book will appeal to anyone interested in understanding the most fundamental aspects of the universe we live in. It will appeal to broadly the same people who bought Steven Hawking’s Brief History of Time . . . etc.”
• Angle: The world mostly doesn’t need more books. So why is yours the one that readers will want to pick up, given the vast range of options they already have?
  Example: “My book differs from the other books on the market in that it …”
• Personal background: Explain (in brief) who you are.
  Example: “I am a Professor of Physics at XYZ University . . .”
• (Optionally) Motivation: In some cases, it can help to explain why you felt driven to write this book.
  Example: If you were writing a book on silence, you might want to mention (say) that you had spent six months living, in silence, as a hermit.
• Documents: Explain what documents you are presenting.
  Example: “I attach the following documents . . .”

A good letter will run to no more than two pages. (If you were a novelist, we’d suggest your letter run to no more than a single page, but the rules are a bit different for nonfiction authors. You have a little more room.)

2. A Professional Author Bio

Your self-description needs to cover (usually) two elements:

• Here’s where you set out something like a professional resume. Even here, bear in mind your audience. So let’s say you are a professor of physics. Since you're addressing laypeople, instead of listing your papers in detail, you can just say, “I have authored more than 70 scientific papers . . .”
• You should also set out your platform, if you have one. That platform will include any way you have of reaching your target audience: social media, broadcasting, journalism, a blog post, a mailing list – anything. Do note that publishers have pretty high standards here. You’d need several hundred thousand Twitter followers, for instance, to move a publisher’s stony heart.

Typically, you will either bring significant authority (“I’m a physics prof”) or a significant platform (“I have over 2,000,000 followers on Instagram”). It’s pretty rare that an author brings both, but if you have both – brag.

And what happens if you have neither platform nor authority?

Well, authority and platform are great, but if anyone tells you they’re essential – well, they’re wrong. Great writing plus a great idea will work fine every time as they're the most important things.

If you have neither platform nor authority, your bio doesn't need to go into any great depth.

3. A Market Overview

A marketing plan is also crucial. You’ll need to provide:

• A swift definition of your market as you see it. Be as precise as possible here. Don’t tell agents/publishers that your book will appeal to “all intelligent book buyers”. Define your audience as precisely as you can.
  Example: “This is a book of popular physics, part of the broader popular science market. Because the book lies at the harder end of the science market, it’s likely to appeal to readers with past enjoyment of quantum physics, astronomy…”
• Measures of engaged audience size: You want to give publishers some kind of metrics for the possible target audience – but be sober here, not expansive. If you are writing a book about Ireland, for example, don't say, “The worldwide population of Irish, Irish-American, and other Irish descended people is estimated at…” Yes, you may arrive at a large number that way, but it will be a meaningless number. Much better to say something like, “Nuala FitzShamrock’s history of the Irish Famine spent Y weeks on the NYT bestseller list.” It’s quite hard to get useful measures of engaged audience size, but you're better off giving a few hard stats rather than a larger number of fluffier ones.
• Offer an overview of major recent titles plus, if you want, some older classics – but publishers will certainly be focusing primarily on titles of the last 2-3 years. Don’t just list out the titles themselves, but include details of author, publisher, publication date, ISBN, page count, formats (eg: hardback, paperback, e-book, audio), and price points for each. These things matter a lot to a nonfiction publisher because they’ll instantly be able to tell what kind of market currently exists for these books. (They can also check, which you can’t, what the sales history for these titles are.) So if the only current publishers for your subject are academic publishers with books priced at $100+, it’s unlikely that a trade publisher will think that a mainstream market exists for your book. You'll want to provide data on at least 5 comparable titles, but 10 would be a better number to aim for.
• Provide any data you have on sales / prizes won / publicity achieved for your comparative titles. This can be hard, by the way, because this is an area where publishers will have paid-for sources of data that you don’t have. All the same, it’s worth making some effort here, as you can show yourself to be a professional, market-aware author – something publishers love to see! The easiest way to guesstimate approximate sales is by looking at Amazon sales ranking . . . just be aware that those rankings are volatile, so they can be an unreliable guide.
  Example: “String Theory for Idiots, by Prof Quentin Quark (Pub: Penguin Random House, 2018) is currently ranked at #1,800 in Amazon.com’s overall bestseller list. Format, pricing and ISBN details are: …)”
• Angle: Provide a brief summary of how your book differs from the competition. What makes yours special? Why does the market need your book?

This last point is the crucial one.

Sometimes, you might come across an idea that hasn’t been done before. In that case, say so.

You have to bring something new to the market you are writing for. It is the newness and urgency of that idea which will go a long way to determine whether your nonfiction book proposal succeeds in generating offers or not.

4. Sample Material

So far, the material we’re offering to the publisher includes stuff about the book (your query letter, that market overview) and about you (the bio.)

But we do also need to give publishers a good taste of the work itself, which means you will also need to supply:

A. Sample Chapters

You'll need to include sample chapters from the book itself, to give the agent and publisher an idea of whether you can actually write. Can you write engagingly for a broad audience? This is your chance to prove it.

If your book is narrative nonfiction, you will need to include the first three chapters from the book, because the narrative won’t make sense any other way.

For subject-led non-fiction, the chapters can be non-contiguous.

B. A Synopsis

You need to give a detailed synopsis of the complete book. If you're writing narrative nonfiction, that can take the form of a regular synopsis, but probably longer than what you’d offer for fiction. Aim for about 2,000 words, if you’re not sure – though again, these things are variable.

In some cases, you’ll find that narrative nonfiction – such as memoirs or travel books – simply demand to be treated like the novels they resemble. And that will probably mean that you need to write the whole damn book and that a proposal will simply not be enough. Sorry!

(Though you can always get a proposal over to an agent. At the very least, a good proposal will start a useful conversation with an interested agent.)

So what about the more subject-led non-fiction?

The good news here is that you may be able to get away with relatively little.

If you’re writing, let’s say, Paleo Science: What’s fact, what’s myth, and what matters to you, a detailed skeleton outline of a few pages should be fine. Don’t go wild.

C. An Introduction

As well as a sample chapter or two and a detailed outline, I strongly favour including the introduction that you intend to appear in the final finished book. That intro should act as a kind of manifesto for the book. It needs to proclaim, in effect, “Here’s why this topic is so important and so urgent that you have to fish $20 from your pocket right now and buy this book.”

The manifesto is partly a communication of facts. (For example: “If sea levels continue to rise at their current rates, 47% of lower Manhattan will be underwater by 2029.”) But it’s also partly a process of seduction. You are seeking to entice the reader into seeing the world your way.

That’s where strong writing comes into its own – and indeed, this will probably be the most important chapter you’ll write, as it’ll be the most influential in that buy/don’t-buy decision.

Quite likely, you’ll find that actually writing that intro will bring your own project into greater focus, even for you. You’ll realise exactly what it is about your project that drives you so much. Communicate that passion to the reader, and you are onto a winner.

What Not To Do In Your Nonfiction Book Proposal

When you're including anecdotes in your nonfiction proposal, it's important that you add some human colour to it, rather than just offering a piece of information in an uninteresting manner.

In particular, if your book is narrative non-fiction, you want the reader’s response to be rather as it would be at the start of a novel. Why are we here? What’s going to happen next?

It’s those questions that compel attention. It’s that human anecdote which seduces the reader into the author’s project, and the author’s passion.

If you can get your actual writing to strike the right seductive tone, you will succeed. Readers will read your book for pleasure and interest above all else.

Want More Help With Your Book Proposal?

Why not try an agent submission pack review, or our video course on how to get published. Or, take a look at our range of editorial services here.

Frequently Asked Questions

How Long Is A Nonfiction Book Proposal?

The average length of a nonfiction book proposal is roughly around 10-25 pages. This varies greatly, depending on the topic, how thorough your proposal is, and how many sample pages of your writing you include. Specific literary agents and publishers may also have their own requirements for the lengths of the book proposals they receive.

What Is The Format For A Book Proposal?

The format of a book proposal may vary slightly, though most of them include: a query letter, a professional author bio, a market overview, and sample material (which includes a synopsis, sample chapters, and the introduction to your book).

How Do You Write A Pitch For A Nonfiction Book?

A pitch for a nonfiction book tends to be one or two sentences in length, and will reference the setting, subject, story, and unique selling point. Pitches summarise the key points of a book in a way which is clear and engaging.

How Do You Write A Synopsis For A Nonfiction Book Proposal?

The synopsis for a nonfiction book proposal should have a clear beginning, middle, and end; reflect the tone of your writing and the genre of your book; be engaging; reveal the key sections of your book (including any unexpected twists or spoilers); and be objective. They tend to be around 2,000 words long, though if you're writing subject-led nonfiction it can be briefer and around a few pages long.

Guest author and blogger Mandy Berriman shares with us how she hooked her literary agent and the importance of never giving up.

I went to a family wedding earlier this year. At our places at dinner, we each had a name card with a quote on the back. Mine read: I have one talent; I never give up. We laughed at the aptness, but it was also a well-timed personal reminder to me. Keep going, you’re almost there, don’t give up. And on I went with the current rewrite, kicking the doubt demons into the dust along the way.

I think it is possible that in the history of Jericho Writers (The Writers’ Workshop), I hold the longest record for not giving up: eleven years, two months and 26 days, to be precise. I was one of their earliest clients with my nine chapters of an unfinished ghost novel for children. It was the first piece of fiction I’d written since leaving school and although I had experienced a huge buzz writing it, I’d taken a year and a half to get to Chapter 9 and then stalled.

Was it any good? Did I even know what I was doing? Could I actually write a whole novel?

After uttering once too often, ‘but how do I know if I can actually do this?’, my husband found The Writers’ Workshop and told me to go and find out. A few weeks later, I had a report back from Harry. The gist: yes, you can do this, and here are all the things you need to learn about writing.

That was June 2005, and I haven’t stopped learning since – Arvon, reciprocal critiquing arrangements, constructive feedback from agents, self-editing, six Festivals of Writing, mentoring from outstanding Debi Alper, and always the ongoing support and encouragement from the team here.

I spent many years on that original novel (writing, finishing, rewriting, editing, finishing again, rewriting, editing, finishing again), and I came very close with a number of agents, including one who read, offered feedback, and re-read several times over a period of three or four years, and my opening chapter was shortlisted at 2012’s Festival of Writing, but I never quite jumped the agent hurdle. I decided to put the novel in the drawer and move on. I’d been writing and rewriting it for nine years and was desperate for a change.

I started a second children’s novel and rediscovered that buzz of fresh, no-idea-where-it’s-going writing. But fitting it in around two children and an increasingly demanding job meant progress was slow and I struggled with motivation. I dabbled in other bits and pieces, never settling on anything, but I started to write short stories and flash fiction in different styles and voices, and quite a step away from the children’s fiction where I felt comfortable.

In 2013, several things happened to dramatically change my direction and fire my motivation. Firstly, I moved jobs to one that was far more creative, allowing me to focus on my passion for music and step back from time-consuming paperwork. Secondly, my youngest son started preschool freeing up a precious few daytime hours in which to write. Thirdly, and probably most importantly, Stories for Homes happened.

Debi and her friend, Sally Swingewood, decided they wanted to create an anthology of short stories and poems on a theme of ‘home’ to raise money for Shelter. Debi asked for submissions of stories, techy help, proofreading and so on. I was determined to make progress on my children’s novel and I had no story ideas, so I replied to say that I would help where I could but doubted it would be in story form. However, just before the story deadline, I read Claire King’s The Night Rainbow, a wonderful, inspiring novel written from the POV of a five-year-old girl. (Read it!) Its themes are not about homelessness, but it sparked a thought – what does homelessness look like, feel like, smell like to a young child? And there was Jesika with her hands on her hips and that look she gets on her face when an adult is being really silly, wondering out loud why it took me for ages to notice her.

I wrote and edited Jesika’s story in a week and sent it to Debi and Sally just in time for the deadline. They loved it. They made it the first story in the book.

The book was filled with sixty or so other fantastic stories and poems and the book went on sale and raised over £2,000 for Shelter. (It’s still on sale, still raising money for Shelter.) I was very proud to be a small part of the overall project and when the excitement died down, I returned to the children’s novel. Except Jesika had other ideas. She wouldn’t leave me alone. I realised that one short story was not going to satisfy her.

I’ve spent the last three years writing, rewriting and editing Jesika’s novel. In that time, Debi has continued to mentor me and I’ve been to four Festivals, each time taking a little bit of Jesika’s story with me for my one-to-ones.

In 2013, all three agents told me they loved the voice, and they’d love to see more. (I wasn’t finished, so made a note of their names). In 2014, I saw two more agents who loved the voice, but weren’t convinced I could sustain it (and I still hadn’t finished it, so I couldn’t prove them wrong). However, that year I also went to a workshop run by Shelley Harris and because of a piece of writing I scribbled for one of her tasks, she introduced me to her agent, Jo Unwin, and we talked about the novel and she gave me encouragement to continue. In early 2015, I finished the first draft and started rewriting. In 2015, I submitted to Jo as one of my one-to-ones. She loved it and wanted to see more, and then after the festival, one of the agents I saw in 2013 asked to see the first chapter. She also loved it and wanted to see more, but the rewrite wasn’t finished.

It took me a year to finish – during an emotionally challenging year and with enormous help from Debi’s editorial genius – and just before the 2016 festival, I was ready to submit again. I had two agent one-to-ones arranged and I emailed Jo Unwin and the other agent to ask if they wanted to see it, too.

I assumed that nothing much would happen for a few months, and then I’d look at any feedback I got from the agents and talk to Debi about further rewrites.

What did happen was I ended up with four agents reading the full manuscript, two making me an offer of representation, one taking me out for lunch and me having a choice to make – all in the space of three and a half weeks!

I’m delighted to say (and still pinching myself when I say it) that I chose Jo Unwin. I know that this is one more hurdle in a series of hurdles and who knows what comes next, but I’m very excited to have arrived at a place I’ve been working towards for so long and so grateful for the day my husband handed me The Writers’ Workshop info and told me to get on with it. I stepped through a door that day that led me to so many fantastic opportunities, wonderful people and great friends – and I am the writer I am today because of them.

Back in 2007, Harry posted about me on a now-dead blog to congratulate me on that initial success of finding an agent who believed enough in my first novel to offer feedback and ask to read it again. He acknowledged there were no guarantees that it would lead to representation but he said, ‘I bet Mandy makes it though. And I bet she sells well when she does. Certainly hope so.’ I printed that blog off and pinned it up to remind me to keep going, and I did keep going. Thank you, Harry. And thank you to everyone else along the way who believed I could do this.

Lastly, incredibly, one of the many agents who rejected my children’s novel five years ago is the agent I’m now signed with as my book heads to publication with Doubleday.

My advice: be rejected, crawl away and weep in a corner, look at feedback, eat chocolate, learn, re-read feedback, swear, try new things, get involved with other writers, allow your writing to be critiqued, learn more, delete, rewrite, edit, throw the whole lot in the bin for a day – but never give up!

Including a template for you to follow and a working example

When you approach literary agents, you will need to present them with a submission package that includes a query letter, a sample of your manuscript and, of course, a synopsis. If you’re asking yourself how to write the synopsis, you should know it will need to look professional – that is, it wants to follow a proper synopsis format – and it needs to do its job, of convincing a literary agent that your story sounds exciting.

That’s not actually hard to achieve, and this post will tell you exactly how to write a novel synopsis. We’ll reveal the two huge tricks that make your life easy as a synopsis writer… and give you an example of a novel synopsis too, so you can understand exactly how to put the rules into practice.

Sounds good? Let’s jump right in.

How To Write A Novel Synopsis

What is the synopsis? A synopsis is a 500-800 word summary of your book that forms part of your agent submission pack. It should outline your plot in neutral non-salesy language and demonstrate a clear narrative arc. Every character, any big turning point or climactic scene, and all plot twists should get a mention. But lets go into the definition in more detail.

Definition: What Is A Synopsis?

A synopsis is:

• A short summary of your story, in its entirety, from beginning to end, soup to nuts, nose to tail.
• Written in fairly neutral, non-salesy language.
• Follows the same broad structure as your novel. So if, for example, you have a novel with two intertwining time-strands, your synopsis would follow the order of events as presented in the novel. Your novel’s structure trumps any chronological issues.
• Probably about 500-800 words in length, but agents’ requirements differ, so do check against each agent’s submission requirements.

What Is The Difference Between A Synopsis And A Blurb?

• A good synopsis is not like the text on the back jacket of a book. Those book blurbs are much shorter and normally offer only a teaser, rather than a full rundown of the book’s story.
• For the same reason, a novel synopsis is not the same as an Amazon-style book description.

In fact, a book synopsis is what you think it is. A 500-word long spoiler for your entire novel. Every major plot twist. Every major character. Any big turning point. Your big climactic scenes. They’re all there, briefly, succinctly and (yes) a little drily narrated.

Oh yes: and some good news –

If you can write a novel, then you can definitely write a synopsis. Writing a synopsis is a lot, lot easier than writing a whole damn novel, so don’t stress. You should be able to put together your synopsis in a morning – and still have time for a stroll before lunch.

Purpose: What Is A Synopsis for?

I just said that a book synopsis is kinda dry – and it is. In fact, I doubt if anyone has ever enjoyed reading one. It’s just not that entertaining.

So if it’s not for fun – why have it? What is the synopsis of a book for, and why do almost all literary agents ask for one?

OK, so this is how it works:

Most literary agents will look at your covering letter first, then turn to the manuscript. If they like the first three chapters, they’ll be thinking, “This looks great, but is it going to hold interest? Is it worth making that investment of time to read it all?”

That’s where the synopsis comes in.

Your book synopsis is there to outline your plot and to demonstrate a clear story arc, a satisfying ending. It’s your tool to make someone read on.

That’s why your synopsis needs to:

• Tell an agent directly and clearly what your plot is – it needs to give a clear picture of the narrative arc;
• Clearly identify your main characters – and at least hint at any major character development arcs;
• Make clear what your hook, premise or elevator pitch is;
• Demonstrate implicitly its appeal and how plot momentum increases;
• Share an ending that feels satisfying.

If your synopsis achieves all that – and your query letter and manuscript sample is up to scratch – the agent will ask you for the full manuscript. They can’t not. You’ve got them hooked.

Synopsis: Length, Tone, Format

The format of a wonderful synopsis has the following ingredients:

Length

Your synopsis should be about 500 words (but check agency requirements – they can be quite variable). There’s a lot of advice around suggesting that your synopsis should run to no more than one page. We think that’s on the low side. Most good synopses we see run to two nicely formatted pages (ie: reasonable line spacing, normal margins and a sensible font.)

Language

Be business-like; clear, to the point, neutral. In particular, it’s fine to tell not show: this is a business document, not the novel itself.

Presentation

Be well-presented with no typos or spelling mistakes. Use normal fonts, normal margins, and line spacing no narrower than 1.5. It’s fine if your synopsis runs to two pages, but (unless an agent specifically asks for more), don’t run to more than that.

Character Names

Put the names of main characters in bold or CAPS when you first introduce them. That makes the synopsis easier to navigate.

Character Thumbnails

As well as highlighting your characters names, you should give a swift resume of who they are, on first introduction. So for example: “James Bond, (38), a British agent – handsome, cruel, seductive, and high-living – …”. Note that you can insert age in brackets without having to say your protagonist “is thirty-eight years old.” Save that word count!

Extra Points

If you have a compelling way to ‘sell’ your story in 2-3 lines maximum, you could insert that little snippet up at the top of your synopsis.

Third Person Presentation

Even if your novel is narrated in the first person, your synopsis should be written in the third person. So (to pick one of my own first person detective novels for example), I wouldn’t write “I am a police constable in South Wales …”, but rather, “Fiona Griffiths is a police constable, based in South Wales…” You can instantly see how much more professional the third person sounds to the reader, right?

Tense

Your novel synopsis should be written in the present tense, so that the agent feels connected to the story and like they're experiencing its events in real time.

File Name

Please don’t call your file synopsis.doc. That works fine for you on your computer – but the agent probably has 100 files from writers with that exact filename. So help the agent out. Your file should be in the format title-synopsis. So: farewell-to-arms-synopsis.doc, for example.

And once again: tell the story. Your job is not to sell the book, write the blurb, or anything else, just say what happens in the story.

How To Write A Synopsis For Your Novel

There are two big tricks in getting your synopsis right.

They are:

First, Build Your Synopsis Structure

Don’t take your massive 100,000 word manuscript and try to figure out how to cram all its rich complexity into a 500 word precis.

It can’t be done. You’ll go crazy. Your synopsis will be terrible.

Instead of going from your manuscript and boiling it down, you need to go from your structure and build up.

That’s the trick. It works every time and it’s awesome. What’s your structure? It’s this:

• Status quo
• Inciting incident
• Rising action/Developments
• Crisis
• Resolution

Without looking at your manuscript, sketch out your plot using those headings in about 300 words. The ‘developments’ section obviously represents the largest portion of your novel, but it may not amount to more than 40-50% of your total word count here.

That’s fine. Missing out excessive detail is exactly the point. It’s precisely what you’re trying to do. So do it, and don’t fret.

Equally: don’t get into too much detail about character or settings or anything like that. Just focus on the exact mechanics of each plot point for now.

Second only to your novel, these are the most important documents you’ll ever write – so get them sorted fast, easily, and with excellence. You’ll be glad you did.

Second, Layer In Character Details

The second trick is equally simple and equally effective. It’s this:

Layer in information about who your characters are and how the events of the story impact them.

Synopses can feel like rather cold and baffling documents. When they do (and assuming they’re decently written), it’s always because the writer has focused entirely on plot machinery and hasn’t said enough about why it matters to the characters.

But we read books for the characters, so your synopsis has to engage with those emotional aspects too. Remember I gave you only 300 words for the actual plot machinery? The remaining 200 words are where you can express yourself with protagonists, emotions and character arcs.

Example (Without Character/Emotion Language):

“As BELLA walks into the class, a fan blows her scent towards a boy, named EDWARD CULLEN. Bella sits next to Edward in biology class on her first day of school. He disappears for a few days, but sees more of Bella upon his return. Bella is then nearly struck by a van in the school parking lot. Edward saves Bella, stopping the van with only his hand.”
(Adapted from the Wikipedia synopsis of Twilight)

Example (With Character/Emotion Language)

“As BELLA walks into the class, a fan blows her scent towards a mysterious boy named EDWARD CULLEN. Bella sits next to Edward in biology class on her first day of school, but he seems repulsed by her, affecting her feelings in the process. He disappears for a few days, but warms up to Bella upon his return; their newfound relationship is interrupted after Bella is nearly struck by a van in the school parking lot. Edward saves Bella, stopping the van with only his hand.”
(Source: as above)

Do you see how much more engaging the second version is to the reader? Although the text remains quite dry, by including emotional/character-type language in its summary, we have some sense of the real, developing relationship.

Short message: don’t focus so hard on plot mechanics that you forget to layer in emotion.

Writing A Synopsis: Common Mistakes

Here’s what not to do.

• Miss the agent’s word count by a mile. If an agent’s website gives you a particular word count to aim for, then deliver that, at least approximately. You may find you need a couple of different versions of the same documents, just because those blooming agents can’t cohere around one set word count. Jeepers. Those guys.
• Go into detail about setting: If you were writing a synopsis for a Jane Austen novel, for example, you might simply say: “This novel is set in a small village in Regency England.” You don’t need more.
• Go into vast detail about character: A few quick strokes are all that you need. (For example: “Ella, an experienced but overconfident assassin (36)…”)
• Be scrupulous about plot detail: It’s fine to skip subplots or ignore some finer details. The truth is, you won’t have time to include those things in a 500-word summary. Agents know that the synopsis is at best an approximation of the story.
• Hide the plot twist: A synopsis is the ultimate plot spoiler, opposite to a blurb, and your job is to reveal all major plot points, whether you like it or not.
• Start telling us about the novel. So, for example, don’t say, “Then the novel picks up the story of Kate and Jacob…”. Say: “Meanwhile, Kate and Jacob…”
• Cram in too many character names. Four or five is the maximum an agent wants to deal with. If you need to refer to other characters, just say, “the CIA agent” or “the beautiful doctor”.
• Forget to put your character names in CAPS or bold. Make it easy for the literary agent!
• Omit the title. Yes, we’ve seen synopses entitled “Synopsis”. Make sure you have both the title of your book and your name up at the top of your document. So your title line might read: A Farewell to Arms: Synopsis”, and beneath that in smaller text you’d have your name – maybe Ernest somebody-or-other.
• Use an unhelpful filename. Your document needs to be yourbooktitle-synopsis.doc.
• Write badly. Yes, a synopsis is a brisk, functional document, and you don’t need to write wonderfully. But you are still a writer trying to sell your work, so don’t allow yourself clumsy or badly expressed sentences.
• Fail to use our incredible Agent Submission Builder. These tools help you structure and write your synopsis and your query letter in a trice. Or even less than that – a dice. You can get them for free here. Watcha waitin’ for?

If you’re not making those errors, you should be good to go.

If you need help on getting your plot structure right in the first place, then check out these links: how to plot, more on using plot outlines, and how to apply the snowflake method to your story construction process.

Synopsis: An Example

This is a synopsis example penned by one of our own clients, Tracy Gilpin. The synopsis (and the book) went on to wow a literary agent and secure a book deal.

Synopsis Of Double Cross By Tracy Gilpin

Dunai Marks discovers the strangled corpse of Siobhan Craig, an activist who is not only her employer but also a mother figure; Dunai had been abandoned at an orphanage as a baby.

Siobhan was about to present to government the results of a controversial population control model for possible implementation at national level. Dunai believes this is the reason she was murdered.

The investigating officer on the case is instructed by an agent of the National Intelligence Agency to treat the murder as a botched burglary. Although some evidence points in this direction, Dunai believes Siobhan’s murder was work-related, which means she and Bryan, an American statistician, could be in danger.

She strikes a deal with Carl, a private investigator. If she is able to find a motive for the murder he will show her how to go about catching the killer.

Dunai discovers Siobhan was blackmailing five people who stood in the way of her pilot project, and was involved with a subversive group of radical feminists called Cerchio Del Gaia whose insignia is a double cross.

Dunai and Carl investigate the individuals blackmailed by Siobhan. They include: an anti-abortion activist, the head of an all-male religious fundamentalist group, an Anglican bishop, a member of local government, and a USAID official. One of these suspects was the last person to see Siobhan alive, another is known to have approached a contract killer a month before her murder.

Cerchio Del Gaia becomes increasingly entangled in both Dunai’s life and the investigation, and she is told that if she joins the group she will have access to information about her birth. The National Intelligence Agency is on a similar tack; if Dunai infiltrates Cerchio Del Gaia, which they believe is an international terrorist organisation, they will provide her with information about her origins. Dunai turns down both offers and the mystery of her birth and abandonment is eventually revealed by a woman claiming to be Siobhan’s sister, Dunai’s birth mother and the head of the South African chapter of Cerchio Del Gaia.

Throughout the investigation Dunai has searched for Mr Bojangles, a schizophrenic vagrant who may have seen the murderer. When she eventually finds him he seems to be of little help, yet it is his ramblings along with another clue that leads to her close friend and colleague, Bryan, who has been wanted by the FBI for twenty years for terrorist activities in the US. Bryan murdered Siobhan after discovering she intended betraying him to the National Intelligence Agency to deflect attention from Cerchio Del Gaia and as proof that she abided by the law even when it meant personal sacrifice.

Carl, who is now romantically involved with Dunai, offers to continue her training as an investigator and she agrees to divide her time between this and Siobhan’s NGO.

What Next?

We suggest using Tracy’s synopsis as a great example for your own synopsis format.

If you need more help writing your synopsis and query letter, we offer an agent submission pack review, which is one of the many manuscript editing services we provide.

Happy writing – and have fun.

Frequently Asked Questions

How Do You Write A Good Novel Synopsis?

To write a good synopsis, you need to write in the third person; use correct grammar; examine the structure of your novel and include all the main plot points; write in neutral language; include your hook; ensure you stick to the word count; layer in information about your characters; include all spoilers and plot twists; and include your novel's title.

What Should Be Included In A Novel Synopsis?

A novel synopsis should include: your premise/hook, the overall plot (all of the major plot points), an introduction to your main characters, plot twists and spoilers, and character development arcs.

How Many Words Should A Novel Synopsis Be?

Synopsis lengths can vary- check to see the length the literary agent you're querying has suggested- but they tend to be around 500 words long.

Sophie Beal came to the Festival of Writing 2018. She did not get an agent, but did get inspired.

Dear Myself-of-the-Weeks-Before-the-Festival,

This letter is for you, poring over the Jericho resources, searching for wisdom on those ultimate questions: how can I know the Festival won’t be a waste of time and money? And what if, instead of an agent, I get conclusive proof I’m delusional?

These are the things you’ll want to know up front.

1. You don’t make any of the competition shortlists.
2. You have a very depressing 1-2-1.
3. That dream, where agents and publishers stalk you? It doesn’t happen.

You’re now wondering if you should cut your losses, stay in Bournemouth and save the petrol. Keep reading.

Sometimes, people meet their agent in the coffee queue. This is unlikely in your case. Either, you’ll be too scared to strike up conversation, or not be scared enough and say something really stupid.

So there you are. Four hundred and sixty pounds down, no chance of representation and surrounded by three hundred odd people all after roughly the same thing. It’s going to be murder, right? That’s what you’re thinking.

That first 1-2-1 is not the agent’s fault. She’s lovely, but doesn’t think you’re the next Tolstoy. “I’m getting caught up in the medical red tape,” she says. She has no idea of the time you’ve spent trying to make sure that didn’t happen. You sit there and listen.

You write notes. You return to your session. Then you go back to your room and grieve. After all, unless something magic happens, this is probably the end of the line for your novel. After eleven years.

If you could fit this into the hour and a half before dinner, it would be an ideal time and place. It’s quiet. There are no children asking you for snacks or arbitration. But you’ve a soul to vomit and mealtime comes all too soon.

You’re not pretty when you cry. People will assume you’re dying of something they don’t want to catch. Or they’ll know the truth – that you’re not as good as you hoped. You drag Rachel, your trusty writing partner, to your room. She gives you a good hug, and supervises you while you rinse your eyes in warm water and make your way towards food.

And there you meet someone else who hasn’t yet had either of their 1-2-1s, but is thoroughly fed up with the submission process. You share your own tale of woe. And the lady on the other side shares hers. And you say things to each other you would usually reserve for the mirror (or Rachel). Like, “I think I’m good.” Someone buys three gins and tonic and instead of slipping out before Friday Night Live, you surprise yourself by staying up to whinge until eleven thirty (that’s three am in young person time).

You’re still feeling a little fragile the next morning, but all that panic-surfing has paid off. You remember Emma Darwin’s blog. You have your first coherent thoughts:

1. You really didn’t think your world through before you wrote your novel. Your main characters are academic anaesthetists. How many non-medics know those exist? And there’s so much more you need to set up alongside the love story, including the ambition and rivalry. World-building in these circumstances is difficult, but it doesn’t necessarily mean the novel is doomed.
2. The agent didn’t criticise your prose, your first page, or your characterisation. A lot of your work has paid off.
3. Mandy Berriman had a difficult journey to publication. People have told you she’s lovely. You will try to speak to her.

Together with a cooked breakfast, you’ve reason enough to get out of bed.

Penny Holroyde and Allie Spencer sit at your table in the canteen. This is the moment you should try and impress Penny who is after all an agent. But when they ask you about your festival, you end up telling them the truth. It’s the best thing you can do. They are both lovely.

“So many published authors I know, have a novel they love but can’t sell,” says Allie. “It doesn’t mean it’s not any good.” You talk about easy reading for thinkers.  She wrote her first romantic comedy about a young barrister, so understands your world-building issues and gives you some pointers. You come away thoroughly inspired.

That is your “all is lost moment” done and dusted.

Having planned plenty of alone time, you don’t miss a thing after that:

Sarah Pinborough may apologise for waffling in her keynote lecture, but has everyone in stitches as she describes life as a published author. And everyone’s crying by the end of Julie Cohen’s session about Pixar story-telling.

At the book club and literary industry panel you’re told genre boundaries are blurring. Pinning your book down as literary or commercial doesn’t matter as much as it did. Finally, someone produces a useful definition of book club fiction. It’s obvious really: “something people want to talk about with their friends.”

You contemplate skiving the Futurecast session. It’s on Sunday morning; you’re tired and already know vampires are out, uplit and psychological thrillers in. But there’s loads more to learn. Afterwards, everyone you speak to is considering self-publishing.

And somewhere in the middle of all that, you have a second 1-2-1. It’s far more relaxed than your first, possibly because you now know the problem. You bring up the world-building issue yourself. She suggests emphasising the love story over the setting from the start. But she says, “You’re clearly a very good writer.” You have time left. You could show her your elevator pitch for novel number two, but you forget and use the minutes up blithering about how much her opinion means to you.

There you are: three competitions, two 1-2-1s and no agent. But you now understand more about how you could fit into the industry. And you’ve found the rest of the people like you in the world. The money isn’t wasted.

On Sunday morning, you listen to Mandy Berriman’s keynote session and her full story of knockbacks, perseverance and eventual success with her second novel.

Over lunch, you tell your fellow writers about your novel number two.

“That one will be so much easier to sell. I can condense the idea down into a few sentences.” You tell them it’s about a couple about to abandon fertility treatment when the woman is raped. She then discovers she is pregnant. She thinks the baby is her husband’s. He thinks she’s delusional and wants an abortion.

Someone says, “I’m wondering what I’d do.” And someone else, “You need to write that.”

Then you remember you’re actually on your second draft. This sets off those pesky dreams again. You see yourself up on the main stage, about to publish your first novel as your second. The editor next to you is saying, “I couldn’t believe she had something so marvellous in her bottom drawer.”

With very best wishes

Sophie Beal

I got a call from my agent.  “I have news.”

I sat on my kitchen table, my feet on a chair, my elbows on my knees, one finger jammed in the other ear, the better to hear.

For the first time in days I hadn’t been obsessively checking my inbox; I’d let it go, I’d given up, I’d said to myself, oh well, I’ll just have to write something better.  I’d gone off to town with my children, I hadn’t looked at my phone all day till I was home and saw three missed calls and an email saying, do call when you have a minute.  I was holding the phone in my hands, staring at the screen, when it rang again.

It’s a bit like when you’re pregnant for the first time, all you think about is the birth.  Not the aftermath, the what comes next, the slow reveal of fears you never thought you’d have.  I’d spent a decade driving at representation, a manuscript finished and loved and taken up by an agent.  When I signed with Jenny Savill following FoW16, I thought that was it.  It was a height I had dreamt of and not once had I thought beyond it.  It had never crossed my mind that anything would be as fraught.

A friend once commented that being taken up by an agent was child’s play compared to selling to a publisher. A writer can submit to the same agent year on year if they want. But once a publisher turns your book down, that’s it. It’s a one shot game. At the beginning, with Frankfurt Book Fair looming and all the excitement of total ignorance, I was convinced I’d hear within days, hours, of easy success. Instead the weekly updates from Jenny were crammed with kind, encouraging notices of failure.

It was three weeks into that torment of declines that Jenny gave me the best advice I’d ever had.  Lower your expectations she said to my whining misery that I hadn’t been bought overnight, that the industry moves at its own quiet pace, that clearly I knew nothing.  And when it seemed like pessimism was getting the better of me, she said It’s not over yet.  But Christmas came and went and my infant novel looked for all the world as if it would never make it to adulthood.  I practised saying it happens and searched for examples of Booker Prize winners who’d struggled to find air.  I got on with writing something else.

A trip to town on a freezing afternoon at the end of January, my children needing boots, or the dentist, or maybe I just needed to get out of the kitchen and away from what felt like humiliation – I don’t remember anything of that day except coming home, and checking my phone for the first time since breakfast, and seeing three missed calls and an email.  When it rang in my hand my heart jumped and my breathing went funny.

“We’ve had an offer.”  And then she told me who it was, and I sat on my kitchen table with my feet on a chair, and my elbows on my knees and one finger jammed in the other ear, and I couldn’t believe what I was hearing.

My debut, ‘A Perfect Explanation’, came out in March 2019, published by Salt Books, one of the finest independent publishers of literary fiction.  It happened; the thing that I gave no thought to, that I presumed would be easy, and wasn’t and felt crushed by.  Those four months seem like nothing now, but looking back at the struggle, I have learnt this: that every step is a test of what you know and reveal of what you don’t, and when a brilliant and hard working agent and you decide to work together, remember it is just the beginning.

Isabel Costello’s debut novel Paris Mon Amour was released in June 2016 in digital and audiobook. She also hosts the Literary Sofa blog, where you can find her selection of recommended Summer Reads 2016. Isabel attended the  Festival of Writing in 2012 and 2013 and hopes to return one day!

Like any endeavour measured in years, my journey to publication has many significant milestones, starting with the decision seven years ago to stop talking about wanting to write (don’t most people?) and get on with it (many people don’t). Fast-forward three years and I had a novel ready to submit to agents (or so I thought) and attending the Festival of Writing for the first time in 2012 was a watershed. As well as being sociable, stimulating and educational, it made me realise just how many people shared my precise goal of getting their novel published.

It was the best kind of wake-up call: slightly alarming at the time but the catalyst for good things. Without it I doubt I’d have reached – another four years later! – the most exciting landmark so far: publication of my debut novel. Many people have been astonishingly generous and supportive on a road that’s had a few bumps, as most paths to publication do. I’ve learned a lot – and not just about how to write books. This is definitely not a ‘How to...’ (it’s pretty obvious I don’t have a magic formula.) For me and most of the writers I know, getting published has been mostly down to persistence and hard work.

The Secret To Getting An Agent

1. Reading Matters

Reading as a writer alters the experience in a way that can be distracting, but noticing the structure, the language, even being able to guess the twist or the ending three chapters in (so annoying!) are signs of developing your own sense of what works. Payback time comes when you forget to register any of that because you’re so immersed in the story. That’s inspiration. It’s what you’re aiming for.

2. Friends Matter

You might be – and hopefully are – writing ‘the book or story only you can write’ but that doesn’t mean you have to go it alone. The camaraderie and support amongst writers at all stages has been one of the best parts for me. It’s easy to others at events like the Festival of Writing – I’ve made wonderful friends this way I would never have met otherwise. But keep in touch with your other friends to avoid living in a literary bubble.

3. It's All About The Book - Seriously, It Is

And a very large side of luck and timing. In a business where getting anywhere is very hard, it’s easy to invent imaginary obstacles. It probably doesn’t hurt to be young, movie-star gorgeous with a life story as fascinating as your book, but it’s far from essential. Not saying they aren’t great, but you do not need an MA in creative writing. (I have no writing qualifications.) And don’t fret about ‘who you know’ (or don’t) in the business. Frankly, if that made a difference it wouldn’t have taken me this long to get published!

4. There's Nothing Like Editorial Input

This is a tricky one because it generally involves money, but the reality is that to get noticed by agents, publishers or competition judges you need to be submitting work that’s already of publishable standard, or very close. When I think mine’s good enough, it rarely is, and the honest, constructive input you need at that point is unlikely to come from anyone who’s not a confident and experienced editor. A structural edit following my first Festival of Writing transformed my fortunes entirely, resulting in a choice of agents. It was worth every penny.

5. Don't Pin Your Happiness On An Outcome You Can't Control

Learning to cope with the inevitable setbacks in a positive way is important, and something I’ve discussed openly along the way. Some advice from Lionel Shriver at an event I attended has stayed with me: write what matters to you – it’s the only way you can be sure your time is well spent. There are no guarantees in this business. Although it’s impossible to avoid completely, comparing yourself to others – your process, your book, your success – is not a good use of time or energy. The most important lesson I’ve learned is to focus on the only part I can control: producing the best work I can. Closely followed by enjoying other things!

6. Visualise Writing Success, But Not What It Looks Like

I know this sounds like a contradiction, but positive thinking can be a self-fulfilling prophesy too! I could always picture myself succeeding, however remote the prospect (and for a long time it really was). ‘Disruption’ in the book business has led to many new ways of reaching readers. I may not have anticipated my novel coming out first in digital and audio but I know an exciting opportunity when I see one.

7. The Right Way To Write Is The Way That Works For You

Faced with the deluge of generic tips directed at writers, there’s an art to identifying those which motivate, assist and inspire you in your work – thereby making it more enjoyable, and you more likely to stick at it – and ignoring all the rest. For every person inspired by ‘write what you know’ or ‘write every day’ there are many more left cursing and grinding their teeth. Ultimately it’s not about the method; it’s the end result that matters.

Structural feedback may just help you get there, too.