Getitng a book published?

Question

I am totally lost. I assume you need an agent... can someone give me some basic steps?

Answer 1

no

Answer 2

Me,

Here’s what I give everyone who wants to seriously write for publication. It seems like a long list, but it can be done if you stick to it. This is the best way to get your foot into the door of a literary agent.

Read on:

Writing a book takes more than just sitting down and putting your idea into words. There are a lot of things that you have to consider.

Keep an eye out for spelling and grammar errors. When typing fast with fresh ideas in our heads, we tend to forget ourselves. Check and recheck your work. Editors are very expensive these days.

You’ll need to know how to write an effective ‘query letter’ to a literary agent. The letter will also include a synopsis that will hold the interest of the agent, and want to make him or her ask for the first three chapters of your work. Never send a manuscript to a publisher or literary agent without querying first.

You’ll need to know how to format your manuscript. This includes the fonts (size and type) that most agents, editors, and publishers want. These are usually Courier New and Times New Roman (12 pt). Short stories and novels are formatted differently. You will need to follow submission guidelines just as they are laid down for your submissions. Anything less will result in your manuscript sent back or destroyed unread.

You will need to know what Point of View (POV) is. Know how to write in First Person Point of View. You’ll need to know the can and can not of each.

Do you know how to write dialogue? How to format dialogue? This is very important and allows the author and his/her characters to communicate with the reader. Remember dialect as well. Dialect is how a person speaks. Your characters may be highly educated or dumber than dishwater. ‘Ain’t got none’ is highly acceptable when used properly by a character who is even less than street smart.

It’s a good idea to know some of the publishing laws. The use of names and places.

These include

o Delivery Of Satisfactory Copy

o Permission for Copyrighted Material

o Grant Of Rights

o Proofreading and Author's Corrections

o Advances and Royalties

o Author's Warranties and Indemnities

o Copies to Author

o Option Clause

Learn how to get a ‘word count of your work. Some novels have a prologue and an epilogue. You’ll need to know how to write them and why they’re used.

Know what the word ‘genre’ means. Horror, Mystery, Science Fiction; These are all genres.

One of the most important issues in manuscript submitting is the proper ‘page set up’ for your work. This includes margins, indents, and paragraphs. Most editors will want to see your manuscript double spaced. This allows the editor to use his/her proofreaders marks between the lines. Most margins will be one inch all around with a ragged right margin and an even left.

Are you prepared to do a lot of ‘research’ involving your work? Remember that many professionals such as, doctors, lawyers, nurses, public accountants, judges, architects, bricklayers, engineers, and police officers read, too.

Do you know what a sub-plot is? This is a plot that comes ‘under’ the main plot. The hero may be after the vampire, but the mob may be after the hero as well. This is a sub-plot.

Can you take rejection and constructive criticism? If you’re easily hurt in the feelings department, then writing may not be your forte. Critics will tear you apart or build you up. The best writers in the world “King, Patterson, Koontz, J.K. Rowling, and many others” have been torn up one side and down the other. You can’t please everyone.

If you decide to hire an editor, remember: Your manuscript will be double spaced, which means there will be twice as many pages. A 600 page novel could cost you around $1800.00, some even more depending on what the editor charges per page. Then there’s the hourly rate that some charge. Usually it’s within the range of $65.00. So, if they work on your book for 18 hours, that’s another $1170.00 + $1800.00 = $2970.00

These are the things you must know to work at your craft. Don’t let these things deter you from writing. There are books in libraries and bookstores that can teach you all of these things. Buying these books (if you want to be a serious writer) is the best thing to do. Why? Well, because you can use a yellow marker to highlight all the points of interest. Then you can use the front of the book to make page references to those markings in order to check back on them at a later date, when you need to.

You’ll need to get a copy of Writer’s Market for the current year. This has literary agents whom you can send out query letters to. Some of them allow email queries. They also have a website. Google: Writer’s Market.

I wish you the best of luck!!!!!!!!!!

PJ M

Answer 3

I would recommend getting a copy of the book "2008 Writer's Market" by Robert Brewer.  It will give you a lot of good information about how to put together a book proposal, what your manuscript needs to look like, etc.

It also contains a listing of various agents and publishers and specifies the types of books they are looking for, so that you can send your book proposal to the right people.

Good luck!

Answer 4

get the 2008 writer's market book ! its a really big help !!!

Answer 5

Crawford Killan's advice

Researching Publishers and Agents

Too many people submit manuscripts to publishers.

Simply to read enough of those manuscripts to judge them unworthy would take the full-time services of several salaried editors. Most publishers simply can't afford to plow through the slush pile in hopes of someday finding a Great Novelist.

So they indicate in Writer's Market that they will consider only ``agented submissions''--work that a professional literary agent, who knows the market, thinks has some sales potential.

That simply draws fire onto the agents, who now find that they too have huge slush piles. And, like the publishers, the agents can't make money reading unsalable junk.

Where does that leave you?

In better shape than you think. If you've hammered out a credible but surprising plot about interesting people in a h**l of a jam, and you're showing them in action instead of telling us what they're like, and your grammar, spelling and punctuation are first-rate--you're already ahead of 80 per cent of your competition.

Now the problem is finding the right market. Too many novice writers simply fire off their work to a publisher they've vaguely heard of, or one that's supposed to be prestigious, or even one that happens to be conveniently located right in town. (Those were precisely my three motives in submitting my first children's book to Parnassus Press. They bought it, which shows that sometimes even ignoramuses can get lucky. By rights I should have had to send the ms. to a couple of dozen houses before hitting the right one--if I ever did.)

Publishers tend to carve out special markets for themselves. A couple of sharp editors can dominate a genre; because they know how to reach a certain kind of reader, they attract a certain kind of writer. Or a publisher may be passionately devoted to supporting a certain kind of fiction, but is deeply uninterested in any other kind. A feminist publisher wouldn't have the faintest idea how to market a men's action-adventure novel, and wouldn't care to learn. A children's publisher won't care how well-crafted your murder mystery is. And so on.

So step one is almost embarrassingly obvious: Notice which houses publish the kind of story you're working on. Look carefully at the story elements in the titles they publish; Del Rey fantasy novels, for example, require magic as a major component, not just frosting or a gimmick to get the hero somewhere interesting. Out of all the publishers in North America, only a few are potentially yours.

Then consult those potential publishers' entries in Writer's Market and see what they have to say about their own needs and who their editors are in specific genres. You may learn that your work in progress is too long, or too short, or needs some particular quality like a heroine aged over 35. You may also learn how long it takes them to respond to queries and submissions. Don't take those statements as legally binding promises; responses almost always take far longer, especially for unagented submissions.

Writer's Market also lists publishers by the genres they publish. This list can lead you to houses you're not familiar with, but don't just rush your ms. off to some publisher in Podunk. Check out the entries of these houses also, and also track down some of their recent titles in your genre. If they strike you as dreadful garbage, avoid them. Better to stay unpublished than to be trapped with a bad publisher.

Another useful source of research information is the publishing trade press. Quill and Quire in Canada, and Publisher's Weekly in the US, are much more up-to-date than any annual can be. So if the top horror editor in New York has just moved to a new publisher, or a publisher is starting a new line of romance novels aimed at Asian women, you may adjust your marketing strategy accordingly. Magazines like The Writer and Writer's Digest supply similar market news.

If every possible publisher warns you off with "No unagented submissions," you then have to go through a similar process with literary agents. You should be able to find an annually updated list of agents in your local library or the reference section of a good bookstore. Some agents, like Scott Meredith and Richard Curtis, have even written books themselves about the publishing business; these are worth reading.

As a general rule, you probably need an agent in the city where most of your publishers are. That, as a general rule, means New York City. You also need an agent who knows the market for your particular genre, so your work will go as promptly as possible to the most likely markets. (Some agents may submit a work in multiple copies to all potential publishers; this can really speed up the process.)

But also bear in mind that the phone and fax can put almost anyone in close touch with the New York market, so an agent in Chicago or Los Angeles or Miami may be quite as effective as somebody in Manhattan--and may also