Writers’ & Artists’: How to Get Published Conference 2012 [pt. 2]

A summary of the 2012 Writers’ & Artists’  ‘How to Get Published’ conference, 7th July 2012. A full day is hard to summarise – there were talks, graphs, powerpoint presentations, panels, book signings, coffee and walnut cake… 

Part 2

Bloomsbury’s best selling Christmas book of 2011 was Hugh Fearnley-Whittingstall’s vegetarian cookbook titled River Cottage Veg Every Day which sold over 10000 copies. Impressive. Kerry Wilkinson – self-published author of the hugely popular Jessica Daniel police crime series, sold over 300000 copies of his books, including his debut, Locked In, over the final quarter of 2011, without the benefit or need for a large publicity department, print reviews, agent, or connections across the publishing world.

How did he do it? Does this mean writers don’t need an agent or a publisher?

Kerry took us through the process of uploading his book to Amazon and shared details of how he maximised sales so that readers read his books and come back for more.

When he’d completed his first novel, Locked In, he ‘couldn’t be bothered’ going through the hoops of the traditional route to publication. He self-edited it. He researched how books are sold and worked out where and when to sell it to maximise sales. Knowing that over the Christmas period new Kindle owners would be looking for books, he chose this time to upload and to promote his books. More than that – he sought out readers and reading groups. He joined reader forums to talk about books – to talk about his books. He knows how to cross-promote and he promoted his upcoming book along with his current title.

Here are Kerry’s Tips for selling books:

Write what you want to write. Kerry writes for himself but he writes what people like to read. He tapped into a ready market with the crime genre.

Don’t bother about other writers – connecting with your reader is the single most important thing that a writer can do.

Pay attention to forward advertising – Kerry promoted his next book in each new book – this is something he thinks traditional publishers should do.

Contrary to ‘received opinion’ on ‘platform building’ and online presence, Kerry doesn’t spend a lot of his time blogging and talking about writing. He does interact with readers on reader forums.

Start your ebook immediately with page one – don’t copy traditionally published books which aren’t designed for ebook reading.  A more exciting opening will create a more exciting taster or ‘sample’ that readers can click through on Amazon before buying and lead to more sales.

Get the pricing right. Kerry’s first book sold for £1. His third book sells for £3.

Make a simple cover for your book. Photoshop is easy and makes an effective cover. Don’t overload it with a fussy image or too many words.

Create a simple website that’s uncluttered. Include key information in bold – when the next book is coming out, what it’s about, how much it costs and where to buy it. Include a link to Amazon.

Kerry’s mantra is – Think like a reader.

Kerry told us he writes every day. Interestingly, he still has a day job and more interestingly, he’s signed a publishing contract with a mainstream publisher: see his very frank Q&A with Sam Missingham in FutureBook [29/12/11] where he describes how he was contacted by agents after he’d sold thousands of books and where he also explains why he’s gone down the traditional route.

The final session of the day was an agent panel. Rachel Calder was joined by Patrick Walsh of Conville and Walsh and Lucy Luck of Lucy Luck Associates.

All agreed it was difficult to get published with an agent, that it was difficult to land an agent but that it was equally difficult to be published without an agent.

Confused?

Here’s the statistics they shared:

Sayle Literary Agency receives around 60-80 unsolicited submissions a week, from these they will sign up 3 or 4 new writers per year

Lucy Luck receives around 50 unsolicited submissions a week, from these she might sign up ten writers, and from these, 3 or 4 a year will sign a publishing contract

Conville and Walsh receive around 4000 unsolicited manuscripts a year, around 100 are ‘treated’ or developed, and from these, around 7 are sold on to publishers

They talked about how the acquisition process has changed in recent years so that the editorial decisions now include the whole company, including, marketing, publicity and sales departments. Publishers pay less than previous years and the editorial balance has moved to agents who now spend a lot of time developing manuscripts before taking them to market.

Often, a conversation around the edges of a book result in exciting things. All of the agents agreed they will work to develop a manuscript with a writer whose voice they consider has potential. Lucy Luck gave the example of her client, Catherine  O’Flynn, with whom she worked to bring out her prize-winning first book, What Was Lost. A willingness to take criticism is a key attribute in an unpublished writer.

– Patrick Walsh is convinced that ‘cream always rises to the top’.

A lively closing Q&A ensued where delegates queried the different agents on the best way of maximising success with their submissions. While they repeated most of what Cressida Downing said in the morning session on how to submit ‘properly’ by following the guidelines on their websites, there were also smaller points worth highlighting:

Don’t call or write in advance of sending a manuscript to query whether they’ll accept it – just submit

Research agents carefully so that your manuscript ‘fits’ their current titles and author list

Your covering letter should be short and to the point and personal to the agent

Never use the term ‘peruse’ and never call your book a ‘fiction novel’

A ‘platform’ or blog can help an agent to decide but on its own it won’t make an agent sign up and is more useful for non-fiction writers and projects

FSG is ‘fantastic for the whole publishing industry’ and shows the disconnect between what people want to read and what agents & publishers want to publish. It’s a ‘win-win’ situation and while writers and literary editors are ‘snotty’  it doesn’t diminish the benefit it has brought to publishing. It’s a ‘black swan’ event.

The main thing all of the agents look for in a manuscript is a strong writing voice.

So there you have it – write what you want to read, take time over your submission package,  or self-publish. It’s up to you.

I approached the ‘How to Get Published’ conference with scepticism – was it a way of making money from writers who haven’t yet landed a publishing contract or agent? Will I learn anything useful I can pass on to writers and that I can use when submitting my own writing? Is there any point in listening to a different writer’s journey to publication which will probably not replicate mine? On balance, yes, it was really useful and worth the round-trip from Scotland to London. There are countless self-help books on creative writing and how to submit your manuscript – you’ve read them all and so have I, but nothing quite matches hearing it first hand combined with the opportunity of speaking directly to experts and those who work in the industry – especially when that advice is realistic and backed by evidence.

With thanks to Bloomsbury for conference hosting and organising.

– link back to Pt.1

Writers’ & Artists’: How to Get Published Conference 2012 – [pt. 1]

A summary of the 2012 Writers’ & Artists’  ‘How to Get Published’ conference, 7th July 2012. A full day is hard to summarise – there were talks, graphs, powerpoint presentations, panels, book signings, coffee and walnut cake… 

Setting a serious, workmanlike tone, was Richard Charkin, Exec. Director of Bloomsbury Publishing, who gave a frighteningly realistic insight into the current state of publishing. So you want to be published? Well, here’s the facts, was how he kicked off the conference. Using statistics and graph charts, Richard showed how the market in adult fiction had declined -11% in the last year, how independent bookshops sold just 5% of books [UK], supermarkets 10%, and book chains and online combined sold over 60%; how FSG was good for trade, selling 95000 copies in Asda on one Thursday alone compared to 7000 copies of the ‘100th’ best seller; how sales of digital books are up and good for author back lists; and how children’s books is ‘the best performing category’.

Although the news on sales and bookshops was gloomy there was also a positive side to all the facts and figures. For example, there are over 10000 publishers in the UK – more choice = more opportunities for writers to find the right publisher for their book. Good publishers look after their writers and help them to develop their career. And digital books and self-publishing have opened up new avenues for writers who can’t wait or don’t want to go through the lengthy process of bringing their book to market.

Taking a traditional route to publication means traversing the land of gatekeepers (agents/publishers/editors). Cressida Downing regaled us with funny examples of some very bad submission letters and synopses she’d received over the years from writers seeking publication. Apparently, between 70% and 80% of all submissions were wrong, badly written and didn’t follow the correct guidelines. Why are writers so bad at selling their writing or book idea or even themselves? Why do they rush at the end after spending such care and attention on their manuscripts?

Getting the covering letter right, according to CD, was the single most important thing for a writer to pay attention to when they were seeking an agent. Get it right and the chances of attracting an agent’s attention were raised. Get it wrong and it headed into the bin – even if the book and synopsis were wonderful – a bad covering letter would probably turn an agent off reading the rest of the submission. CD’s main advice was:

  • don’t rush to submit
  • use an editor to make sure your manuscript is the best it can be
  • take time to research agents to find the right ‘fit’
  • follow submission guidelines precisely
  • spend a long time on your covering letter and make sure it’s perfect before sending it off

Suzanne Joinson’s début novel, A Lady Cyclist’s Guide to Kashgar caused a stir when her agent, Rachel Calder of Sayle Literary Agency, took it to the publishing marketplace and it was really interesting to learn from both the journey of getting it there.

In a wide-ranging and informative discussion, Suzy talked about how she was approached by agents after winning a short story competition while she was reading for a creative writing MA. They approached her – which seems like a very good place to be in. She then worked to bring the partially completed book to submission standard, working with a mentor and with her agent. Over the process from signing with RC and RC selling the book to a publisher, the manuscript went through around 15 FULL DRAFTS and took around seven years to ‘get it right’.

Suzy Joinson and Rachel Calder [with Eela Devani]
Even with a publishing contract, the manuscript was further refined to get the pacing and narrative tension just right before it was ready for publication.

Rachel told us she’d approached Suzy because of her writing voice and style and admitted she was happy to work with writers to develop their writing.
Suzy’s advice to writers was – ‘keep writing’, write, even when you don’t feel like writing, write something. Add to the word count and then refine and self-edit and it will eventually take shape. And enter writing competitions as a way of stretching yourself and working towards a deadline and of fine-tuning your writing.

Writers who don’t or can’t wait for an agent or publisher to decide when the manuscript is ready for publication can choose to self-publish.

Kerry Wilkinson and Phillip Jones of the Bookseller and FutureBook, discussed the digital revolution in bookselling, and Kerry talked about his publication journey from self-published writer to signing a publishing contract with a traditional publisher.

Phillip talked about how traditional gatekeepers, such as agents and publishers, were now taking on the role of curators and of the long trajectory of publishing innovation that led from Dickens’ weekly numbers to ebooks.

While we think about a split between traditional and digital publishing – publishing is publishing. Publishers are risk takers, he said, and he didn’t diminish their important and continuing role in the crucial areas of exploiting, promoting and distributing books.

The publishing landscape has changed dramatically and quickly, though, and writers don’t need publishers – or do they?

In part two, I’ll report on Kerry Wilkinson’s talk on how he self-published and sold over 300,000 copies of his books via Amazon, with 98% of sales on Kindle and give a summary of the final agent panel discussion on the ‘perfect submission’ and more [ depressing/realistic] statistics on how many new authors they sign from their stack of unsolicited manuscripts.

to be continued…. 

How to get Published Conference – London

 

Publishing is in flux – this we know. So how do we navigate this new, post-apocalyptic, grey-shaded landscape? Fifty-Shades of naughtiness has smashed the idea that fanfiction is a sub of a sub-genre and only for the select few and has destroyed any notion that only ‘‘good writing’ sells.  It’s bad. It’s not even so bad it’s good; it’s just bad writing. All previous advice now seems like empty air. So what is a writer to do with their new-born typescript now ?

  • Does this mean writers ought to shun the traditional route to publication?
  • Does this mean writers ought to forget editing, polishing and fine tuning and go straight from first draft to e-book?

And what of literary consultants? Me?

  • How do I advise writers who are looking for guidance on the best route to publication?
  • Has the publishing landscape changed completely?
  • Or has the ground shifted ever so slightly to allow for light relief? In which case, will things return to normality soon?

With perfect timing, the team behind the writer’s bible – The Writers’ & Artists’ Yearbook – have put together a one-day conference that seeks to address all these questions and many more I haven’t thought of yet.

The line-up of ‘those in the know’ includes respected agents, leading publishers, and self-published self-taught experts.

The conference takes place in an ideal central London location – easily accessible from Euston/KingsX in the Wellcome Centre, which is why I’m heading down there on Friday night.

I’ve copied in the programme below – I’ll be there. Will you?

I’ll post a full report on Monday.

Date & Time -7th July 2012: 9.30am-4.30pm

Place: Wellcome Collection, 183 Euston Road, London, NW1 2BE

Programme:

The How to Get Published conference provides an invaluable opportunity to gather tips and advice from some of the most respected and reputable names in the industry, meet and exchange ideas with other writers and put your publishing questions to a panel of literary agents.

The How to Get Published conference will provide expert advice on:

  • Choosing which publishing route
  • Knowing when your manuscript is ready
  • Getting your submission package in shape
  • Targeting agents or publishers
  • Understanding what agents are looking for in a submission
  • Handling rejection
  • The next step- working with your agent or publisher

With a stunning line-up of speakers, the How to Get Published conference offers an indispensable insight to the publishing industry.

Speakers include; Richard Charkin, Executive Director of Bloomsbury Publishing Plc, offering an introduction to the current book market and publishing trends.

Suzanne Joinson, author of A Lady Cyclist’s Guide to Kashgar, and her agent Rachel Calder, of The Sayle Literary Agency, who will be discussing the relationship between author and agent.

Editorial Consultant Cressida Downing, on the practical dos and don’ts of submitting a manuscript.

Kerry Wilkinson, the self-published author who was ranked as one of Amazon’s top 10UK authors within 5 months of releasing his book. With over 250,000 e-book sales, Kerry is uniquely positioned to discuss the self-publishing experience.

Finally, we have a panel of top literary agents, including Patrick Walsh, of Conville and Walsh, and Madeleine Milburn from the recently opened The Madeleine Milburn Literary, TV & Film Agency.

See the Writers’ & Arists’ Year Book website for full details – hope to see you there!