| The publishing process that we've been describing | | | | proposal the business plan for your book. You |
| may seem mechanical. As you move through the | | | | wouldn't open a business without a plan. The same |
| publishing process, it's important not to overlook an | | | | goes for a book. |
| often-undervalued part of the process: the people or | | | | 2. Begin! Write a page or two a day. No excuses. If |
| personnel of the publishing company. | | | | you can't make time to write at least a page or so a |
| Since the corporate imprint and the need to be | | | | day, what makes you think you will be able to write |
| profitable dominate most publishing companies, the | | | | a book? |
| unique nature of most publishing company personnel | | | | 3. Be critical. Avoid falling blindly in love with your own |
| often gets overlooked. So as you navigate the | | | | ideas. Run them by people you trust. Don't go too |
| publishing waters, keep in mind that: | | | | far on your book without talking to people in the |
| 1. Industry personnel tend to be highly dedicated | | | | know. |
| individuals who love the written word and literature. | | | | 4. In writing your proposal, think like your readers. Is |
| Few work for publishing houses just for the money. | | | | your book interesting? A great read? Life changing? |
| Those who are entranced by publishing's glamour or | | | | Think like an editor. Is your book clear and written |
| cachet generally don't last long, but those who love | | | | well? Who will buy it? When you review what you |
| language and books often do. Somehow, some way, | | | | write, ask lots of questions. |
| they find ways to remain. | | | | 5. Check out examples of proposals. Is your proposal |
| Dealing with kindred spirits who are committed to | | | | convincing? Is it your best shot? Does it include |
| quality books and writing is a bonanza for writers | | | | third-party endorsements? What can you add to it to |
| because it can improve their work and enhance the | | | | make it a heavyweight proposal? Lightweights don't |
| entire publishing experience as well as their lives. Few | | | | sell. |
| experiences are as satisfying as working with people | | | | Remember: |
| who share your vision and values! It's exhilarating. | | | | Check whether agents or publishers accept |
| 2. Since publishing company employees are not highly | | | | unsolicited submissions. |
| paid, many leave. | | | | Address your initial submissions to specific individuals, |
| The editor who championed your book and fought | | | | not generally, or they may not be delivered. Most |
| for it in the editorial board may move on to another | | | | agents and editors want the first contact from |
| publisher or end up selling kitchen fixtures. Suddenly, | | | | writers to be by query letters, and most of them |
| you may feel alone, abandoned, and discouraged. | | | | now welcome e-mail inquiries. |
| Hang in there because chances are that a good or | | | | Individual editors initially process proposals. If they |
| even better replacement will emerge. | | | | feel a proposal has promise, they take it to |
| When these situations occur, the value of a good | | | | committees where it will be examined in great detail. |
| agent takes on heightened importance. Your agent | | | | Editors, their assistants, sales and marketing people, |
| can intercede with the publisher on your behalf to | | | | and the top brass generally review proposals. At |
| get you a top replacement. Your agent can also | | | | most houses, the final acquisition decision is made by |
| serve as your advisor and confidant and provide | | | | the editor in chief, the Chief Operating Officer, or an |
| much of the support that your editor lent. | | | | executive committee, and it is invariably financially |
| Action Steps | | | | based. |
| 1. Become a proposal-writing authority. Consider your | | | | |