Advice on Publishing Your Novel

by Linda Rodriguez

I receive emails all the time asking me how the emailers can get their own novels published. Usually, they know just about nothing of the business of publishing, which always surprises me. If you took a year or so to write a book that you hoped to publish and sell, wouldn’t you owe it to yourself to research and learn something about the business of publishing that you hope to join?

I try to answer with a detailed listing of things they can do to educate themselves about the business and to begin to connect with the professional literary community. I have a feeling that some of our blog friends and followers out there may be in the same situation, so I’ve decided to write this blog post. Here’s my resource guide to publishing a novel. It won’t get you published, but it will give you a good foundation in the business of publishing/being a professional novelist and get you started in the right direction.

Pitching a novel to a major publisher today can be very difficult without an agent. Most of the New York trade publishers won’t look at novels unless they’re represented by an agent. Smaller specialized presses, literary presses, and university presses will take unagented queries during their open submissions period, if they have one. Often they can be the best bet for a first novel that’s not necessarily a commercial novel. Poets & Writers has a database of small, literary, and university presses.

http://www.pw.org/small_presses?perpage=*

Many of these won’t do novels, so you’ll have to sort through them. Here’s a list of 16 small presses that do novels.

http://fictionwriting.about.com/od/thebusinessofwriting/tp/smallPresses.htm

You can also do an internet search for small presses that specialize in your particular genre of novel, if you write in one of the genres.

For agents, I would suggest that you check the website of the Association of Author’s Representatives.

http://aaronline.org/

This is the professional association of reputable agents. It’s very easy to get involved with folks who call themselves agents and are really running scams to part authors from their money. Members of AAR have sworn not to do this stuff and are kicked out if they do, so you can trust them.

Another good site to educate yourself and protect yourself from scammers is Writer Beware.

http://www.sfwa.org/for-authors/writer-beware/

This is a site provided by the SFWA and MWA as a service for all authors, science fiction or not.

But the first thing you want to do is to get current copies of Poets & Writers, Writer’s Digest, and The Writer magazines. These magazines often talk about which publishers are looking for what kinds of books at the moment. P&W focuses more on the academic and literary writer, while WD focuses more on the commercial or freelance writer. If your library has them, also read back issues of P&W, The Writer, and WD. You’ll learn a lot about the business that way.

Look for professional authors groups to join. There are groups for children’s writers, mystery writers, romance writers, sf/fantasy writers, etc. These groups are usually tremendously helpful in learning the publishing business and making useful contacts. If there is a chapter of a professional writer’s organization near you and it’s not your kind of writing, it can still be useful to you in learning the business. I once belonged to the local chapter of RWA, Romance Writers of America, though I didn’t write romance. I learned about agents, what editors want, what is and is not acceptable behavior in the publishing world, what are and are not good contracts, and tons of other things that became useful to me. Now, we have a chapter of Sisters in Crime here, and I’m active in it, but that time in RWA laid a very good foundation for me. The same goes for SFWA or any of the others. The purposes of these organizations are to help their members with the business of publishing and being a professional—and that’s very similar across the boards.

A book I always recommend to students and aspiring writers is Carolyn See’s Making a Literary Life. I’ve written about this book on Writers Who Kill before.

http://writerswhokill.blogspot.com/2012/05/visualizing-success-as-writer.html

It’s the best book for looking at how to be a professional writer and work on getting published, how to get established within the literary community, how to make a career as a writer without living in NYC, and much else.

If I were you, friend with a book manuscript under your arm, I’d start with these resources. I’d also go to every writer’s appearance/reading/event that occurs in your town if it’s a small one or a good selection if you live in a big city with an active literary community. Buy a book, if you can. Introduce yourself to the writer. Follow up with emails or mailed notes talking about what you liked about their reading or book—not asking for help with your own. Friend writers on Facebook, and follow them on Twitter. Don’t spam them about your own book. What you’re doing is building relationships within the community of writers. These are the folks who can answer questions for you or later (if you’ve built a good, real relationship) give blurbs that will help your book sell. Basically, my advice is to educate yourself about publishing and become a contributing member of the community. Getting a novel published is a long, hard haul, so arm yourself with information and allies.

The best single piece of advice I could give, however, is this—make sure you write a good novel. Get professional feedback and revise, revise, revise until it shines before you ever try to send it out. I suspect that a certain number of folks who are looking for a publisher for their novel have never had anyone professional look at it and haven’t done much with revision. Writing is an art and a profession. Learn about publishing, the business, while you learn about writing, the art and craft. Editors and agents have long memories. Don’t stick out in theirs from sending an amateurish manuscript out. Make sure that what you send is the very best it can be submitted in the most knowledgeable and professional way you can.

Best of luck!

Linda Rodriguez's Dark Sister: Poems has just been released. Plotting the Character-Driven Novel, based on her popular workshop, and The World Is One Place: Native American Poets Visit the Middle East, an anthology she co-edited, were published to high praise in 2017. Every Family Doubt, her fourth mystery novel featuring Cherokee campus police chief, Skeet Bannion, and Revising the Character-Driven Novel will be published in 2019. Her three earlier Skeet novels—Every Hidden Fear, Every Broken Trust, and Every Last Secret—and her books of poetry—Skin Hunger and Heart's Migration—have received critical recognition and awards, such as St. Martin's Press/Malice Domestic Best First Novel, International Latino Book Award, Latina Book Club Best Book of 2014, Midwest Voices & Visions, Elvira Cordero Cisneros Award, Thorpe Menn Award, and Ragdale and Macondo fellowships. Her short story, “The Good Neighbor,” published in the anthology, Kansas City Noir, has been optioned for film.

Rodriguez is past chair of the AWP Indigenous Writer’s Caucus, past president of Border Crimes chapter of Sisters in Crime, founding board member of Latino Writers Collective and The Writers Place, and a member of International Thriller Writers, Wordcraft Circle of Native American Writers and Storytellers, and Kansas City Cherokee Community. Visit her at http://lindarodriguezwrites.blogspot.com

Visualizing Success

By Linda Rodriguez

One of the best books on actually living a writer’s life is Making a Literary Life by Carolyn See. I often give it as a gift to serious aspiring writers I know. Carolyn is herself an award-winning novelist, and her advice is pretty solid. (I have come to feel as if she is my friend from reading her novels and this book again and again, but though I’m on first-name basis with her here, I’ve never actually met Carolyn See.)

First, she tells us to write 1,000 words a day every day. Blam! Just like that! Right at the beginning! But she says they don’t have to be finished words—they don’t even have to be good words. We just have to put down 1,000 words every day. And of course, it works—because no one will be able to keep slapping random words on the page. We start to make sense, and then we start to make story. So, her rule number one is write 1,000 words each and every day.

Carolyn’s next rule will prompt groans from everyone. She talks about the need to build a writing community and to get involved in the writing community that already exists. So she wants us all to write a charming note each day to a different writer or editor or agent or reading series administrator, expressing our genuine appreciation for something they’ve done or written. I suspect this will be the biggest stumbling block among her rules for living the writing life, even though I’ve come to see the sense of it. (I must admit I don’t follow this rule very often, though, being no better than any of the rest of us.)

The rules continue throughout this informal and witty book, and they are all good rules. When I abide by them, I am in better shape than when I don’t. This I know. However, it’s another part of the book that I want to talk about here.

 Carolyn makes a great case for visualizing the career and life we want to live as writers. She talks about well-known writers who have entourages, chauffeurs, phalanxes of attractive bodyguards, or dramatic capes and trench coats. She makes a persuasive case that each of these successful writers had at some time in the past decided, consciously or unconsciously, that when they were successful they would have—entourages/ chauffeurs/ bodyguards/ trench coats.

Carolyn encourages us to consciously visualize the successful writer’s life we want to have in the future in detail, including what we’ll wear, if that’s important to us, what friends we’ll have, where we’ll live, and more. That kind of visualization is important, I think. If we don’t put some thought into what we want, how will we know when we’ve achieved it? She encourages us to go into detail because some of the details are easier to achieve than others. It’s very tough to make the New York Times bestseller list, but it’s not so hard to save up for a splashy cape or dramatic trench coat.

So my question to all of you today, as well as to myself, is what would your life look like if you achieved the kind of writer’s success that you long to have?

I’m not into splashy capes or trench coats or matched pairs of bodyguards, but I think a chauffeur might be a nice achievement, especially on regular professional visits to New York City (which are very much a part of my visualization). Actually, I think I’ve already achieved this.

On my last trip to NYC to meet with my editor and attend a poetry award ceremony, I found a livery car service that took us all over the city at all hours and for less than a cab would have cost. After the post-award-ceremony bash, native New Yorkers in our party were futilely trying to gain the attention of cabs outside the restaurant while one phone call brought our driver to pick us up in front and take us across town to our B&B.

What would you visualize for your life as a successful writer? Inquiring minds want to know!

REPLIES TO COMMENTS (because Blogger):

Marilyn, how big is big? The power's in the specificity of the details. Do you want a fan base of 100,000? 600,000?

Mary, yes, first-class travel might well be a perk to visualize. A cook/nutritionist would help you stay in good shape so you could turn out more of your books.

Judith, the idea of ease is a great one. Things that make the different tasks we face easier for us will always be a favorite.