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The Essential Guide to Getting Your Book Published: How to Write It, Sell It, and Market It . . . Successfully
A complete author's The guide that demystifies every step of the publishing process.
No matter what type of book you want to write—fiction, nonfiction, humor, sci-fi, romance, cookbook, children's book—here is how to take an idea you're passionate about, develop it into a manuscript or proposal, get it published, and deliver it into the hands and hearts of readers. Includes interviews with dozens of publishing insiders—agents, editors, besteslling authors, and booksellers. Real-life success stories and the lessons they impart. Plus sample proposals and query letters, a resource guide, and more.
Updated to cover ebooks, self-publishing, digital marketing, the power of social media, and more.
This complete author's toolkit includes information locating, luring, and landing an agent
- perfecting your pitch
- the nuts and bolts of a book proposal
- conquering the query letter
- finding the right publisher for YOU
- four steps to reaching readers online
- making Amazon work for you
- kickstarting your Kickstarter campaign
- the ins and outs of ebooks
- 10 things you should have on your author website
- turning rejection into a book deal
- new frontiers in self-publishing
No matter what type of book you want to write—fiction, nonfiction, humor, sci-fi, romance, cookbook, children's book—here is how to take an idea you're passionate about, develop it into a manuscript or proposal, get it published, and deliver it into the hands and hearts of readers. Includes interviews with dozens of publishing insiders—agents, editors, besteslling authors, and booksellers. Real-life success stories and the lessons they impart. Plus sample proposals and query letters, a resource guide, and more.
Updated to cover ebooks, self-publishing, digital marketing, the power of social media, and more.
This complete author's toolkit includes information locating, luring, and landing an agent
- perfecting your pitch
- the nuts and bolts of a book proposal
- conquering the query letter
- finding the right publisher for YOU
- four steps to reaching readers online
- making Amazon work for you
- kickstarting your Kickstarter campaign
- the ins and outs of ebooks
- 10 things you should have on your author website
- turning rejection into a book deal
- new frontiers in self-publishing
802 pages, Kindle Edition
First published July 18, 2005
241 people are currently reading
1086 people want to read
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Displaying 1 - 30 of 118 reviews
September 15, 2016
The Essential Guide to Getting Your Book Published came as a recommendation from a panel of authors, editors, and literary agents at the 2015 Bay Area Book Festival. It's not difficult to see why the panelists were quick to make this recommendation. This book is exhaustive (not to be confused with exhausting). It covers everything an aspiring author needs to know about what to expect and how to proceed upon completion of a manuscript, though writers are well advised to read this book at any stage in their career, whether they've just penned an idea for a book, are seeking an agent, or recently signed with a literary agency.
Most books about writing perpetuate a negative attitude toward writers and writing. Not so in this case. The Essential Guide to Getting Your Book Published is honest with its readers about the challenges they'll face in the quest to be published, but the authors remain delightfully upbeat about the joy of writing.
Most books about writing perpetuate a negative attitude toward writers and writing. Not so in this case. The Essential Guide to Getting Your Book Published is honest with its readers about the challenges they'll face in the quest to be published, but the authors remain delightfully upbeat about the joy of writing.
May 2, 2012
The title of this book speaks for itself. For unpublished authors, this book provides a step-by-step guide from the germ of an idea for your book to what to do after it is published. You learn early on that there is so much more to achieving publishing nirvana than “writing a book.” The Essential Guide to Getting Your Book Published covers everything: the importance of social media, writing your book, writing the book proposal, finding an agent, contract negotiation, working with your agent and publisher, and selling your book. This book states in detail what is involved and makes clear that if you are unwilling to put in the work, the likelihood of publishing a successful book is low.
The book is written in an easy-to-understand and often humorous manner. I found the anecdotes of writers who have successfully published their work enjoyable to read and motivating. Given all the information that is included in this book, the main point of the book may sometimes be overshadowed; you must write a good book. In the long run, everything else does not matter.
I read this book so that I would have a better understanding of the publishing process and what was in store for me. Still writing my book, I expect to return to The Essential Guide to Getting Your Book Published again and again as a reference.
I will let you know how it turns out.
The book is written in an easy-to-understand and often humorous manner. I found the anecdotes of writers who have successfully published their work enjoyable to read and motivating. Given all the information that is included in this book, the main point of the book may sometimes be overshadowed; you must write a good book. In the long run, everything else does not matter.
I read this book so that I would have a better understanding of the publishing process and what was in store for me. Still writing my book, I expect to return to The Essential Guide to Getting Your Book Published again and again as a reference.
I will let you know how it turns out.
December 10, 2010
Barely a week goes by when we don’t get an e-mail enquiring as to where or how an aspiring author can get an agent or somehow hook into the publishing business. It turns out, the old saw that ‘everyone has a book in them’ is not too far from the truth, at least according to these authors. Well, problem solved.
In what began as a quest to publish and sell copies of their own books (book doctor David’s on baseball legend, Satchel Paige, and literary agent Arielle’s niche book on Jane Austin), this publishing focused couple stumbled upon nearly every pitfall of the small time author world. Proposals, rejection, marketing and lack of enthusiasm, all reared their head in an attempt to thwart their mission. In fact, they had so much experience, as well as the experience of colleagues and clients, that five years ago they successfully published the first version of this book, “Putting Your Passion into Print.”
But now, half a decade later, book publishing has transmogrified into a digital new world order. Some opportunities have faded (newspaper reviews) while others are on the rise (the blogosphere), books are available in a multitude of new formats and self-publishing is available to all, yet through it all, the mystery remains.
So just how does one successfully get a book published (and to sell through, of course)? Well, if you can’t find it in these 480 pages, it’s not to be found. The two authors have assembled a compendium of everything you need to think about to have the best shot at winning this game. From figuring out the right idea, to focusing your pitch, landing an agent, negotiating contracts, getting paid, meeting deadlines and then, of course, the relentless job of how to promote, promote, promote! (Check out their Facebook page for pix of their recent book tour from PA to CA.) The book reveals a myriad of examples, lessons and advice, from both the authors and other experts (Neil Gaiman, Seth Godin, Dan Ariely, etc.) on what to do, what not to do and how to balance your expectations with the realities you will face. This updated (and retitled for optimal SEO) version also features the latest tips for reaching the connected universe through social marketing and SEO (again) as well.
The book has been described as a ‘must-have’ for every aspiring writer and with the down-to-earth writing style Eckstut and Sterry bring to their work, (not to mention those FB photos) “The Essential Guide to Getting Your Book Published” turns out to be a fun read as well.
No more e-mails pleas
In what began as a quest to publish and sell copies of their own books (book doctor David’s on baseball legend, Satchel Paige, and literary agent Arielle’s niche book on Jane Austin), this publishing focused couple stumbled upon nearly every pitfall of the small time author world. Proposals, rejection, marketing and lack of enthusiasm, all reared their head in an attempt to thwart their mission. In fact, they had so much experience, as well as the experience of colleagues and clients, that five years ago they successfully published the first version of this book, “Putting Your Passion into Print.”
But now, half a decade later, book publishing has transmogrified into a digital new world order. Some opportunities have faded (newspaper reviews) while others are on the rise (the blogosphere), books are available in a multitude of new formats and self-publishing is available to all, yet through it all, the mystery remains.
So just how does one successfully get a book published (and to sell through, of course)? Well, if you can’t find it in these 480 pages, it’s not to be found. The two authors have assembled a compendium of everything you need to think about to have the best shot at winning this game. From figuring out the right idea, to focusing your pitch, landing an agent, negotiating contracts, getting paid, meeting deadlines and then, of course, the relentless job of how to promote, promote, promote! (Check out their Facebook page for pix of their recent book tour from PA to CA.) The book reveals a myriad of examples, lessons and advice, from both the authors and other experts (Neil Gaiman, Seth Godin, Dan Ariely, etc.) on what to do, what not to do and how to balance your expectations with the realities you will face. This updated (and retitled for optimal SEO) version also features the latest tips for reaching the connected universe through social marketing and SEO (again) as well.
The book has been described as a ‘must-have’ for every aspiring writer and with the down-to-earth writing style Eckstut and Sterry bring to their work, (not to mention those FB photos) “The Essential Guide to Getting Your Book Published” turns out to be a fun read as well.
No more e-mails pleas
June 16, 2017
The title is 100% true. This is a book every writer should own because it is truly the essential guide to getting your book published. It covers every aspect from coming up with a great idea, creating your platform, submitting your work to agents and publishers, the entire publication process, the marketing methods, and what comes next. This book gives you inside tips on the entire process of creating a book and bringing it to market. It helps authors adjust expectations and gives them an overview of what to expect. I will definitely be referring back to this book for years to come
The voice and tone are friendly and humorous and you feel like you spent weeks chatting with Arielle and David about the publishing process. I appreciated their candor and no nonsense approach to everything. I think most authors will agree--this is a great behind the scenes peek at the entire process and a huge bargain. I gained so much information and knowledge. Usually you'd need 6 books to cover this much information, but Arielle and David managed to do it in one inexpensive book. Thank you!
The voice and tone are friendly and humorous and you feel like you spent weeks chatting with Arielle and David about the publishing process. I appreciated their candor and no nonsense approach to everything. I think most authors will agree--this is a great behind the scenes peek at the entire process and a huge bargain. I gained so much information and knowledge. Usually you'd need 6 books to cover this much information, but Arielle and David managed to do it in one inexpensive book. Thank you!
May 6, 2021
Everything you ever wanted to know about publishing a book, from the inception of the idea to well past publication.
This is a dense book. It took me three and a half months to read it because it literally covers every nook and cranny of the writing and publishing business, circa 2015. In this fast-paced world, that means a fair amount of the information is out of date.
Nevertheless it did provide a good overview, a place for an aspiring author to start learning what areas to dig into in order to sell a book, be it via traditional or self publishing.
Unhelpful: Initially this giude started out by listing all the reasons writing a book is a bad idea, which was annoying. Seems to me if you're reading this book, you've probably already written your own so it's a little late for the fatherly advice. Then it moved on to brainstorming ideas, which pertained more to DYI and self-help than fiction. Considering the size and length, I would have appreciated the authors organizing it into sections so I could access the information specific to literature. I almost put it down because it didn't seem to offer what I was looking for but am glad I didn't. Once I got past the beginning, helpful information started to appear.
Helpful: How to write a query that actually gets a response. What to expect from different types of publishers and the benefits and drawbacks of each. The difference between the agent's, publicist's, and publisher's roles. The importance of a strong social media presence and how it can make or break an author's success. A ton of information and resources on self-publishing and the many different forms it can take.
Ultimately this was a helpful experience. Meaning if they published an updated 2021 version, I would buy it and read the whole thing over again.
This is a dense book. It took me three and a half months to read it because it literally covers every nook and cranny of the writing and publishing business, circa 2015. In this fast-paced world, that means a fair amount of the information is out of date.
Nevertheless it did provide a good overview, a place for an aspiring author to start learning what areas to dig into in order to sell a book, be it via traditional or self publishing.
Unhelpful: Initially this giude started out by listing all the reasons writing a book is a bad idea, which was annoying. Seems to me if you're reading this book, you've probably already written your own so it's a little late for the fatherly advice. Then it moved on to brainstorming ideas, which pertained more to DYI and self-help than fiction. Considering the size and length, I would have appreciated the authors organizing it into sections so I could access the information specific to literature. I almost put it down because it didn't seem to offer what I was looking for but am glad I didn't. Once I got past the beginning, helpful information started to appear.
Helpful: How to write a query that actually gets a response. What to expect from different types of publishers and the benefits and drawbacks of each. The difference between the agent's, publicist's, and publisher's roles. The importance of a strong social media presence and how it can make or break an author's success. A ton of information and resources on self-publishing and the many different forms it can take.
Ultimately this was a helpful experience. Meaning if they published an updated 2021 version, I would buy it and read the whole thing over again.
August 8, 2011
Arielle Eckstut and David Henry Sterry previously published much of this how-to guidebook as Putting Your Passion Into Print, but in the last five years the game has changed; and so has the role of the author in the book publishing business. This is the most current and relevant set of guideposts in the environment of social media and book publishing.
What I really like about this new reference text is that it tells authors what is now expected of them in this whole new ballgame. It answers the question many authors ask: why should I blog? Do I need an agent? How do I prepare a book proposal?
Much more is now expected of authors by publishers. This guidebook helps an author navigate the landscape of the shifting sands in publishing today. Being an author today requires more than writing the manuscript. You need to create the market demand for your book and you need to fill that demand by using social media and other digital channels to sell it to your audience.
Most important, this book helps you figure out how serious you really are about publishing your book. It's a full time job. And it's a job that requires a lot of computer savvy, a selling personality, and time BESIDES brilliant writing talent.
As a book development editor with Swenson Book Development, I encourage my new clients to read this guidebook before we begin work on their book projects. It serves to validate the challlenges and opportunities the current state of book publishing presents to authors. More importantly, the book creates an increased market demand for author services no longer filled by traditional publishing houses yet essential to the success of a book in the marketplace today.
The dirty little secret that publishers are less successful than authors at selling books is out in the open and this book is essential to authors who want their books to be bought and read. Essential.
What I really like about this new reference text is that it tells authors what is now expected of them in this whole new ballgame. It answers the question many authors ask: why should I blog? Do I need an agent? How do I prepare a book proposal?
Much more is now expected of authors by publishers. This guidebook helps an author navigate the landscape of the shifting sands in publishing today. Being an author today requires more than writing the manuscript. You need to create the market demand for your book and you need to fill that demand by using social media and other digital channels to sell it to your audience.
Most important, this book helps you figure out how serious you really are about publishing your book. It's a full time job. And it's a job that requires a lot of computer savvy, a selling personality, and time BESIDES brilliant writing talent.
As a book development editor with Swenson Book Development, I encourage my new clients to read this guidebook before we begin work on their book projects. It serves to validate the challlenges and opportunities the current state of book publishing presents to authors. More importantly, the book creates an increased market demand for author services no longer filled by traditional publishing houses yet essential to the success of a book in the marketplace today.
The dirty little secret that publishers are less successful than authors at selling books is out in the open and this book is essential to authors who want their books to be bought and read. Essential.
October 27, 2010
Released five years ago as PUTTING YOUR PASSION INTO PRINT, authors Arielle Eckstut and David Henry Sterry helped writers brave the waters and move forward in their quest for publication. Updated under a new title and including timely information about the importance of social media and the larger role for the author makes THE ESSENTIAL GUIDE TO GETTING YOUR BOOK PUBLISHED a go-to book for writers - those experienced and not-yet-published. As social media becomes our word-of-mouth for the book business, Eckstut and Sterry go over how websites, blogging and communities specific to your topic (plus Twitter and Facebook) can help you establish a market and fan base for your book. I found particularly useful the sections regarding the business side of publishing. This is not a book on how to write a novel nor nonfiction title but practical advice on what comes next, taking the idea or finished project to the next step: how to pitch your ideas, finding an agent, connecting to your audience, and into working with your future editor and publisher with a separate chapter on self-publishing.
Interviews with authors and publishing insiders make the book more insightful than a compilation of steps, however. The authors’ own experiences in the world of publishing lends a credibility to the Guide, giving the book a more personal touch than I've found with many other authors on these subjects. I recommend THE ESSENTIAL GUIDE TO GETTING YOUR BOOK PUBLISHED as a practical addition to the serious writer's personal library and will be using their advice in my own work as an author.
Interviews with authors and publishing insiders make the book more insightful than a compilation of steps, however. The authors’ own experiences in the world of publishing lends a credibility to the Guide, giving the book a more personal touch than I've found with many other authors on these subjects. I recommend THE ESSENTIAL GUIDE TO GETTING YOUR BOOK PUBLISHED as a practical addition to the serious writer's personal library and will be using their advice in my own work as an author.
May 12, 2014
I met the authors of The Essential Guide to Getting Your Book Published a few years ago at a pitchapalooza in Phoenix. They're very nice people--enthusiastic and passionate about books and authors, and they're a wealth of information when it comes to publishing, both traditional and indie routes. I enjoyed their book then--especially the early chapters on crafting pitches and proposals, researching agents and publishers, and dealing with submissions and rejections.
But now I have a publisher, and my novel will soon be released. So I re-read David and Arielle's book, and I'm glad I did. Many questions that had been spinning in my head were answered here--from pre-publication publicity to the book launch to preparing for interviews (one of the authors is a media coach, and offers some helpful tips).
Highly recommended. And is it cheating to add this title toward my 2014 reading goal? I'm woefully behind, and I did read it again from front-to-back. Unless I hear otherwise, I'm counting it, okay?
But now I have a publisher, and my novel will soon be released. So I re-read David and Arielle's book, and I'm glad I did. Many questions that had been spinning in my head were answered here--from pre-publication publicity to the book launch to preparing for interviews (one of the authors is a media coach, and offers some helpful tips).
Highly recommended. And is it cheating to add this title toward my 2014 reading goal? I'm woefully behind, and I did read it again from front-to-back. Unless I hear otherwise, I'm counting it, okay?
April 28, 2022
It's full of great information. I've implemented some of the info. Much of it, of course, requires lots of time. So we must determine how much time we want to devote to promoting our books (and music, and paintings, sculptures, etc) and how much time we want to devote to living life!... Hmmm..
Through a magical connection, I recently met one of the members of Elton John's touring band. He is at the very top of his profession, and he mentioned trying to balance the passion and the life!
So, even those at the top still struggle with how much time to devote to our craft, (whether it's the creating or promoting) and how to balance trying to have some sort of 'normal life'.. whatever that may be for you
I do recommend this book!
Through a magical connection, I recently met one of the members of Elton John's touring band. He is at the very top of his profession, and he mentioned trying to balance the passion and the life!
So, even those at the top still struggle with how much time to devote to our craft, (whether it's the creating or promoting) and how to balance trying to have some sort of 'normal life'.. whatever that may be for you
I do recommend this book!
August 31, 2018
A Bible for Publishing.
:-)
:-)
May 23, 2025
mediocre rehash of somebody else's blog posts. be unique. find a master, because stray dogs don't eat. amazing.
January 3, 2019
070.52 ECK
Scan some unrelated to my book, make note on useful part.
Summary: from figuring out the right idea to locating and landing a agent; to selling your book to appropriate publisher or self-publishing; to understanding the contract; to getting paid; to sitting down and writing the book; to becoming savvy about publicity, marketing, e-media and social networking; to setting up the website; to planning and executing a event; to making a promotional video; to be on bestseller lists.
Making your book the best book it can possible be should always be your first priority.
Publication Standard: "The Chicago Manual of Style" about fair use, CIP
author guilds: https://www.authorsguild.org/ (for law issue)
Putting Your Passion Into Print: Get Your Book Published Successfully! by David Sterry (2005, former edition, because title wasn't search-friendly, for a new edition, author changed the name )https://thebookdoctors.com
https://thebookdoctors.com
===================
New way of publishing:
1. Go to web, blog it your book first, build your audience.
2. e-book, self-publishing, a print edition via print-on-demand,or offset printer
===================
About website: most from chapter 2
Branding
A simple website design cost $250
Name of your website: by author name; by book title titular 标题的
Authenticity about your words: personable but no personal
flame email: nasty email. media platform is 10 times more likely to be negative than positive.
publicity vs marketing: publicity is when you get it for free. For example, an article in The New York Times is publicity and an ad on the Times' website is marketing.
influencer marketing
Sale Reps: start as early as six months, sales reps begin convince bookstore to order the book. Usually is 30-60 seconds for the book. Questions like: How do I sell this? Who is the audience? When sale reps say: “I’ve read this book and I know you can sell it,” that make a big difference.
It is very important turn your name into a face. Schedule a meeting six months before publication and preferably before to sales conference. You want to walk into the meeting with
1. Pitch:
2. Presentation, often competition, publicity, marketing section in Proposal
3. better comp (comparison titles), positioning
4. Ask everyone for a card, so you can refer to people by name, etc.
===================
literary Agent (a mid to large-size publishers, your book goes to literacy agent, small publishers go to editor): buffer between you and editors and publisher. Usually you need agent if you want advance. Most agencies charge a 15% commissions on advances, royalties and most subsidiary sales, except for foreign rights. Agent may submit exclusive, not-quite-exclusive,or many editors.
Editor
Publisher (publicizing, marketing)
Media
Bookstore
700 hours writing
rights (worldwide vs. North American)
film rights
audio rights
investment in the book:
an advance payment and royalties to the author, editorial guidance, promotion, marketing, or advertising, publicity
===================
Making deal:
1. Check publishing teams -from your editor, publicity people, marketing and sales, take a good measure, take notes on everyone.
2. How long wait: within a week or two of your submission.
3. deal memo , see page 179
Chapter 7 Let's make a deal
offers come in 3 ways: 1) preemptive offers 2)auctions (either round-robin or best-bid) 3) individual offers.
in round-robin, all editors make first-round bids (except for floor-holder), each offer has to top the previous bid by a minimum usually 10%. Once all bids have been made, the floor-holder gets an opportunity to make one final, topping bid, typically 10% higher than the last bid.
===================
About the money: more contents are in Chapter 8: Contract facts
Most publisher need at least nine months to do the preparation to launch a book properly.
--advance: formally referred as an advance against realities. cash advanced to you before the book stars making money. Bonus either bestseller bonus or earn-out bonus is not like the bonus an employees get at the end of the year for work well done. It's just money added to the pool of money you already have to earn out . The equivalent of an added advance check. For author, if their book sell 0, the advance belongs to the author unless you don't finished the book, or if the book is not accepted by the publisher.
--Royalty: percentage of the sale for each copy sold goes to you.
Hardcover
10% to 5,000 copies
12.5% to 10,000 copies
15% thereafter
Trade Paperback
7.5% for all copies
Mass-market paperback
8% to 150,000 copies
10% thereafter
Escalator royalty, usually up if your book copies exceed certain amount. But it can go down. It's common practice for publishers to reduce the royalty on reprint of a limited number of copies, giving the author's what's called a small printing royalty. Be sure it can occur only once a year, so that if the publisher ends up doing multiple small printing during the year, you get a reduced royalty for only one of these printing.
example: earn out its advance, retail price $20, 10% royalty, advance $20,000, in order to get a first royalty check, need sale 10,000 copies. 10,000 * 20 * 10% = 20,000
e-books
Model for e-book is called agency model because Apple - any other retail - would be taking a 30% commission as "selling agent." Don't confuse this with literary agent. For example, e-book price is $10, $3 goes to apple, $7 go to publisher. If you get 25% royalty of e-book often refer to "Net receipt"
Some publishers, especially small ones, work off net price, not list price . Typically, net is approximately 50% of list price. So royalty on net price often twice the standard royalty on list price.
Deep discount on chains like Walmart and Costco, Target. Usually royalty is 2/3 of the prevailing royalty rate.
Copyright: always retain the copyright to your work. Under all circumstance, it states in your contract that publisher shall register the copyright in your name.
附属权(subsidiary right)
series right: 连载权，即许可他人在图书出版之前或之后在报纸、杂志上连载整部作品或其中部分篇章的权利
foreign right: in all midsize to major publishing houses, there are people who try to see your book overseas. In most case, usually through subagent rather than directly to foreign publishers.
Publisher primary right: hardcover, paperback, electronic versions of the book sold in the North America (or wherever publisher is). Sales of the work in different format - audiobook, a TV show, a large-print edition, etc are considered subsidiary rights.
Vocabulary:
blurb (通过护封简介)吹捧(作家)
Flap copy: is the text that appears on the inside flap(s) of the dust jacket wrapped around a book. Its sole purpose is to inform the reader what the book is about--beyond what is obvious from the front cover and in doing so, "hook" the potential reader in a persuasive way.
Back cover copy: is the blurb on the back of a book
copywriter: 广告文字撰写人a person whose job is to write the words for advertising material
Four-color: industry language for "full-color".
mass-market paperback 平装: pages made from newsprint paper, are often sold through special distributors, as a magazine would be.
trade paperback: nice paper, pricier paper, sold through regular book channels.
trade book: a book published by a commercial publisher and intended for general readership.
Format: Hard, Paper, Trade, mass or E?
The New York Times does review usually on hardcovers. Hardcovers often spell prestige, mass-market paperbacks for supermarket.
If the book was given a two-page catalog, an announced first printing of 50,000 or more and a long list of publicity and marketing commitment, you can be pretty sure your publisher is pulling out all the stops.
Author photo: go in the back of the book or on the back flap, you pay for it.
===================
About writing: chapter 9 Write away
first draft vs. manuscript
Fair use, page 212, see "The Chicago Manual of Style"
see Appendix IV for permission forms.
How to revise:
--cutting away fat, eliminate redundancy. Streamline every chapter
--Reading right out loud
--then turn in manuscript
===================
Chapter 10: Working with your publisher
Editorial departments: editor in chief -> editorial director -> executive editors ->senior editors ->editors ->associate editors -> assistant editors .
acquiring editors: editors regardless rank who acquire books.
Most contracts stipulate editor must provide editorial feedback within 60 days.
Copy editor: nitpicks spelling, punctuation, grammar, consistency of scripts, may check facts. This work can take from a week to a month or more. Once you receive a copy of your copy-edited manuscript, you need go through, approving or disapprove every comment and correction. You have a week or two do so. You may require some back and forth with your editor (you almost never have direct contact with your copy editor). The moment the book is handed off to the copy editor is often the moment considered officially accepted. 我对此有错误的了解,这是最后一道工序.
Once you've returned copy-edited manuscript , it sent to a typesetter and turn into page proofs . This time point out errors in typesetting and making small, last-minutes adjustments.
books are manufactured by binding together signatures of 16 or 32. 【印】装钉用折叠号码
Bound Galleys. A Bound Galley is the pre-publication version of an upcoming published book that is a printed, perfect bound book. bound galleys do not include any of changes you make to your proofs. And these bound galleys will go to a number of book reviewers. However, all bound galley have a prominent label instructing reviewers not to quote anything from text without checking the finished book.
Cataloging: include 8 to 9 nuggets of info, include publication date, price, cover image, author photos etc. Catalog copy: 出版商的图书目录
Catalogs are organized according to season. a pub date: reserve publishing blockbusting.
Title and subtitle: approval or mutual agreement.
Cover Design: typestyle, color palettes. Get to cover designer sooner the better, more specific
spinal column design: contain title /or subtitle.
Categorization p257: cataloging-in-publication data on CIP forms
David Williamson:David Williamson has been at the Library of Congress since 1982. His entire career at the Library has been in cataloging. CIPs: on "The Chicago Manual of Style"
editor-at-large: roving editor. "At large" means the editor has no specific assignments, but rather works on whatever interests them.
===================
Chapter 12 Publicity and Marketing and Chapter 13
Your book is only new for 3 months. You have to pack everything you can into those first three months.
traditional approach: book review, bookstore events, publisher-sponsored tour
Usually publicist will be assigned to you by publisher. Make her/his job simple by being easy to locate, to work with, quick to come up with anything she needs on an ASAP basis. If she/he is enthusiastic about your book, it is a good sign to any bookstore owners. Publicists does not mind authors have preferences and dislikes, but they like to tell in advance so they know what works or doesn't.
in-house publicist vs.outside publicists
Author questionnaire: one paragraph bio or one-page bio.
Reassessing your pitch
Blurb wrangling ( also called endorsements, send bound manuscript out)
Audience Angling
Galley Action: galley copy after page proofs ( usually publisher give you as a few as 5) or bound copies (if publisher isn't printing alleys, a page proofs of bound copies) get them to foreign publishes if you've retained the foreign rights to your book. Today electronic one is most common, but paper is still better than e-version.
Free Content as buzz-builder: Most sites prefer excerpts of 7,00 to 1,000 words in length. You can offer excerpts or "Look Inside" privileges to heavily trafficked site like Scribd, Google books, Amazon and Barnes & Nobles.
Camera: Find out before your interview where the producers would like you to like. It's almost always better not to look at the camera.
Escort: a person who pick you up at airport.... be nice to them.
interview: passion is what has been fueling our book the whole time, is what will make you a good interview, is what sell your book and make you an interesting and captivating speaker. be prepared to be misquoted and know that there's absolutely nothing you can do about it. Don't start sending letters to the editor, you'll most likely comes off as a whining boob. Larry Mantle prefer the person to have right energy without being overwhelmed, funny without being Shticky, intelligent but accessible. If it's too complex, it's boring. If it's too simple, it is dull. No abstract concept, just real stories that people can related to.
Snarked remark: if you get bashed, pilloried, dismissed, railed upon or savaged, just remember the words of Oscar Wilde: "The only thing worse than being talked about is not being talked about." Be prepared. Always business. Never Personal.
Award: for some awards, it maybe nominated in more than one category.
Amazon, Barnes & Nobles, Goodreads, BookArmy
If you're still in prepublication state, any reviewed will be from trade publications such as Publishers Weekly, Booklist, Kirkus and Library Journal.
Fresh Air, Today Show
Publishers Weekly
New York Times bestsellers
Chapter 14 The fine art of selling
What your publishers rely on are guesses based on preorders.
Although Discount retailers such as Costo account for a large percentage of all book sale, they tends to concentrate on best sellers or references books; by comparison, only 5% of B&N's total sales are bestsellers.
120,000 libraries
Amazon Affiliate: establish account. This program will allow you to set up a direct on your site to your book page on Amazon. For each sale that comes through the link on your site, you make a small percentage.
Amazon Sale rank: rates your book in comparison to other books they sell, it may or may not related to whole sale, even not related to local bookstores.
===================
About proposal:
1. Getting titular: Title and subtitles
2. Perfecting your pitch: what your book is about
Elevator pitch: short pitch, which is over by the time the elevators get the next door
Long-from pitch: under a minutes, usually on book flap (dust jacket, book jacket) or backs of paperback, that is flap and back cover copy.
3. The Nonfiction proposal
--No need finish manuscript, instead shorter is better and less is more
--95% of the time, publishers are likely to shell out good money if they read a dazzling sample chapter or two to get the voice and point of view, more than that can harm.
--Proposal
Table of Contents
Overview
Bio
Audience
Competition
Special marketing and promotional opportunities
Manuscript specification
Outline
Sample Chapters (the other is the skin and bones, the sample chapters are heart and soul. 1-3 sample chapters, about 20-50 pages)
type-style: Garamond and Times New Romans, margin 1 1/4'' on either side. Keep it short. Keep it tight. Double-spaced.
--Cover design, AIGA, author hire a student design cover for $250
--p101-102 where to find editor, professional readers (local bookstore), universities.
===================
About publishers:
publishers marketplace : e-reports of deals.
Publishers Weekly
Appendix II
Appendix III
Jeff Herman's Guide to Book Publishers, Editors and Literary Agents 2017: Who They Are, What They Want, How to Win Them Over by Jeff Herman
Publishers Type:
p138
---Random House is owned by Bertelsman, which also bought among others, Crown, Knopf, Doubleday, Bantam and Dell. These are now called Division. And within each division, there may be a number of imprints. For examples, the imprints within the Crown Publishing Group include Clarkson Potter, Harmony Books and Three Rivers Press.
---A small press ( indie publisher or independent press ) is a publisher with annual sales below a certain level. (U.S. $50 million). publish an average of fewer than 10 titles per year.
Independent press: defined as publishers that are not part of large conglomerates or multinational corporations. Including university presses, W. W. Norton & Company, Workman, Soft Skull Press. There two types of independent publishers: One is still looking to make direct contact with writers and readers, through word of mouth and online. The second has already established a reputation to such an extent that now the better agent send them potential projects as well.
Small presses should not be confused with self-publishing presses (sometimes called "vanity presses"). Self-publishing or subsidy presses usually require payment by authors, or a minimum purchase of copies. By comparison, small presses make their profits by selling books to consumers, rather than selling services to authors or selling a small number of copies to the author's friends.
literary 文学的
literacy 识字；素养；有读写能力
Scan some unrelated to my book, make note on useful part.
Summary: from figuring out the right idea to locating and landing a agent; to selling your book to appropriate publisher or self-publishing; to understanding the contract; to getting paid; to sitting down and writing the book; to becoming savvy about publicity, marketing, e-media and social networking; to setting up the website; to planning and executing a event; to making a promotional video; to be on bestseller lists.
Making your book the best book it can possible be should always be your first priority.
Publication Standard: "The Chicago Manual of Style" about fair use, CIP
author guilds: https://www.authorsguild.org/ (for law issue)
Putting Your Passion Into Print: Get Your Book Published Successfully! by David Sterry (2005, former edition, because title wasn't search-friendly, for a new edition, author changed the name )https://thebookdoctors.com
https://thebookdoctors.com
===================
New way of publishing:
1. Go to web, blog it your book first, build your audience.
2. e-book, self-publishing, a print edition via print-on-demand,or offset printer
===================
About website: most from chapter 2
Branding
A simple website design cost $250
Name of your website: by author name; by book title titular 标题的
Authenticity about your words: personable but no personal
flame email: nasty email. media platform is 10 times more likely to be negative than positive.
publicity vs marketing: publicity is when you get it for free. For example, an article in The New York Times is publicity and an ad on the Times' website is marketing.
influencer marketing
Sale Reps: start as early as six months, sales reps begin convince bookstore to order the book. Usually is 30-60 seconds for the book. Questions like: How do I sell this? Who is the audience? When sale reps say: “I’ve read this book and I know you can sell it,” that make a big difference.
It is very important turn your name into a face. Schedule a meeting six months before publication and preferably before to sales conference. You want to walk into the meeting with
1. Pitch:
2. Presentation, often competition, publicity, marketing section in Proposal
3. better comp (comparison titles), positioning
4. Ask everyone for a card, so you can refer to people by name, etc.
===================
literary Agent (a mid to large-size publishers, your book goes to literacy agent, small publishers go to editor): buffer between you and editors and publisher. Usually you need agent if you want advance. Most agencies charge a 15% commissions on advances, royalties and most subsidiary sales, except for foreign rights. Agent may submit exclusive, not-quite-exclusive,or many editors.
Editor
Publisher (publicizing, marketing)
Media
Bookstore
700 hours writing
rights (worldwide vs. North American)
film rights
audio rights
investment in the book:
an advance payment and royalties to the author, editorial guidance, promotion, marketing, or advertising, publicity
===================
Making deal:
1. Check publishing teams -from your editor, publicity people, marketing and sales, take a good measure, take notes on everyone.
2. How long wait: within a week or two of your submission.
3. deal memo , see page 179
Chapter 7 Let's make a deal
offers come in 3 ways: 1) preemptive offers 2)auctions (either round-robin or best-bid) 3) individual offers.
in round-robin, all editors make first-round bids (except for floor-holder), each offer has to top the previous bid by a minimum usually 10%. Once all bids have been made, the floor-holder gets an opportunity to make one final, topping bid, typically 10% higher than the last bid.
===================
About the money: more contents are in Chapter 8: Contract facts
Most publisher need at least nine months to do the preparation to launch a book properly.
--advance: formally referred as an advance against realities. cash advanced to you before the book stars making money. Bonus either bestseller bonus or earn-out bonus is not like the bonus an employees get at the end of the year for work well done. It's just money added to the pool of money you already have to earn out . The equivalent of an added advance check. For author, if their book sell 0, the advance belongs to the author unless you don't finished the book, or if the book is not accepted by the publisher.
--Royalty: percentage of the sale for each copy sold goes to you.
Hardcover
10% to 5,000 copies
12.5% to 10,000 copies
15% thereafter
Trade Paperback
7.5% for all copies
Mass-market paperback
8% to 150,000 copies
10% thereafter
Escalator royalty, usually up if your book copies exceed certain amount. But it can go down. It's common practice for publishers to reduce the royalty on reprint of a limited number of copies, giving the author's what's called a small printing royalty. Be sure it can occur only once a year, so that if the publisher ends up doing multiple small printing during the year, you get a reduced royalty for only one of these printing.
example: earn out its advance, retail price $20, 10% royalty, advance $20,000, in order to get a first royalty check, need sale 10,000 copies. 10,000 * 20 * 10% = 20,000
e-books
Model for e-book is called agency model because Apple - any other retail - would be taking a 30% commission as "selling agent." Don't confuse this with literary agent. For example, e-book price is $10, $3 goes to apple, $7 go to publisher. If you get 25% royalty of e-book often refer to "Net receipt"
Some publishers, especially small ones, work off net price, not list price . Typically, net is approximately 50% of list price. So royalty on net price often twice the standard royalty on list price.
Deep discount on chains like Walmart and Costco, Target. Usually royalty is 2/3 of the prevailing royalty rate.
Copyright: always retain the copyright to your work. Under all circumstance, it states in your contract that publisher shall register the copyright in your name.
附属权(subsidiary right)
series right: 连载权，即许可他人在图书出版之前或之后在报纸、杂志上连载整部作品或其中部分篇章的权利
foreign right: in all midsize to major publishing houses, there are people who try to see your book overseas. In most case, usually through subagent rather than directly to foreign publishers.
Publisher primary right: hardcover, paperback, electronic versions of the book sold in the North America (or wherever publisher is). Sales of the work in different format - audiobook, a TV show, a large-print edition, etc are considered subsidiary rights.
Vocabulary:
blurb (通过护封简介)吹捧(作家)
Flap copy: is the text that appears on the inside flap(s) of the dust jacket wrapped around a book. Its sole purpose is to inform the reader what the book is about--beyond what is obvious from the front cover and in doing so, "hook" the potential reader in a persuasive way.
Back cover copy: is the blurb on the back of a book
copywriter: 广告文字撰写人a person whose job is to write the words for advertising material
Four-color: industry language for "full-color".
mass-market paperback 平装: pages made from newsprint paper, are often sold through special distributors, as a magazine would be.
trade paperback: nice paper, pricier paper, sold through regular book channels.
trade book: a book published by a commercial publisher and intended for general readership.
Format: Hard, Paper, Trade, mass or E?
The New York Times does review usually on hardcovers. Hardcovers often spell prestige, mass-market paperbacks for supermarket.
If the book was given a two-page catalog, an announced first printing of 50,000 or more and a long list of publicity and marketing commitment, you can be pretty sure your publisher is pulling out all the stops.
Author photo: go in the back of the book or on the back flap, you pay for it.
===================
About writing: chapter 9 Write away
first draft vs. manuscript
Fair use, page 212, see "The Chicago Manual of Style"
see Appendix IV for permission forms.
How to revise:
--cutting away fat, eliminate redundancy. Streamline every chapter
--Reading right out loud
--then turn in manuscript
===================
Chapter 10: Working with your publisher
Editorial departments: editor in chief -> editorial director -> executive editors ->senior editors ->editors ->associate editors -> assistant editors .
acquiring editors: editors regardless rank who acquire books.
Most contracts stipulate editor must provide editorial feedback within 60 days.
Copy editor: nitpicks spelling, punctuation, grammar, consistency of scripts, may check facts. This work can take from a week to a month or more. Once you receive a copy of your copy-edited manuscript, you need go through, approving or disapprove every comment and correction. You have a week or two do so. You may require some back and forth with your editor (you almost never have direct contact with your copy editor). The moment the book is handed off to the copy editor is often the moment considered officially accepted. 我对此有错误的了解,这是最后一道工序.
Once you've returned copy-edited manuscript , it sent to a typesetter and turn into page proofs . This time point out errors in typesetting and making small, last-minutes adjustments.
books are manufactured by binding together signatures of 16 or 32. 【印】装钉用折叠号码
Bound Galleys. A Bound Galley is the pre-publication version of an upcoming published book that is a printed, perfect bound book. bound galleys do not include any of changes you make to your proofs. And these bound galleys will go to a number of book reviewers. However, all bound galley have a prominent label instructing reviewers not to quote anything from text without checking the finished book.
Cataloging: include 8 to 9 nuggets of info, include publication date, price, cover image, author photos etc. Catalog copy: 出版商的图书目录
Catalogs are organized according to season. a pub date: reserve publishing blockbusting.
Title and subtitle: approval or mutual agreement.
Cover Design: typestyle, color palettes. Get to cover designer sooner the better, more specific
spinal column design: contain title /or subtitle.
Categorization p257: cataloging-in-publication data on CIP forms
David Williamson:David Williamson has been at the Library of Congress since 1982. His entire career at the Library has been in cataloging. CIPs: on "The Chicago Manual of Style"
editor-at-large: roving editor. "At large" means the editor has no specific assignments, but rather works on whatever interests them.
===================
Chapter 12 Publicity and Marketing and Chapter 13
Your book is only new for 3 months. You have to pack everything you can into those first three months.
traditional approach: book review, bookstore events, publisher-sponsored tour
Usually publicist will be assigned to you by publisher. Make her/his job simple by being easy to locate, to work with, quick to come up with anything she needs on an ASAP basis. If she/he is enthusiastic about your book, it is a good sign to any bookstore owners. Publicists does not mind authors have preferences and dislikes, but they like to tell in advance so they know what works or doesn't.
in-house publicist vs.outside publicists
Author questionnaire: one paragraph bio or one-page bio.
Reassessing your pitch
Blurb wrangling ( also called endorsements, send bound manuscript out)
Audience Angling
Galley Action: galley copy after page proofs ( usually publisher give you as a few as 5) or bound copies (if publisher isn't printing alleys, a page proofs of bound copies) get them to foreign publishes if you've retained the foreign rights to your book. Today electronic one is most common, but paper is still better than e-version.
Free Content as buzz-builder: Most sites prefer excerpts of 7,00 to 1,000 words in length. You can offer excerpts or "Look Inside" privileges to heavily trafficked site like Scribd, Google books, Amazon and Barnes & Nobles.
Camera: Find out before your interview where the producers would like you to like. It's almost always better not to look at the camera.
Escort: a person who pick you up at airport.... be nice to them.
interview: passion is what has been fueling our book the whole time, is what will make you a good interview, is what sell your book and make you an interesting and captivating speaker. be prepared to be misquoted and know that there's absolutely nothing you can do about it. Don't start sending letters to the editor, you'll most likely comes off as a whining boob. Larry Mantle prefer the person to have right energy without being overwhelmed, funny without being Shticky, intelligent but accessible. If it's too complex, it's boring. If it's too simple, it is dull. No abstract concept, just real stories that people can related to.
Snarked remark: if you get bashed, pilloried, dismissed, railed upon or savaged, just remember the words of Oscar Wilde: "The only thing worse than being talked about is not being talked about." Be prepared. Always business. Never Personal.
Award: for some awards, it maybe nominated in more than one category.
Amazon, Barnes & Nobles, Goodreads, BookArmy
If you're still in prepublication state, any reviewed will be from trade publications such as Publishers Weekly, Booklist, Kirkus and Library Journal.
Fresh Air, Today Show
Publishers Weekly
New York Times bestsellers
Chapter 14 The fine art of selling
What your publishers rely on are guesses based on preorders.
Although Discount retailers such as Costo account for a large percentage of all book sale, they tends to concentrate on best sellers or references books; by comparison, only 5% of B&N's total sales are bestsellers.
120,000 libraries
Amazon Affiliate: establish account. This program will allow you to set up a direct on your site to your book page on Amazon. For each sale that comes through the link on your site, you make a small percentage.
Amazon Sale rank: rates your book in comparison to other books they sell, it may or may not related to whole sale, even not related to local bookstores.
===================
About proposal:
1. Getting titular: Title and subtitles
2. Perfecting your pitch: what your book is about
Elevator pitch: short pitch, which is over by the time the elevators get the next door
Long-from pitch: under a minutes, usually on book flap (dust jacket, book jacket) or backs of paperback, that is flap and back cover copy.
3. The Nonfiction proposal
--No need finish manuscript, instead shorter is better and less is more
--95% of the time, publishers are likely to shell out good money if they read a dazzling sample chapter or two to get the voice and point of view, more than that can harm.
--Proposal
Table of Contents
Overview
Bio
Audience
Competition
Special marketing and promotional opportunities
Manuscript specification
Outline
Sample Chapters (the other is the skin and bones, the sample chapters are heart and soul. 1-3 sample chapters, about 20-50 pages)
type-style: Garamond and Times New Romans, margin 1 1/4'' on either side. Keep it short. Keep it tight. Double-spaced.
--Cover design, AIGA, author hire a student design cover for $250
--p101-102 where to find editor, professional readers (local bookstore), universities.
===================
About publishers:
publishers marketplace : e-reports of deals.
Publishers Weekly
Appendix II
Appendix III
Jeff Herman's Guide to Book Publishers, Editors and Literary Agents 2017: Who They Are, What They Want, How to Win Them Over by Jeff Herman
Publishers Type:
p138
---Random House is owned by Bertelsman, which also bought among others, Crown, Knopf, Doubleday, Bantam and Dell. These are now called Division. And within each division, there may be a number of imprints. For examples, the imprints within the Crown Publishing Group include Clarkson Potter, Harmony Books and Three Rivers Press.
---A small press ( indie publisher or independent press ) is a publisher with annual sales below a certain level. (U.S. $50 million). publish an average of fewer than 10 titles per year.
Independent press: defined as publishers that are not part of large conglomerates or multinational corporations. Including university presses, W. W. Norton & Company, Workman, Soft Skull Press. There two types of independent publishers: One is still looking to make direct contact with writers and readers, through word of mouth and online. The second has already established a reputation to such an extent that now the better agent send them potential projects as well.
Small presses should not be confused with self-publishing presses (sometimes called "vanity presses"). Self-publishing or subsidy presses usually require payment by authors, or a minimum purchase of copies. By comparison, small presses make their profits by selling books to consumers, rather than selling services to authors or selling a small number of copies to the author's friends.
literary 文学的
literacy 识字；素养；有读写能力
November 1, 2010
Everyone, it seems, has an idea for a book they think should be made. But how do you go from a good idea to a career in writing? Originally published as Putting Your Passion into Print, this revised edition has a new name and a fresh perspective on the rapidly evolving world of publishing. In The Essential Guide to Getting Your Book Published, Arielle Eckstut and David Henry Sterry present lucid, step-by-step advice to would-be authors, from inception to publicity.
The authors begin with the most important step of writing a book: choosing the right idea. Once you have that down, you can move into building an online presence (or “platform”) through a website and social media; finding and landing the best agent for you; perfecting your pitch and proposal; undertaking the submission process; and, because every author is faced with it, dealing with rejection.
The authors then address the more businesslike aspects of publishing. They cover how to sell your book to a publisher; negotiate contracts and royalties; manage relationships with your editor/publisher; and, of course, write the damn thing. They also cover self-publishing options in depth.
But writing and publishing a book is only half the battle. An excellent bound book in hand is useless if no one knows about it. Therefore, Eckstut and Sterry constantly emphasize the importance of getting the word out. Though they advise that you begin establishing an audience immediately after conceiving of the book, they note that publicity and marketing efforts really need to be in place about six months before publication. Don’t worry, though; they offer advice on everything from how to negotiate special sales to how to appear confident and knowledgeable in an interview.
For a complete review, head over to http://melodyandwords.com/2010/11/01/...
The authors begin with the most important step of writing a book: choosing the right idea. Once you have that down, you can move into building an online presence (or “platform”) through a website and social media; finding and landing the best agent for you; perfecting your pitch and proposal; undertaking the submission process; and, because every author is faced with it, dealing with rejection.
The authors then address the more businesslike aspects of publishing. They cover how to sell your book to a publisher; negotiate contracts and royalties; manage relationships with your editor/publisher; and, of course, write the damn thing. They also cover self-publishing options in depth.
But writing and publishing a book is only half the battle. An excellent bound book in hand is useless if no one knows about it. Therefore, Eckstut and Sterry constantly emphasize the importance of getting the word out. Though they advise that you begin establishing an audience immediately after conceiving of the book, they note that publicity and marketing efforts really need to be in place about six months before publication. Don’t worry, though; they offer advice on everything from how to negotiate special sales to how to appear confident and knowledgeable in an interview.
For a complete review, head over to http://melodyandwords.com/2010/11/01/...
September 6, 2012
They’ve done it again. Talk about taking the mystery out of getting your book in front of a publisher. This is the bible every author should read while thinking of writing, writing, and every aspect of post-writing that involves your book.
This is the step-by-step whodunit of how to write, sell, and successfully market your book. In a fun upbeat fashion this husband and wife team, literature agent and writer, explain everything you have ever wanted to know about what to do next. Turning over every stone along the way, they leave no clue uncovered to help you get what you have written in the hands of the publisher.
Interspersing humorous and realistic examples and lessons on what to do, or not do, and supplying sample proposals and query letters, there is nothing left to chance. This is an updated version of a prior self-help tome, “How to Turn Your Passion Into Print,” their last joint venture that has been updated for the 21st Century with details on social networking and e-publishing.
Need to find an agent, use an editor, understand your contract, or write an elevator pitch? The answer to everything you could possibly need to know is here – and a lot more besides. This is the book that demystifies every step of the publishing process and should be in your reference library.
This is the step-by-step whodunit of how to write, sell, and successfully market your book. In a fun upbeat fashion this husband and wife team, literature agent and writer, explain everything you have ever wanted to know about what to do next. Turning over every stone along the way, they leave no clue uncovered to help you get what you have written in the hands of the publisher.
Interspersing humorous and realistic examples and lessons on what to do, or not do, and supplying sample proposals and query letters, there is nothing left to chance. This is an updated version of a prior self-help tome, “How to Turn Your Passion Into Print,” their last joint venture that has been updated for the 21st Century with details on social networking and e-publishing.
Need to find an agent, use an editor, understand your contract, or write an elevator pitch? The answer to everything you could possibly need to know is here – and a lot more besides. This is the book that demystifies every step of the publishing process and should be in your reference library.
February 2, 2012
Truly the most indispensable guide to getting published out there. Not a stodgy text. Pretty hilarious, actually.
This is the revised, re-written version of "Putting Your Passion into Print", this edition encompassing the new world of publishing and the new ways to get it done.
You may not want to hear Eckstut, who is a mega-agent, tell you that you need to give in to social media (Twitter, blogging, etc.) in order to establish a "platform", but she's right.
Eckstut and Sterry have written so well on the subject, all the information laid out in layman's terms. Great index, and useful appendix too. Trade in all of your "Publishing For Dummies" books for this one, written by smart people for smart people. Because you are not a "dummy."
Parenthetically, I cannot wait to see the NEXT edition they need to write once we develop teleportation/telekinetic powers. "Don't vaporize directly into your agents brainoffice without contacting them first via brainmail. Also, NEVER manifest into the bedroom of your agent, as this will no doubt embarrass everyone involved and send your work to the space underneath the slush pile...lastly, under no circumstances should you use a jet-pack as it will make you look like a Luddite. Teleport to the main deck like everyone else..."
This is the revised, re-written version of "Putting Your Passion into Print", this edition encompassing the new world of publishing and the new ways to get it done.
You may not want to hear Eckstut, who is a mega-agent, tell you that you need to give in to social media (Twitter, blogging, etc.) in order to establish a "platform", but she's right.
Eckstut and Sterry have written so well on the subject, all the information laid out in layman's terms. Great index, and useful appendix too. Trade in all of your "Publishing For Dummies" books for this one, written by smart people for smart people. Because you are not a "dummy."
Parenthetically, I cannot wait to see the NEXT edition they need to write once we develop teleportation/telekinetic powers. "Don't vaporize directly into your agents brainoffice without contacting them first via brainmail. Also, NEVER manifest into the bedroom of your agent, as this will no doubt embarrass everyone involved and send your work to the space underneath the slush pile...lastly, under no circumstances should you use a jet-pack as it will make you look like a Luddite. Teleport to the main deck like everyone else..."
February 22, 2012
I don't know what it is about this book, but I've tried it twice, and I've never been able to get through it. According to Good Reads, I started it in November, which means I've been slogging my way through for nearly three months. The thing is, the writing style isn't boring; it's actually quite upbeat. The book is exactly what the authors pitch it as: a step-by-step, blow-by-blow account of how to get a book published. And because they use such a casual tone, they come across as writing cheerleaders. . . except they make it clear with all the detail that publishing is HARD WORK.
I've given it 4 stars because the information really is top-notch. I'd go so far as to say that it's a must-have for any writer who hopes to publish. As to my own writer's/reader's block in getting through it, well, that's something I'll have to deal with privately.
Good luck, fellow writers.
I've given it 4 stars because the information really is top-notch. I'd go so far as to say that it's a must-have for any writer who hopes to publish. As to my own writer's/reader's block in getting through it, well, that's something I'll have to deal with privately.
Good luck, fellow writers.
December 27, 2015
If your dream is to become a published writer, The Essential Guide to Getting Your Book Published will provide you with everything you need to know to turn it into a realty. From building your platform of readers long before you've even completed a manuscript, to perfecting your pitch, to the nuts and bolts of writing, the book is a must have for writers. Recently, I attended one of the authors' Pitchapalooza events. Proclaimed "The American Idol of Books" it gives 20 lucky writers the opportunity to pitch their book idea to a panel of literary experts in less than one minute. The winner gets an introduction to a publisher. This event was loads of fun and highly informative. Check out their website to see if Pitchapalooza is coming to your area. http://www.thebookdoctors.com/
March 24, 2012
I have not read very much about this topic. I don't have experience with it either. If you do, I'd be surprised if this book isn't helpful. The authors seem to have a lot of experience and a lot of knowledge. They cover many topics and intersperse the text with interesting anecdotes. Perhaps their essays are not definitive, but they gave me a lot to think about.
At some point, getting your book published is probably a lot like math. You can't read about it, you just have to try it.
When my novel is ready to go out into the world, I am sure I will reread and refer to this book throughout the process, however it turns out, each juncture, each stage.
Wish me luck.
At some point, getting your book published is probably a lot like math. You can't read about it, you just have to try it.
When my novel is ready to go out into the world, I am sure I will reread and refer to this book throughout the process, however it turns out, each juncture, each stage.
Wish me luck.
January 28, 2013
I read this one from cover to cover twice all the while completing my first novel. It seems to be a lot of useful information, so much so, it's almost overwhelming. I think the trick is gleaning what is most important for your (well in this case, my) situation. I did a lot of highlighting and now I'm using it as a bible or light to guide my way through the process...along with other resources. Only time will time. After I'm a successfully published author I'll come back and give it 5 stars.
John Darryl Winston
John Darryl Winston
February 2, 2012
Writers, save yourself time and money. I've read many books on how to write and get published, but this is by far the most honest, comprehensive, and best. It covers every possible method of publication and gives you honest and practical tips on how to get your work from your brain to the world. I credit this book for giving me the information, tools, knowledge and confidence I needed to break into e-publishing and self publishing my work, and I thank the authors for sharing what they know!
March 5, 2012
Great advice from two veterans who've been there. Also easy and fun read! Goes to show how much style and tone really matters--even for a "how to" book. I started using the advice in this book right away and I know it's going to help me down the road. NEVER GIVE UP!
Anyone who is serious about publishing MUST read this book.
Anyone who is serious about publishing MUST read this book.
November 5, 2012
This book has been an incredible help in marketing my new picture book. Great suggestions and ideas for writers of all experience levels.
February 28, 2014
Absolutely the best book I ever read about being an all-round professional book author.
April 14, 2016
I bought this book shortly after NaNoWriMo 2010 (this review got lost for a while, and just turned up). The authors did a guest post on the Office of Letters and Light blog, and it was a convincing sales pitch. I cracked the book almost as soon as I received it - I was in high gear on the Book Thing (note the past tense) and I wanted to drink in the wisdom of these two sages. They are a published author and a former literary agent who are now married. They did lots of research and used Arielle's experience as a starting-off point.
Well.
The whole first third of the book horrified me. According to this, I need to - starting now - spend two to three hours a day on-line, on social networks, building up a built-in audience so that I can walk into a publisher's - or agent's - office with a crowd behind me: look at all the people salivating to buy my book because I've been grooming them for ages now!
OK, this makes a certain sense. Of course a publisher/agent is going to sit up straighter if I can mention the hundreds - or thousands - of followers I have on Twitter who love me, or the bajillions who love the writing on my blog and will surely buy anything they publish of mine. Oh, and my huge Facebook posse. And, I suppose, all my many many friends on Librarything and Goodreads and all of the other networking sites I've joined just to spread my nets. I mean, that – the blog, at least – is where Julie and Julia came from.
But - I can't do it. Times two.
First, two to three hours a day? Where, exactly, is that supposed to come from? There are, it is commonly believed, twenty-four hours in a day. Subtract nine or so for work (the stuff that actually pays my rent), and seven or eight for sleep (considered important by some doctors). Every spare remaining moment is one I'm trying very hard to use in either, you know, writing, or working on something else I need to do - such as one of the other things that this book and many other writing-advice gurus say is necessary to be a good writer: reading. Reading is not a luxury for me - it's a necessity. According to this book, it's researching the market; I will need to be able to say to a publisher/agent "My writing is like a cross between Jules Verne and Danielle Steele" (I'll bet that would sell, massively) (actually, that's kind of what the steampunk romances out there are), or "My book is like Walt Whitman meets Quentin Tarantino". Also, I need to be evaluating what I read, and trying to figure out which stable has horses like mine. If I have produced a Shetland pony, I shouldn't try to sell it to a place that produces Arabians. (In this, again, the book makes good sense; I think creating a blurb is the most terrifying thing for me, and not something I'm good at; reading in my own area is hopefully going to be helpful.) In short (also not something I'm good at, though I *am*) (am short, I mean) (heightwise) (never mind), I don't have the time.
And ... I'm not willing to do it. I've had a Wordpress blog for years, and gain a follower now and then; the same goes with Goodreads and my reviews (hi, and thanks!) I have no idea how others wind up with thousands of followers. If my blog miraculously starts pulling in viewers, and I can legitimately say they came along of their own accord and that of their own accord they are likely to buy my book, yay. But ... coincidentally, someone I friended on Goodreads (not to sell books, but because we both did NaNo) recently said this in a review:
Before I get into the meat of this review, I want to bring up a subject we are all passionate about: Goodreads Authors. You hate them, right? Befriending you just to sell a book? I tell you, this James Thane is the most insidious of them all. Rather than beat you over the head with ham-fisted solicitations to buy his book, he takes a much more stealthy approach. James befriends you, writes good reviews, votes on reviews he likes, and never once mentions he's an author. Pretty damn sneaky, don't you think?
(I apologize - for some reason I didn't make a note of whose review that was, or what book. If it was yours, feel free to yell at me in the comments and I'll link to it.)
Actually, this is the way the book kind of directs you to do it, which is pretty funny. Good on ya, Thane. This book suggests going forth and chatting people up, and making contacts that way. That I can do; I already do go goof off on other people's blogs and such, so now I need to get more in the habit of leaving comments - i.e., bread crumbs to lead people back to my blog. I'm willing to do that; it's not too manipulative. I'm willing to reach out to people on the sites I'm already on. I am NOT willing to start spending hours on Twitter and Facebook. I get some of Twitter - but much of it just makes me queasy. And Facebook is a deep well of pointlessness and time-suck. In other words, I don't wanna.
And from everything I've seen, people really, really hate pushy author-wannabes, the ones who really do " beat you over the head with ham-fisted solicitations to buy [their] book". I do. A lot.
Another major disappointment about this Essential Guide is that its primary focus is non-fiction. Yes, there's some good stuff in here about fiction - but the bulk of it is most applicable to non. And it's increasingly annoying that a book that acknowledges the time constraints a writer works with wastes so much of my time making me plow through information almost entirely irrelevant to me. The procedures for both writing and getting published in NF are very different from fiction, and both are addressed in the book - but both are intermingled to the point that you just have to read the whole 300+ pages and mine what you need. To my mind, they would have been much wiser to have produced two books, using the all-purpose sections in both and otherwise separating out what needed to be separated out. Because, really? I'm not likely to be looking to publish a how-to book in the near - or middle, or probably far - future. I don't need to know how to go about it. And, oddly, that's not what NaNoWriMo was about, either. National NOVEL Writing Month. You could write a biography or what-have-you, but the drive is toward fiction. I was bamboozled.
Another thing that gave me frown lines when I read it was a line in the chapter about finding the perfect agent. First, the chapter starts with "Do you really need an agent?" Given that the book is co-written by an agent, it's unsurprising that the answer, except for a few specialized categories, is OH YES. I don't necessarily think that's not true, but it's difficult for someone growing as cynical as I am to look at it as an unbiased and only-here-to-help-you sort of statement. But that's not what I was talking about. The line I balked at was "You don't want to send your sci-fic epic to someone who thinks The Lord of the Rings is a jeweler, your illustrated history of tea to a coffee junkie, or your Christian self-help book to a die-hard reincarnated Buddhist." I think that's nonsense - part of it, at least. What I said before about not trying to sell a Shetland pony to an Arabian farm holds true, but not to the same degree: I would think it would widen out more to not selling a Shetland pony to a beefalo farm. So, yes, if an agent thinks the The Lord of the Rings is about jewelry (or Irish dance, or a bunch of boys that get stranded on an island), that would not be the agent for a fantasy novel.
Which is not, by the way, the same thing as sci fi. (I think it can be safely assumed that Arielle is also not the agent for your fantasy or sci-fi novel ...)
But ... I find it hard to believe that the coffee addict mentioned would turn down a book about tea, just because they personally don't drink it. If the coffee addict was an agent for primarily romance novelists, then I shouldn't send them my book about the history of tea. But if the coffee addict agent represents non-fiction writers, or coffee-table-book (heh) writers, or gift book writers, or history writers, or food writers, then why should I assume that the agent is going to immediately slack off on promoting - or not accept responsibility at all for - a book on tea, just because they drink coffee? A good book is a good book. If it's a good book about tea, even an agent who is allergic to tea should be able to see that. And a die-hard Buddhist (was that intended as a pun?) should be enlightened enough to see quality in a book celebrating a different religion.
Of course it makes sense to find out as much as you can about someone. For instance, if I were flogging that illustrated history of tea, and found an agent whose stable included the writers of a history of the Spice Road, and a Chinese cookbook, and a loving look at chocolate, I would research that agent. It makes sense to find out whatever an agent is willing to reveal online. If she is an animal rights activist in her spare time, you don't necessarily want to choose her as the person you send a manuscript lovingly detailing the life of the dentist who shot Cecil the lion. If I discovered that she was a coffee addict, I would keep that in mind in talking to her; I wouldn't necessarily wax rhapsodic on the smoky aroma of Earl Grey, but I'd slant what I said to the point of view of the kind of reader I'd hope to attract: intelligent, well-read, somewhat epicurean, and not very knowledgeable about the history of tea. The coffee addiction is an aspect of the agent's personality - if the agent is worth anything, such a quirk shouldn't dictate the books they'll work on. Or am I being naïve?
I'm fixating on this chapter, but it's just for example. I don't know. I was excited about the book; I was let down by the book. Such is life - and publishing...
Well.
The whole first third of the book horrified me. According to this, I need to - starting now - spend two to three hours a day on-line, on social networks, building up a built-in audience so that I can walk into a publisher's - or agent's - office with a crowd behind me: look at all the people salivating to buy my book because I've been grooming them for ages now!
OK, this makes a certain sense. Of course a publisher/agent is going to sit up straighter if I can mention the hundreds - or thousands - of followers I have on Twitter who love me, or the bajillions who love the writing on my blog and will surely buy anything they publish of mine. Oh, and my huge Facebook posse. And, I suppose, all my many many friends on Librarything and Goodreads and all of the other networking sites I've joined just to spread my nets. I mean, that – the blog, at least – is where Julie and Julia came from.
But - I can't do it. Times two.
First, two to three hours a day? Where, exactly, is that supposed to come from? There are, it is commonly believed, twenty-four hours in a day. Subtract nine or so for work (the stuff that actually pays my rent), and seven or eight for sleep (considered important by some doctors). Every spare remaining moment is one I'm trying very hard to use in either, you know, writing, or working on something else I need to do - such as one of the other things that this book and many other writing-advice gurus say is necessary to be a good writer: reading. Reading is not a luxury for me - it's a necessity. According to this book, it's researching the market; I will need to be able to say to a publisher/agent "My writing is like a cross between Jules Verne and Danielle Steele" (I'll bet that would sell, massively) (actually, that's kind of what the steampunk romances out there are), or "My book is like Walt Whitman meets Quentin Tarantino". Also, I need to be evaluating what I read, and trying to figure out which stable has horses like mine. If I have produced a Shetland pony, I shouldn't try to sell it to a place that produces Arabians. (In this, again, the book makes good sense; I think creating a blurb is the most terrifying thing for me, and not something I'm good at; reading in my own area is hopefully going to be helpful.) In short (also not something I'm good at, though I *am*) (am short, I mean) (heightwise) (never mind), I don't have the time.
And ... I'm not willing to do it. I've had a Wordpress blog for years, and gain a follower now and then; the same goes with Goodreads and my reviews (hi, and thanks!) I have no idea how others wind up with thousands of followers. If my blog miraculously starts pulling in viewers, and I can legitimately say they came along of their own accord and that of their own accord they are likely to buy my book, yay. But ... coincidentally, someone I friended on Goodreads (not to sell books, but because we both did NaNo) recently said this in a review:
Before I get into the meat of this review, I want to bring up a subject we are all passionate about: Goodreads Authors. You hate them, right? Befriending you just to sell a book? I tell you, this James Thane is the most insidious of them all. Rather than beat you over the head with ham-fisted solicitations to buy his book, he takes a much more stealthy approach. James befriends you, writes good reviews, votes on reviews he likes, and never once mentions he's an author. Pretty damn sneaky, don't you think?
(I apologize - for some reason I didn't make a note of whose review that was, or what book. If it was yours, feel free to yell at me in the comments and I'll link to it.)
Actually, this is the way the book kind of directs you to do it, which is pretty funny. Good on ya, Thane. This book suggests going forth and chatting people up, and making contacts that way. That I can do; I already do go goof off on other people's blogs and such, so now I need to get more in the habit of leaving comments - i.e., bread crumbs to lead people back to my blog. I'm willing to do that; it's not too manipulative. I'm willing to reach out to people on the sites I'm already on. I am NOT willing to start spending hours on Twitter and Facebook. I get some of Twitter - but much of it just makes me queasy. And Facebook is a deep well of pointlessness and time-suck. In other words, I don't wanna.
And from everything I've seen, people really, really hate pushy author-wannabes, the ones who really do " beat you over the head with ham-fisted solicitations to buy [their] book". I do. A lot.
Another major disappointment about this Essential Guide is that its primary focus is non-fiction. Yes, there's some good stuff in here about fiction - but the bulk of it is most applicable to non. And it's increasingly annoying that a book that acknowledges the time constraints a writer works with wastes so much of my time making me plow through information almost entirely irrelevant to me. The procedures for both writing and getting published in NF are very different from fiction, and both are addressed in the book - but both are intermingled to the point that you just have to read the whole 300+ pages and mine what you need. To my mind, they would have been much wiser to have produced two books, using the all-purpose sections in both and otherwise separating out what needed to be separated out. Because, really? I'm not likely to be looking to publish a how-to book in the near - or middle, or probably far - future. I don't need to know how to go about it. And, oddly, that's not what NaNoWriMo was about, either. National NOVEL Writing Month. You could write a biography or what-have-you, but the drive is toward fiction. I was bamboozled.
Another thing that gave me frown lines when I read it was a line in the chapter about finding the perfect agent. First, the chapter starts with "Do you really need an agent?" Given that the book is co-written by an agent, it's unsurprising that the answer, except for a few specialized categories, is OH YES. I don't necessarily think that's not true, but it's difficult for someone growing as cynical as I am to look at it as an unbiased and only-here-to-help-you sort of statement. But that's not what I was talking about. The line I balked at was "You don't want to send your sci-fic epic to someone who thinks The Lord of the Rings is a jeweler, your illustrated history of tea to a coffee junkie, or your Christian self-help book to a die-hard reincarnated Buddhist." I think that's nonsense - part of it, at least. What I said before about not trying to sell a Shetland pony to an Arabian farm holds true, but not to the same degree: I would think it would widen out more to not selling a Shetland pony to a beefalo farm. So, yes, if an agent thinks the The Lord of the Rings is about jewelry (or Irish dance, or a bunch of boys that get stranded on an island), that would not be the agent for a fantasy novel.
Which is not, by the way, the same thing as sci fi. (I think it can be safely assumed that Arielle is also not the agent for your fantasy or sci-fi novel ...)
But ... I find it hard to believe that the coffee addict mentioned would turn down a book about tea, just because they personally don't drink it. If the coffee addict was an agent for primarily romance novelists, then I shouldn't send them my book about the history of tea. But if the coffee addict agent represents non-fiction writers, or coffee-table-book (heh) writers, or gift book writers, or history writers, or food writers, then why should I assume that the agent is going to immediately slack off on promoting - or not accept responsibility at all for - a book on tea, just because they drink coffee? A good book is a good book. If it's a good book about tea, even an agent who is allergic to tea should be able to see that. And a die-hard Buddhist (was that intended as a pun?) should be enlightened enough to see quality in a book celebrating a different religion.
Of course it makes sense to find out as much as you can about someone. For instance, if I were flogging that illustrated history of tea, and found an agent whose stable included the writers of a history of the Spice Road, and a Chinese cookbook, and a loving look at chocolate, I would research that agent. It makes sense to find out whatever an agent is willing to reveal online. If she is an animal rights activist in her spare time, you don't necessarily want to choose her as the person you send a manuscript lovingly detailing the life of the dentist who shot Cecil the lion. If I discovered that she was a coffee addict, I would keep that in mind in talking to her; I wouldn't necessarily wax rhapsodic on the smoky aroma of Earl Grey, but I'd slant what I said to the point of view of the kind of reader I'd hope to attract: intelligent, well-read, somewhat epicurean, and not very knowledgeable about the history of tea. The coffee addiction is an aspect of the agent's personality - if the agent is worth anything, such a quirk shouldn't dictate the books they'll work on. Or am I being naïve?
I'm fixating on this chapter, but it's just for example. I don't know. I was excited about the book; I was let down by the book. Such is life - and publishing...
November 6, 2013
Probably the best gift I ever got. A must have for any author who is serious about writing.
April 19, 2018
The Essential Guide to Getting Your Book Published by Arielle Eckstut and David Henry Sterry is a must read for all authors – from would-be to seasoned. The pages are filled with detailed advice on all aspects of the writing process. With years of combined experienced and insider information they walk you through each step, from conceptualizing your book all the way to effective marketing long after the novelty and newness are gone. What I liked most were the real life stories. Doing the work for us, they interviewed industry movers and shakers to cut through the haze and give real direction. The book has landed itself in my invaluable resource section where I’ll reference the highlighted and dog-eared pages until we’re downloading books directly into our brains and they write the updated version! A favorite quote is from one of the many that made me laugh. It’s something I think we can all relate to. “If one moment you can’t imagine a worse book in the history of time, know that this will be matched by a moment when you can’t imagine a better one.”
November 20, 2017
I just finished this book this morning, and I have to say, dorky title aside, I highly recommend it for anyone here who is interested in getting published.
Pros:
* Lots of nuts and bolts. I don't think it skips over a single part of getting published, from finding an agent (including deciding if you need one) to what to do once you're book is no longer 'new' (It came out 3+ months ago)
* Easy to read. It's thick, but I could read each chapter in one sitting.
* A good balance of cheerleading to doses of reality.
Cons:
* Parts may be outdated, including the bit on self-publishing. Not that the chapter is bad, but it might be good to go check out a newer book just about that since the landscape has changed.
* It can get a bit jokey / cute at times. While it never interfered with the knowledge, I found myself wondering how much shorter the book would have been if they'd just been straightforward.
Pros:
* Lots of nuts and bolts. I don't think it skips over a single part of getting published, from finding an agent (including deciding if you need one) to what to do once you're book is no longer 'new' (It came out 3+ months ago)
* Easy to read. It's thick, but I could read each chapter in one sitting.
* A good balance of cheerleading to doses of reality.
Cons:
* Parts may be outdated, including the bit on self-publishing. Not that the chapter is bad, but it might be good to go check out a newer book just about that since the landscape has changed.
* It can get a bit jokey / cute at times. While it never interfered with the knowledge, I found myself wondering how much shorter the book would have been if they'd just been straightforward.
August 30, 2021
As the title says, this is the essential guide to publishing a book. There is a lot of content that made it into the new editions of the book which only shows how much the business of writing and publishing a book has changed. The book navigates both the experienced and the inexperienced readers into the innumerable steps of publishing your book. Unlike other, similar books I’ve read, this one concentrates more on the regular process (i.e., non-self-publishing).
I would recommend this book to every writer and author out there. It does not matter if you’ve published a book already (like me) or not. There is a ton of stuff which you need to learn and which will be crucial to your success.
What I took from this book was the framework with which to approach my second book. I am sure this book will help me make many new mistakes as I work on my second book, but it will definitely help me avoid the old mistakes I did with my first one.
I would recommend this book to every writer and author out there. It does not matter if you’ve published a book already (like me) or not. There is a ton of stuff which you need to learn and which will be crucial to your success.
What I took from this book was the framework with which to approach my second book. I am sure this book will help me make many new mistakes as I work on my second book, but it will definitely help me avoid the old mistakes I did with my first one.
This entire review has been hidden because of spoilers.
April 21, 2024
It's full of great information. I've implemented some of the info. Much of it, of course, requires lots of time. So we must determine how much time we want to devote to promoting our books (and music, and paintings, sculptures, etc) and how much time we want to devote to living life!... Hmmm..
Through a magical connection, I recently met one of the members of Elton John's touring band. He is at the very top of his profession, and he mentioned trying to balance the passion and the life!
So, even those at the top still struggle with how much time to devote to our craft, (whether it's the creating or promoting) and how to balance trying to have some sort of 'normal life'.. whatever that may be for you
I do recommend this book!
Through a magical connection, I recently met one of the members of Elton John's touring band. He is at the very top of his profession, and he mentioned trying to balance the passion and the life!
So, even those at the top still struggle with how much time to devote to our craft, (whether it's the creating or promoting) and how to balance trying to have some sort of 'normal life'.. whatever that may be for you
I do recommend this book!
February 22, 2021
Such a helpful book. The authors run Pitchapalooza events, designed to help writers learn to distill their book idea into a short pitch that helps sell the book to agents, publishers, and the public. I attended one of their events. It was great fun and extremely helpful. They bring that same energy and insight to this book, and bring years of writing and publishing experience to it. The process of bringing a book into the world can be grueling. This book is a great support in making it possible to do so. The authors give real-world examples and bring humor and heart to a process that can seem daunting, but can happen with the help of the expert advice from this book.
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