Tag Archive - Pitching

Would You Buy Your Own Book?

November 14, 2011 in Book Proposals, Business, Marketing, Publishing, Steve, Writing with 32 Comments

by Steve Laube

When I ask a room of writers if they would buy their own book if they saw it on the shelf at a major bookstore I am met with a variety of reactions. Laughter. Pensiveness. Surprise. And even a few scowls. How would you answer that question?

But the question is meant to ask if your book idea is unique. Whether it will stand out among the noise of the competition.

It is not a question of whether your book is important or valuable or even well written. It is ultimately a question of commercial viability.

You may heard it said that piracy is a problem for writers (and it can be). But I would agree with those who say that obscurity is an even greater problem. If no one knows about your book no one will steal it…and no one will buy it either!

This is why that competitive analysis portion of your proposal is so important. Help the agent help the publisher to create space on the physical store shelf but also on the virtual Internet store shelf. Help them position your book so that it rises from obscurity into viability.

This can be as “simple” as a dynamite title. Or it could be a strong platform that stand out in the crowd. Or the skill in the writing is so amazing that the book creates evangelists who will tell the world to read it.

So. Would you buy your own book if it was on the shelf next to an über-famous author on the same topic or in the same genre?

Perspective on the Sale of Thomas Nelson Publishers

November 1, 2011 in Business, Publishing, Steve with 35 Comments

by Steve Laube

In light of yesterday’s announcement of the sale of Thomas Nelson Publishers to HarperCollins I thought I’d present a few thoughts.

Without question this is the biggest news story in the Christian publishing industry this year, if not the last few years. Most of us have been caught flat-footed. Partly because Thomas Nelson is such a large company. And partly because they were just purchased by an investment group last year. The other surprise is the buyer. HarperCollins has owned Zondervan since 1988 which is a direct competitor to Nelson. They publish some of the same authors. (And by the way, HarperCollins is owned by NewsCorp…whose owner is Rupert Murdoch.)

Back in 2002 when I was still with Bethany House Publishers we were sold to Baker Books. So I’ve seen some of the inside of a publishing sale. There will be some obvious echoes to our experience, but Zondervan and Nelson are very different from Bethany House and Baker.

Ten Random Thoughts

Some random thoughts for authors who are worried or wondering about the sale:

1.  The sale has not been completed . It still has to pass Federal regulatory stuff. Anything can happen before the end of the year.

2. This will put both the New International Version Bible (NIV) and the New King James Bible (NKJV) under the same ownership.

3. Everyone at both Zondervan and Nelson is saying “business as usual” and they are being completely truthful. But when management begins trying to merge the two entities under one roof they will find redundancies that must be reorganized. Those are usually in infrastructure, i.e. accounting, information technology, production, design, warehousing (Zondervan’s warehouse was already being closed). Other areas where we see changes are in sales. Which sales reps will cover which stores in overlapping territories? Marketing and publicity could see some shifts. The last place usually affected is editorial. But don’t see this as a blueprint, merely an observation.

4. HarperCollins has enabled Zondervan to operate independently other than typical corporate profit pressures and they have done so with some great success (like the Purpose Driven Life phenomenon). There is no reason to think that management methodology will change.

5. The biggest future question for literary agents comes in the proposal stage. Currently we have had times when Zondervan and Nelson were vying for the same property. If they are under one roof it remains to be seen whether that practice will continue. For example Baker Books, Bethany House, and Revell do not bid against each other because they are under one “roof” as part of the Baker Publishing Group.

6. What does this mean for the existing Zondervan or Thomas Nelson author? One, there will likely be little change for now.  Current projects will move forward as before. Nothing will come to a standstill because that would mean revenue would stop. Two, if you have an old contract with Thomas Nelson for a book they still have under their care I would dig it out and read the “Assignment” clause. Find out if your book can be “assigned” to HarperCollins without your permission. That is likely the case, but be sure. Ask your agent if you are unclear. Three, our understanding is that acquisitions will continue as before. (But see number five above.) If you are an author with Westbow (the self-publishing arm of Thomas Nelson) I doubt if anything will change. HarperCollins has a company called Authonomy that helps give self-published authors a forum for discovery.

7. In a christianbook.com search I counted 2,900 Zondervan books and 3,300 Nelson books. (Only books, not Bibles.) That is astounding. (Tyndale House has 1,400 titles listed.) It truly will make this the largest Christian publishing company in the world.

8. Should authors be worried? No. The corporate landscape is always changing. Does this mean fewer publishing slots will be available? Possibly. Time will tell. Fortunately there are some pretty smart people in charge and they all have a vested interest in not breaking what isn’t broken.

9. Will they change the name of one of the companies after the purchase goes through? I doubt it. At least not in the foreseeable future. Both company names are iconic and have a rich tradition of quality and strength.

10. Is HarperCollins done? Or are they going to buy up other Christian publishers too? I had to chuckle when I heard that question….as if I would know or could predict. :-) My two cents says that they will have their hands full with this integration process. I could be wrong, but if it were me, I’d make sure this went very smoothly first before acquiring other companies.

Do you have any questions or thoughts on this? I’m happy to try to answer them in the comment section below.

Update 11/07/2011:

News Corp. is paying $200 million for Thomas Nelson, the parent company of HarperCollins disclosed in its quarterly filing on Friday November 4th. In 2006, InterMedia paid $473 million for the publisher which had sales of $253 million at the time.

 

Study the Market

October 20, 2011 in Business, Marketing, Tamela, Trends, Writing with 24 Comments

by Tamela Hancock Murray


What is the best way to find out what is successful in the current market?

This is a good question because while as an author, you don’t want to chase the market, you also don’t want to write books that are so far off from the current market that they have no chance of selling. First and foremost, marketing advice from any source assumes that authors submit their best, most polished, highest quality work. Just because vampire novels enjoy popularity now, doesn’t mean publishers will acquire just any novel with a vampire. The novel must sparkle to sell to a publisher and then to readers. I don’t recommend chasing nonfiction trends either, because one or two popular authors can quickly saturate the market on any given topic. Or as Steve Laube says, “If you are asking what’s hot…you are too late.” Although some topics are evergreen, as a rule the market can only absorb so many books on a topic. Writing about a tangent of a popular topic won’t help because then the book is in danger of being too narrow to sell to a large audience. It’s then a niche of a niche.

How to Choose

I recommend choosing a topic, setting, and story that stirs your passion. If you don’t feel passion for your work, readers will know. A friend once told me of an aspiring writer who tried to imitate Anne Rice because he went into a book store and noted the popularity of vampires. He went home and wrote a vampire book and hoped to hit the big time. I’ve yet to see the writer in print. My guess? He wrote only for money so his story was bloodless.

The Time Factor

Unless you’ve been in publishing awhile, you may not realize the amount of time that transpires from an author typing The End on a computer screen to a book appearing in print can be a year or more. (See our previous blog “How Long Does It Take to Be Published”) Multi-book contracts keep authors writing certain types of books several years. Consider that by the time you see a particular genre in the store, it’s possible that the publisher acquired it years ago. That means that as far as acquisitions, the publisher may have moved on to a different interest. Another possibility is that the house now has its author in that genre and is not looking to acquire more.

Striking the Balance

In my view, the best way to strike the balance is to read. A lot. If you are hoping to break into a market with set rules, such as genre romance, learn what those rules are and don’t break them. Yes, a select few authors may be able to bend the rules but a new author must write within the genre confines. Period. Once you have read in your selected genre, you will see joy in the challenge of remaining within the genre’s rules while still being fresh and creative. Trade books might offer a bit more flexibility and certainly length, but you still need to read many of the type of trade books you want to write. When you are buying and reading current books, you are naturally studying the market and seeing firsthand the type of book that is successful in the current market. Then write the type of books you enjoy reading. Don’t imitate a famous author. Stick with your own voice, but polish every word so your book’s awesomeness cannot be denied.

What to Do with Your Awesome Book

Once you feel you’ve struck the right balance of market potential and awesome writing, let your agent be your guide. The best agents talk to editors all the time and keep their level of knowledge high by reading industry news and attending business meetings and events. Your agent is able to direct your work to the editors who will give your work serious consideration. We always appreciate writers who work with us to perfect marketable manuscripts.

Your Turn

What other tips can you offer writers hoping to break into the market? What are you doing to break into the market?

This post is in response to an excellent question posed on last week’s blog.

 

 

 

 

Say it in a Sentence

October 17, 2011 in Marketing, Publishing, Steve with 13 Comments

by Steve Laube

Can you present your book idea in one sentence?

Can you present that idea in such a way that the reader is compelled to buy your book?

What motivates someone to spend money on a book? It is the promise that there is something of benefit to me, the reader.

Books are generally purchased for one of three reasons:

  1. Entertainment
  2. Information
  3. Inspiration

If your book idea can make me want to read it, whether it is for entertainment, information, or inspiration, then you are well on your way to making a sale.

This isn’t just about your title (which was ably covered by Karen Ball in a three part series here, here, and here) it is about your pitch. That 25 words or less soundbite that instantly conveys your message.

Create something that makes me, a cynical curmudgeon, say, “Now that is interesting.” (Which by the way will help sway the cynical curmudgeon in the marketing department at a publishing company.)

Your pitch becomes your editor’s pitch,
which becomes your publisher’s pitch,
which becomes your retailer’s pitch…
which becomes the word-of-mouth pitch.

Did the picture above get your attention? Did it make you smile? Did it make you want a Taco? If so, it was the perfect pitch.
And for more on the topic of the 25 word pitch read Nicola Morgan’s post.

 

 

 

 

 

 

 

 

Conference Proposal Requests

October 6, 2011 in Marketing, Tamela, Writing with 28 Comments

by Tamela Hancock Murray

The recent ACFW conference (attended by nearly 700 writers and industry professionals) has writers, agents, and editors in overdrive as we all attempt to follow up on conference proposal requests. Writers are working feverishly to get proposals to editors. Some are thinking, “Surely the editor who seemed so excited about my proposal is checking email at least once or twice a day looking for it. I must, must, must get the proposal out today!”

Not so fast

Our word is our bond, and we feel responsible when we promise to submit a proposal as soon as we can. Accountability is to be commended. Editors and agents appreciate conscientious writers. However, most of us are looking for a writer’s proposal under certain conditions, and those conditions are usually quite urgent in the careers of writers already established with us. From my perspective, conference requests are different. Here are a few examples:

1.) The editor seemed so excited! Why did I get a email form letter rejection ten minutes after I sent my proposal?

This writer received what I consider a courtesy request. Think about it: no one likes to reject someone face-to-face. It is not easy to tell a person you’re not interested in a novel she’s worked on for months, perhaps even years. And it may be that you never showed them a stitch of your actual writing but only a one sheet or gave a pitch in a hallway. The softhearted editor probably liked the writer as a person, but used the quick form letter rejection to convey a hard truth after the fact.

2.) The editor seemed so excited about my one-sheet! Why did I get rejected?

The reasons are legion (see #1), but a one-sheet, while useful, has its limitations. Writers spend considerable time on one-sheets, honing to perfection. And the plot promised on the one-sheet is indeed delivered in the book — a plot perfect for the editor’s house. However, if the writing doesn’t sparkle, a perfect plot will not garner a contract.

3.) The editor seemed so excited by everything about me! Why haven’t I heard back from my submission after all this time?

Cyberspace is both an exhilarating and frustrating place to work. Few have any idea what it is like on the editor’s side of the desk. During the conference they can focus on the event and the people in it. But back in the office there are dozens of pre-existing issues and new hurdles that prevent the editor from responding immediately. The new submissions are rarely at the top of any editor or agent’s to-do list.

Perspective

At any conference, we’re running on coffee/diet soda/no sleep/adrenaline/unfamiliar food and we all want to make the best impression we can upon one another. And we are all pretty pumped. Editors and agents want to find the next bright star, and we want to be excited about you and your work.  So please forgive us when reality’s glare forces us to send you bad news after you return home.

My best advice is to be sure to follow up on any and all conference requests with your most superb work. Your agent will help you ensure your work is the very best it can be to submit to editors. When you receive feedback, take it seriously. Continue to write and hone your craft. Even if a conference doesn’t result in a contract this time, you have still made valuable and meaningful connections with writers, editors and agents. Persistence and willingness to learn are key. Any conference is only a part of the larger picture in your career. That’s my perspective. What’s yours?

 

 

 

 

 

 

Loving to Laugh

September 29, 2011 in Book Proposals, Craft, Publishing, Tamela, Writing with 7 Comments

by Tamela Hancock Murray

At least once a week I’m asked if romantic comedy is currently marketable. While sometimes this category seems hot and then cold, I’d say that sharp, witty, well-executed romantic comedy can find a good home no matter what the publishing season. Note that I take the adjectives I used seriously. This is not a category that most writers can whip off with little effort. Successful writers of romantic comedy are gifted with the ability to find humor in everyday situations and the talent to share that humor in an entertaining way. The writing must fly like a magic carpet. The reader is looking for a fun story.

One successful writer of romantic comedy is Gail Sattler. Here is a great tip from Gail:

Good comedy comes from the heart, naturally. If it sounds forced or that someone is trying too hard, everything will fall flat. It’s got to come without it looking like a lot of effort, and it’s hard to be funny on cue. In writing, the best comedy is in the form of what can best be described as a running joke. The reason this works is because in the length of developing the background needed for the punchline to work, the reader is becoming personally involved. They know the characters, they know the strengths and often weaknesses, they know the setting, and they are already rooting for the character in some way. Then when the punchline happens, they’re right there to share it with the character – laughing with them, not at them. This also means that most of the time, with the best running jokes, if you just say the punch line the joke doesn’t work because in order for it to work the reader has to have been involved from the beginning. Or, in other words, the classic – “you had to be there.”

Does Gail’s tip remind you of your favorite comedic novel? Which one?

 

One-Sheets versus Queries

September 22, 2011 in Agency, Book Proposals, Business, Tamela with 3 Comments

by Tamela Hancock Murray


A recent post inspired an excellent question. “Is a one-sheet the same as a query?”

Yes and no. There is some overlap, but the differences are significant.

A one-sheet gives writers a document for talking points about a project at a conference. The one-sheet can help authors be sure they convey the information they want to the editor or agent without forgetting anything critical. In turn, the one-sheet gives the editor or agent a memo of sorts to recall your pitch after the conference. This is one reason why an author photo is essential. Otherwise, the one-sheet includes information such as the book theme and brief plot summary, contact information, and sometimes another visual to make the page pop. One-sheets are often colorful and intended to grab attention. However, they are only a tool. The author’s professionalism and talent are key.

A query is a letter an author sends an agent or publisher. It is not meant to be eye-catching in a visual manner, but attention-grabbing because of the information it conveys. Professional stationery is great for hard copy, but a query letter should not include an author photo. The recipient can visit your web site for visuals. A query always includes the author’s contact information, web site address, book idea, a brief overview of the author’s publishing history and a couple of key marketing helps. Be brief by choosing only the best information to convey to convince the agent or editor that your proposal is a must-see. The standalone query letter should end with a request to submit a complete proposal.

A query letter that introduces an attached proposal is just that — an introduction. This letter offers the author’s contact information, book theme, and brief summary and perhaps a piece of information so irresistible that the recipient must stop everything to read your proposal.

Wise use of these tools will accentuate your efforts to find just the right home for your work. Add these to writing that sparkles, and you are on your way!

 

 

 

 

 

Conquering Conference Jitters

September 15, 2011 in Business, Marketing, Publishing, Tamela with 8 Comments

by Tamela Hancock Murray

Next week the annual American Christian Fiction Writers (ACFW) conference is upon us. While this particular conference is one of the largest in our industry (over 700 will be there in St. Louis), writers can become nervous before going to even the most intimate conference. We all want to make a good impression and show other industry professionals our best. You have already prayed and handed the conference over to the Lord, so here are a few more tips based on questions I’ve been asked over the years:

1.) What do I wear? 

Each conference has its own personality and you’ll need to adjust accordingly. For instance, hiking across a college campus during a spring rain shower requires different clothing than staying indoors at a five-star hotel. Visit the conference web site to glean as much information as you can about what you might expect concerning accommodations and weather. For any conference, the best rule is to select clothing that makes you feel great. Comfortable, flattering clothes that show polish are easily available at different price points. No agent or editor I know encourages writers to spend a fortune on conference clothing. Look in your closet. Chances are excellent that you already own clothes that are right for you to wear. If you’re still unsure, it’s hard for women to err with a simple dress or a blouse or sweater with dark slacks or a skirt. Men can’t go wrong with a presentable shirt and trousers. Both men and women can add a blazer according to personal style.

2.) How do I use my one-sheets?

Conference veterans know about one-sheets, through which authors present their stories, photo, bio, and contact information on one page. Editors and agents often take these home with them, but few will accept chapters and full proposals. Imagine toting fifty full proposals back with you on a plane! However, it doesn’t hurt to have a few pages of your manuscript, and even the full proposal, printed for the agent or editor to peruse during the appointment. Having a writing sample available might help the conversation.

3.) What contact information should I take with me?

If you already have an agent put your agent’s contact information on the one-sheets and the sample chapters you use for editors. This is because an editor usually prefers to contact the agent about a manuscript.And talk to your agent before you go to make sure you are both on the same page with what you are pitching to editors, and even deciding which editors you should see.

Make sure you bring a nice stack of business cards…with your picture on it. That will help when meeting other authors and editors in hallways and at meals. This is a good way to help folks remember you. Some authors are even putting their Twitter handle on their business card. And a few published authors will put the cover of their book on the back side of the business card which can be great advertising! Steve Laube says that each night he gathers whatever one sheets and business cards he collected, and along with that day’s schedule he makes notes in his Moleskine notebook so that he can reconstruct the items that need followup and the people he met. This could be one way for you to absorb all that you heard each day.

4.) What should I strive to achieve during my appointments?

Get to know an industry professional. The one-sheet is not your do-or-die document. A one-sheet will give you talking points and something to present to the editor, but really, you are demonstrating a little bit about who you are. You want to convey your business style and show the editor or agent you are easy to work with, professional, and that you are willing to do as the Lord leads to be a successful published author. I highly recommend you read Steve Laube’s advice on “That Conference Appointment” before you go.

I wish you great conference success, fellowship, and fun!

 

 

 

 

 

Fun Fridays – Sept. 9, 2011

September 9, 2011 in Steve with 18 Comments

This one has been around for awhile but it still makes me laugh every time. It is the perfect parody of the author/editor brainstorming session. At the end the author sounds like one who has just attended a writers conference and received a variety of advice!

Saving the World, One Romance at a Time

September 8, 2011 in Publishing, Tamela, Trends, Writing with 11 Comments

by Tamela Hancock Murray

Often I will receive submissions of novels tying in an element of mystery and suspense with romance. Writers targeting the romantic suspense market will find difficulty in placing this type of story. Why? Because romantic suspense readers have certain expectations that won’t be met with a mere element of mystery and intrigue.

In my experience trying to sell and market romantic suspense, I have found that the readers of this genre want all-out adventure and crime solving along with compelling romance. The suspense is foremost, with the romance being tied in so deeply that the story won’t survive without it.

The romantic leads must be the hero and heroine. Neither can be on the sidelines, witnessing the problem or contributing almost nothing to its solution. They must be intricately involved in solving the crime. This is why readers will often see a detective assigned to protect someone in danger. The detective can be either the male or female protagonist.

I think it is helpful for romantic suspense authors to have ready access to a police officer or detective friend who can help with procedural accuracy. I also recommend that you become a fan of romantic suspense novels by reading fine authors such as Lynette Eason, Irene Hannon, or Dee Henderson.

As for suspense, the genre is serious that the plot must offer true suspense in which the characters are put in life-threatening situations. Sometimes secondary characters may even be wounded or perish. However, the first level of secondary characters, such as the protagonist’s children, may be put in danger but must always survive.

Intrigued enough to try your hand at romantic suspense? If so, the current market is friendly to this genre. If you are talented in writing this type of story and willing to work hard, success may be yours.

 

 

 

 

 

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