Why Even Self-Published Books Need A Proposal

By Terry Whalin (@terrywhalin)

No matter what method you choose in the publishing world, I encourage you to create a book proposal. Whether it is fiction or nonfiction, you need to create this document because it is your business plan for your book. Years ago, as a frustrated acquisitions editor, I wrote Book Proposals That $ell, 21 Secrets to Speed Your Success. This book has over 150 Five Star reviews and many people have used it to get published. I also have a free book proposal checklist at: www.terrylinks.com./bookcheck and a free teleseminar about proposals at: www.askaboutproposals.com. 

I’ve read thousands of book proposals as an acquisitions editor and a former literary agent. I continually teach on the topic because I believe many writers don’t understand the critical nature of this specialized document called a book proposal.

On the traditional side of publishing, editors and agents read proposals. It doesn’t matter whether you’ve written nonfiction or fiction because this document includes information which never appears in your manuscript yet is critical in the decision-making process. 

Many authors have not written a book proposal because have written a full manuscript. From my perspective of working in book publishing for over 20 years, every author should create a book proposal for their book—whether eventually they publish the book with a company where they pay to get it published (subsidy or self-publishing) or whether they find a traditional book publisher. In the proposal creation process, the author learns critical elements about their book concept plus they are better positioned in the marketplace.

Here are four of the many benefits of proposal creation:

1. You Define Your Target Market. Many authors believe their book will hit a broad target—everyone. No successful book is for everyone. Each book has a primary target audience, and the proposal creation process helps you define, pinpoint and write about this audience. It is important in nonfiction but it is also important in fiction. For example, romance is the largest fiction genre yet there are many divisions within the romance genre. The proposal helps to define this division and helps the publisher understand who will be creating the sales.

Every proposal needs a target which is defined—yet large enough to generate volume sales. You learn and achieve this balance when you create a page-turning book proposal.

2. You Understand Your Competition. Book proposals force writers to take a hard look at what is already on the market, and what if anything they bring to the conversation.  Many new authors believe they are writing something unique with no competition. It’s not true. Every book competes in the marketplace, and you will be a better equipped author if you understand your competition.

3. You Create A Personal Plan For Marketing. As you create a book proposal, you will include practical, specific and measurable ideas that can executed when your book enters the market. The proposal will be a valuable reference tool for you because you’ve done this important evaluation process.

4. You Possess A Valuable Tool To Pitch Agents and Editors at Traditional Houses. Literary agents and editors do not read manuscripts. They read book proposals. Even novelists need a book proposal for their initial pitch to an editor or agent. And if you self-publish and are successful with selling your book, because you own everything, if you receive an attractive offer from a traditional house, then you can move the book. Without a proposal you can’t properly pitch the concept and you’ve eliminated this possibility. 

Throughout my years in publishing, I have made multiple trips to New York City and met with some of the top literary agents and editors. Almost each time, I am asked, “Where is the next Prayer of Jabez or Purpose Driven Life or Left Behind or ______ (name the bestselling book)?” Each of these books sold millions of copies. The Left Behind books continue to sell over 100,000 copies a year—and they were originally published over 20 years ago. These professionals are actively looking every day for the next bestseller. Yes, they may be telling you their agency is full and they have no room on their list for your book—but the reality is something different. 

I encourage you to keep looking for the right fit for your manuscript. It’s part of the editorial search that every writer undergoes to discover the right place for their book to be published.

Tweetable:

Even if you self-publish your book, you need a book proposal according to this prolific writer and editor. Get the details here. (ClickToTweet) 

W. Terry Whalin, a writer and acquisitions editor lives in California. A former magazine editor and former literary agent, Terry is an acquisitions editor at Morgan James Publishing. He has written more than 60 nonfiction books including Jumpstart Your Publishing Dreams and Billy Graham. Get Terry’s recent book, 10 Publishing Myths for only $10, free shipping and bonuses worth over $200. To help writers catch the attention of editors and agents, Terry wrote his bestselling Book Proposals That $ell, 21 Secrets To Speed Your Success. Check out his free Ebook, Platform Building Ideas for Every Author. His website is located at: www.terrywhalin.com. Connect with Terry on Twitter, Facebook and LinkedIn.

Avoiding Writer Burnout

 

Contribute by Margot Conor

Trying to rush through the writing process can lead to burnout, a common issue among writers. By pacing yourself, setting realistic goals, and acknowledging that good writing takes time, you maintain your passion for the craft.

Burnout for a writer refers to a state of mental, emotional, and physical exhaustion caused by prolonged periods of stress, overwork, or creative depletion. It can manifest in various ways, such as feeling constantly drained, lacking motivation or inspiration, experiencing writer's block, or even physical symptoms like fatigue and insomnia.

Common causes of burnout for writers:

Overworking: Pushing yourself too hard without breaks or adequate rest can lead to burnout. This includes long hours of writing, tight deadlines, or taking on too many projects at once.

Creative Pressure: Feeling pressure to constantly produce new and innovative work can be mentally taxing. This pressure may come from internal expectations or external demands.

Self-Doubt and Perfectionism: Constantly striving for perfection or feeling inadequate can contribute to stress and burnout. Writers may become overly critical of their work, leading to a loss of enjoyment in the creative process.

Lack of Boundaries: Difficulty in setting boundaries between work and personal life can blur the lines and result in burnout. Writers may find themselves working at all hours, neglecting self-care, hobbies, or time with loved ones.

Isolation: Writing can be a solitary pursuit, and prolonged isolation from social interaction or support networks can contribute to feelings of burnout and loneliness.

To avoid burnout as a writer, consider the following strategies:

Establish a Routine: Create a balanced writing schedule that includes regular breaks and time for relaxation. Setting specific work hours can help maintain productivity without overexertion.

Set Realistic Goals: Break down larger writing projects into manageable tasks with realistic deadlines. Avoid overwhelming yourself with overly ambitious goals.

Practice Self-Care: Take care of your physical and mental well-being by getting enough sleep, eating healthily, exercising regularly, and practicing relaxation techniques such as meditation or yoga.

Seek Support and Feedback: Connect with fellow writers, join writing groups or workshops, and seek constructive feedback. Sharing experiences and receiving encouragement can alleviate feelings of isolation and self-doubt.

Take Breaks and Rest: Allow yourself regular breaks from writing to recharge and rejuvenate. Engage in activities outside of writing that you enjoy, whether it's reading, spending time outdoors, or pursuing other hobbies.

Manage Stress: Identify sources of stress and find ways to manage them effectively. This may involve delegating tasks, saying no to additional commitments when necessary, or seeking professional help if stress becomes overwhelming.

Believe in Yourself: You have taken the first steps on a journey that could have more bumps in the road than you initially anticipated. This means you may occasionally get your ego bruised, or get knocked down. I want to encourage you to get back up, dust yourself off, and tell yourself you can do this! Many people want to write, but never set fingers to the keys or pick up a pen. Some write but never finish anything. Others are so filled with self-doubt they won’t publish their finished manuscript.

Be kind to yourself: Trust that you have something of value and there are people out in the world who will benefit from what you have written. Give yourself a chance. Be brave, take it all the way to completion… be fearless, Don’t let anyone tell you that you can’t… be steadfast and resolute, you are a writer!

Be Thankful:

Focusing on the positive aspects of your writing journey can be a powerful way to maintain balance and peace of mind. Accepting that success takes time, and that every writer’s path is unique, frees you from the pressure of unrealistic expectations.

Celebrate small wins, like finishing a chapter, receiving feedback, or learning a new technique, as these milestones are steppingstones toward your larger goals. By shifting your mindset to gratitude, whether it’s for the ideas that come to you, the time you have to write, or the support of a writing community, you can cultivate a positive outlook that energizes and motivates you.

Gratitude helps you recognize how far you’ve come and keeps you grounded, even during the inevitable ups and downs of the creative process.

Share your Gratitude:

With gratitude in mind, once you complete your novel or project and publish, always let your readers know how much you appreciate their support. A personalized thank you note can leave a positive impression and encourage continued interest.

Example (Front Matter): “Thank you for following my work, your support means everything to me. Happy reading!”

Example (Back Matter): “Thank you for reading (Book Title). Your support means the world to me. I hope you enjoyed the journey as much as I enjoyed writing it.”

Ask for Support:

When someone has finished your novel and loved it, they are predisposed to speak highly of your efforts. They might tell their friends how much they enjoyed it, but they may not consider writing a review unless you ask. That is why including a call to action is helpful.

Example with a call to action (Back Matter): “Thank You for Reading! I hope you enjoyed (Book Title). Your support is invaluable to me. If you liked the book, please consider leaving a review on Amazon, Goodreads, (or your favorite review site). Your feedback helps other readers find my work and supports my writing journey.”

ABOUT THE AUTHOR

Margot Conor has been writing for as long as she can remember, but it wasn't until the COVID lock-down that she had enough time to dedicate to the craft and bring something to completion. Having finished her first novel, she went through the grueling two-year process of editing. Now she has jumped into the author's world with both feet. Margot's debut multiverse adventure novel, Inverse, is now  available on Amazon.

Margot's spent the last year attending many writing retreats, seminars, and writers' events. She also listened to presentations specifically on the topic of publishing and book marketing. She will be sharing what she learns with the reader. Learn more about Margot at https://margotconor.com/
 

Are There Advantages to Traditional Publishing?

 Contributed by Karen Cioffi, Children's Writer

While almost everyone is hitting the self-publishing road, including most of my clients, some authors yearn to be published through a publishing house.

Before I go on, though, let me clarify what traditional publishing is, as I just had a query from a new author who wasn’t sure about it.

Basically, traditional publishing is when you submit your manuscript to publishing companies that will PAY YOU to publish your book.

If the company thinks your book will be a good investment, they’ll give you a contract. It could take a year to two years for your book to actually get published.

Traditional publishing houses INVEST their money, time, and effort into publishing your book. You don’t pay them for anything!

These companies make their money back, and hopefully a profit, through your book sales.

The term ‘traditional publishing’ is getting confusing because a lot of services are labeling themselves as such while they’re really not.

So, again, if you have to pay a company even a dime, they’re not a traditional publisher.

Okay, back on track.

Four advantages to traditional publishing:

1. Recognition and approval.

When a publishing company thinks your manuscript has what it takes to sell, when they’re willing to back it up with their financial support, that’s validation.

You can jump around yelling, “It’s really good!” You’ve gotten approval from people in the industry.

This is not to say that some self-published books aren’t ‘really good.’ But, if you need personal validation, getting it from a traditional publisher or literary agent is the way to go.

2. You have a team of professionals behind you.

Aside from very small publishers, you’ll benefit from professional editors, book designers, illustrators, and so on, polishing your manuscript till it shines.

Companies that ‘help’ you publish your book (self-publishing services) don’t usually hire a professional staff. I’ve seen terrible editing and illustrations from some of these companies.

Tip: If you’re self-publishing, check out the portfolios of any service or individual you’re hiring to help you publish your book. And review books the service you’re considering using has published before jumping on board. Check the books carefully. If it’s a children’s picture book, check the illustrations carefully, too.

3. You’ll get marketing help.

A publishing house wants to sell your book, that’s how they make money.

While smaller companies don’t do much regarding marketing, you’re listed on their site, which will have its own readership. This listing will broaden your marketing reach.

And, if they attend book fairs and such, you’ll have the opportunity to have your books displayed.
 
Any little bit of ‘extra’ marketing is helpful.

As the companies get bigger, they offer more marketing help. But keep in mind that whether you’re working with a small, middle, or large publishing house, you’ll still need to promote your own books.

4. Opportunity comes with traditional publishing.

If you’re inclined to take advantage of your traditional publishing credit(s), you can use it to:

a. Write more books and seek traditional publishing
b. Submit articles to magazines.
c. Offer your own writing services.
d. Give workshops.
e. Teach a class (online or off).

Getting a contract from a publishing house or signing on with a literary agent does give you some clout. It’s kind of like a stamp of approval.

ABOUT THE AUTHOR

Karen Cioffi is an award-winning children’s author, working ghostwriter, rewriter, and coach. If you need help with your story, visit Writing for Children with Karen Cioffi.

Karen also offers authors:

HOW TO WRITE A CHILDREN'S FICTION BOOK
A DIY book to help you write your own children’s book.

WRITERS ON THE MOVE SELF-PUBLISHING SERVICE
Self-publishing help for children’s authors.

Writing Your Character's Internal Thoughts

 Contributed by Karen Cioffi, Children's Writer

According to Masterclass, internal dialogue “can provide deep insight into a character’s thoughts, fear, self-esteem, and general point of view and opinions.” (1)

This allows the reader to get inside the main character’s head. This, in turn, makes the protagonist’s internal thoughts powerful. It helps create a deeper connection between the reader and the main character.

Internalization is called by a number of names, including internal thoughts, internal dialogue, and internal monologue.

This type of dialogue is revealing and personal.

The main character will not say everything he thinks. It might be too embarrassing, offend someone, or leave the main character vulnerable. Whatever the reason, some things just aren’t spoken out loud. The same as with you and me.

An example of this is from the first paragraph in the first chapter of my chapter book Walking Through Walls:

Wang bound the last bunch of wheat stalks as the sun beat down on the field. Sweat poured from the back of his neck, drenching the cotton shirt he wore. I hate doing this work. He hurled the bundles on a cart. “Father, the bales are stacked. I am going home; it is too hot.”

Granted, today, a twelve-year-old boy might very well tell his parent he hates doing something, but this story is set in 16th-century China. Wang would never tell his father he hated working the fields.

So, the internal thought brings the reader into Wang’s POV.

As internal thoughts are such a powerful writing tool, how do you let the reader know what’s written is the main character’s internal thoughts?

Quotation Marks

I’ve seen drafts from clients who have internal thoughts in quotation marks.

The above excerpt example would read: “I hate doing this work.”

I'm not crazy about this way of writing internal thoughts, especially for children. It’s not clear. The reader could think Wang is talking out loud to himself, or in this context, to his father.

When writing for children, it’s essential to write with clarity. Everything should be easily understood, so it’s best to use quotation marks only for spoken dialogue. This strategy will help keep things clear for the reader.

Italics With Tags

If I used a tag, it would have read: I hate doing this work, he thought.

When it’s easy to understand who’s having the thoughts, a tag isn’t needed.

If there is any question about who is talking, tags should be used.

Italics Without Tags

Aware the reader knows who is talking, I wouldn't use the tag: I hate doing this work.

Not Italicized Without Tags

This style of writing thoughts is not my cup of tea either. It breaks the flow and can be confusing, especially for children. If using third-person POV, it goes from the narrator to the main character’s internal thoughts with no clear indication.

The example above would read:

Sweat poured from the back of his neck, drenching the cotton shirt he wore. I hate doing this work. He hurled the bundles on a cart. “Father, the bales are stacked.”

It jumps from the narrator to the main character’s internal thoughts and then jumps back to narration.

Not Italicized With Tags

This is another style I don’t like. Taking the excerpt from above but using this writing style, it might be clear it’s the character’s internal thoughts because of the tag, but if the main character continues his thoughts after the tag, it could become confusing and make the reader pause.

Sweat poured from the back of his neck drenching the cotton shirt he wore. I hate doing this work, he thought. He hurled the bundles on a cart. I’d better tell my father I’m done. He yelled across the rows of wheat. “Father, the bales are stacked.

I prefer internal thoughts italicized with or without tags, depending on the context. Simplicity rules when it comes to writing for children.

Sources:
(1) https://www.masterclass.com/articles/how-to-write-internal-dialogue
 

ABOUT THE AUTHOR

 

Karen Cioffi is an award-winning children’s author, ghostwriter, rewriter, and coach. If you need help with your story, visit Writing for Children with Karen Cioffi.

KAREN ALSO OFFERS:

HOW TO WRITE A CHILDREN'S FICTION BOOK
A DIY book to help you write your own children’s book.

WRITERS ON THE MOVE SELF-PUBLISHING HELP
Self-publishing help for children’s authors.

Writers: What are Round and Flat Characters?

In Secret in the Mist: An Abi Wunder Mystery,
horses play an important role, but they 
would be considered "flat" characters.
Illustration by Danika Corrall

By Linda Wilson   @LinWilsonauthor

If you’re like me, you’ve spent most of your time creating “round” characters, unique main characters bursting with personality, flaws, purpose; embarking on an adventure which will change their life and make them grow. Until I ventured upon the term “flat” characters, I hadn’t thought a lot about those other characters. The ones lacking depth, such as the roles parents and grandparents and kids not central to the story play, even siblings. Whichever type of characters you are creating, they need to have a purpose central to your plot, exude personality, and know their place. can fall into the background in order for your main characters to take center stage.

In an article by MasterClass, round and flat characters are described as “Characters in a novel, short story, play, or film can be either round or flat. A round character is nuanced and well thought-out. They usually play an important role in the story. They are written specifically so audiences can pay attention to them for a specific reason.”

In my current WIP, work-in-progress, Secret in the Mist: An Abi Wunder Mystery, my two main characters, Abi and Jess, their friends, and Jess’s brother are round characters: interesting, developed, having wants and needs, evolve and have a purpose throughout the story. 

Some of the main characters’ family members and family members of the minor characters are flat. 

“Flat characters, on the other hand, are more like window dressing. They are two dimensional and lack nuance. Their purpose in a story is usually perfunctory.” Flat characters can be “foil” characters, “embodying the opposite traits of another character, thereby strengthening audiences’ opinions of both characters . . . [the foil character’s] flatness will reinforce to audiences the impressive depth of the round character.” https://www.masterclass.com/articles/round-vs-flat-characters-in-fiction

When Flat Characters Should Make an Appearance

We don’t learn much about Abi’s grandpa, but he is present to drive Abi to Jess’s house for her visit, and at the end, pick her up to go home and listen to Abi promise to tell him all about her adventure. Jess’s mom appears a few times. Mainly, Jess texts her as she keeps track of the two friends’ comings and goings on an app on Jess’s phone.

When Flat Characters Get in the Way

Recently, I critiqued a story by an author whose flat characters were front and center. These characters were the main character’s parents, and were replete with their own story, including their relationship. The plot lost momentum and did not move forward. The entire section needed to be deleted.

You might agree that one of the greatest joys in writing for children is the creation of characters. Now with this new way of looking at our characters, we can make them as globular and as one-dimensional as we want!

Source:

Writers on the Move: Make your Characters Memorable My August, 2024 article, “Make Your Characters Memorable,” discusses the traits of “round” characters. 

Danika Corrall designed my website and illustrated Secret in the Mist. She can be reached at hello@danikacorrall.com. 

Linda Wilson is the author of the Abi Wunder Mystery series and other books for children. Her two new releases are Cradle in the Wild: A Book for Nature Lovers Everywhere (2023), and Botas Altas, the Spanish version of Tall Boots, translated by Graciela Moreno and Adriana Botero. You’ll find Linda on her Amazon author page, on her website at LindaWilsonAuthor.com, and on Facebook.

Writing Crafts Articles for Children’s Magazines

  by Suzanne Lieurance

Writing craft articles for children’s magazines can be an exciting way to connect with young readers. 

Kids love getting hands-on and creating something tangible, and a well-written craft article not only entertains but also educates. 

 

It’s about more than just providing step-by-step instructions—it’s about sparking imagination and creativity. 

 

Here’s how you can write a craft article that kids (and their parents) will love: 

 

#1. Pick a Project that’s Fun and Age-Appropriate. 

 

The key to a successful craft article is choosing a project that fits the age group of your target readers.

 

If the magazine caters to 5- to 7-year-olds, the craft should be simple, with minimal steps and easy-to-find materials. 

 

For older kids, you can increase the complexity and introduce more challenging concepts like origami or sewing. 

 

Ask yourself: 

 

- Is this project something a child can complete mostly on their own, or will it require heavy adult assistance? 

 

- Are the materials easily accessible and safe for the age group? 

 

- Does this craft allow room for creativity and personal expression? 

 

Remember, kids want to feel a sense of accomplishment when they complete the project, so aim for something achievable and fun. 

 

#2. Write with Clear, Simple Language. 

 

Kids are the audience, but it’s often the parents or teachers who’ll be reading your instructions aloud. 

 

Keep your language simple, direct, and free of jargon. 

 

Use short sentences and straightforward words. 

 

Think of it like explaining the steps to a younger sibling or a curious neighbor. 

 

For example: 

 

- Instead of "Adhere the two pieces using adhesive," say "Glue the two pieces together." 

 

- Instead of "Utilize scissors to excise the shape," say "Cut out the shape with scissors." 

 

Your job is to make the instructions easy to follow. 

 

If a child (or their grown-up helper) feels confused, they’re likely to give up. 

 

Keep it simple, keep it clear. 

 

#3. Start with an Engaging Hook. 

 

Your craft article needs a hook to grab attention right from the start. 

 

Instead of diving straight into the materials list, set the scene or tell a mini-story.

 

Why should kids make this craft? 

 

Is it perfect for a rainy day? 

 

Will it make a great gift for a friend or family member? 

 

Here’s an example: 

 

"Ready to turn an old sock into a friendly puppet that tells jokes? This silly craft project is perfect for bringing your wildest characters to life. Let’s get started—you’ll be the puppet master in no time!" 

 

A fun, energetic opening gets kids excited to dive in. 

 

#4. Provide a Clear Materials List. 

 

The materials list is crucial. 

 

It should be complete and clear, and everything listed should be easy to find. 

 

Think about the kinds of items kids already have at home or can easily grab from a store or their classroom. 

 

Pro tip: Use bullet points and keep it organized. Don’t just say “glue”—specify if it’s a glue stick or liquid glue. Be specific but concise. 

 

Example Materials List: 

 

- 1 old sock (any color) 

 

- 2 googly eyes 

 

- Glue stick 

 

- Scrap paper (for decorations) 

 

- Scissors

 

#5. Break Down the Steps Visually. 

 

Craft articles for kids need clear, step-by-step instructions. 

 

Break each step into a new line or number and keep each step short and sweet. 

 

Consider using illustrations or photos if the magazine allows it—visual aids make it easier for kids to follow along. 

 

Each step should only cover one small task. 

 

For example, don’t lump cutting, gluing, and coloring into a single instruction. 

 

Instead:

 

1.    Cut out a small circle from the scrap paper for the puppet’s nose. 

 

2.    Glue the nose to the middle of the sock. 

 

3.    Stick on the googly eyes above the nose. 

 

Keep it one task per step to avoid confusion and overwhelm. 

 

#6. Add Creative Variations. 

 

Kids love experimenting and making things their own. 

 

After the main craft instructions, include a “Make It Your Own” section where you offer suggestions for variations. 

 

Here’s an example: 

 

"Want to make your puppet even sillier? Try using yarn for hair or add a funny mustache. You can even give your puppet a silly hat by gluing on a small piece of felt. The sky’s the limit—use your imagination!" 

 

This encourages creativity and shows kids that they don’t have to follow the instructions to the letter. 

 

It’s about making something that’s uniquely theirs. 

 

#7. End with a Fun Call-to-Action. 

 

Wrap up your craft article by encouraging kids to share what they made. 

 

It might be suggesting they put on a puppet show, gift their creation to a friend, or display it on the fridge. 

 

Here’s an example: 

 

"Now that your sock puppet is complete, why not put on a puppet show for your family? Give your puppet a name, make up a funny story, and let the giggles begin!" 

This gives kids a sense of accomplishment and a way to show off their hard work, making the whole experience more rewarding. 

 

Final Thoughts 

 

Writing craft articles for children’s magazines isn’t just about giving instructions—it’s about inspiring kids to use their imagination and creativity.

 

The best craft articles are those that feel approachable, fun, and leave room for personal touches. 

 

Keep the steps clear, the language simple, and the tone upbeat. 

 

If you can make a kid say, “Wow, I want to make this right now!” then you’ve done your job well. 

 

Now, go brainstorm your next great craft idea—kids everywhere are waiting to get creative!

And, for more articles like this one, subscribe to Manifesting Monthly Magazine, and get your free subscription to The Morning Nudge.

Suzanne Lieurance is the author of over 40 published books and a Law of Attraction coach for writers at writebythesea.com.

Beginning Writers Do Get Published

 

By Terry Whalin (@terrywhalin)

Over the last 20 years Greg Stielstra, author of Pyromarketing, marketed hundreds of Christian books including The Purpose Driven Life. During that time, he noticed a disturbing trend. Some Christian authors sought fame because they believed only celebrities could influence culture. What’s more, they thought to sell lots of book required hiding their Christian content. In a sort of publishing bait and switch, some authors thought they must achieve a platform with secular books—or at least books that minimized faith content before they could use their platform for good. The formula was, “First become famous and then make a difference.”

Greg saw things differently. He saw authors like Lee Strobel achieve tremendous success by writing books with clear biblical content that helped people. The formula was reversed; first make a difference and then the platform will follow. “Aim at Heaven,” C.S. Lewis correctly noted, “and you get Earth thrown in. Aim at Earth and you’ll get neither.”

It’s a myth that beginning writers do not get published. Because it happened years ago, many people forget about a brand-new fantasy writer who was looking for an agent named J. K. Rowling. There is a little discussed story about Harry Potter that I read originally in this article in The Observer (http://terrylinks.com/HarryPotter )

Almost everyone knows that J. K. Rowling was an unpublished children’s writer and single mother who wrote Harry Potter in a coffee shop and dreamed of getting published. How was the book discovered and brought into the publishing world?

J. K. Rowling overcame incredible hurdles to secure that initial book contract. Some of those hurdles she passed through with sheer good luck. There is no other way to categorize it. Rowling’s experience definitely fell outside the normal way of publishing.

Here’s the two key paragraphs (in my view) from this article: “The agency, run in ‘cramped’ and ‘near-Dickensian’ offices in Fulham, south-west London, was cash-strapped until touched by Potter’s magic wand. Literary folklore has it that Rowling, then a penniless 29-year-old single mother, walked into a public library in Edinburgh, looked up a list of literary agents and settled on the name Christopher Little because it sounded like a character from a children’s book.”

“Bryony Evens, the office manager at the time, has said that it went straight into the reject basket because ‘Christopher felt that children’s books did not make money’. But its unusual black binding caught her eye, prompting her to read the synopsis and show it to Little. He recalled: ‘I wrote back to JK Rowling within four days of receiving the manuscript. I thought there was something really special there, although we could never have guessed what would happen to it.’ He managed to sell it to Bloomsbury for £2,500, but later it reaped huge rewards from international rights and he has won a reputation as a brilliant deal-maker who puts Rowling first.”

With the current exchange rates, £2,500 is just a bit over $3,100. Also, this article mentions the agent has received an estimated commission of over $100 million. Not a bad return for pulling a manuscript with an unusual manuscript with black binding from the reject basket.

Don’t assume your material can go into this “other” category for how it becomes published. I’d encourage you to work through the normal channels as much as possible but be aware that sometimes a project will jump to the front of the line. 

Tweetable:

It may not seem like it to a new writer but beginning writers do get published. In this article, this prolific writer and editor provides encouragement. (ClickToTweet) 

W. Terry Whalin, a writer and acquisitions editor lives in California. A former magazine editor and former literary agent, Terry is an acquisitions editor at Morgan James Publishing. He has written more than 60 nonfiction books including Jumpstart Your Publishing Dreams and Billy Graham. Get Terry’s recent book, 10 Publishing Myths for only $10, free shipping and bonuses worth over $200. To help writers catch the attention of editors and agents, Terry wrote his bestselling Book Proposals That $ell, 21 Secrets To Speed Your Success. Check out his free Ebook, Platform Building Ideas for Every Author. His website is located at: www.terrywhalin.com. Connect with Terry on Twitter, Facebook and LinkedIn.