NON'S TOP TIPS FOR GETTING PUBLISHED

Now more than ever, I hear about writers looking to get that elusive first book deal. I also hear about what a tough industry publishing is. And that is true. On so many levels. BUT. There are still a number of things that any person can do to considerably increase their chances of getting an agent and, ultimately, a publisher.

So, I am ELATED to welcome Non Pratt to POP for this week's excitingly informative guest post. As I'm sure you all know, Non is the author of the absolutely brilliant Trouble (Walker Books). But, Non is also a rather unique author, because she used to be an editor. This happy mix is exactly why I feel Non's advice is so useful and so insightful.

Big thanks for taking the time to share that advice with us, Non. And, without further ado, over to you . . .

THIS IS NOT A LIST OF WRITING TIPS. Mostly I only ever give these under duress – the only way to write is however works for you. Getting published, however is something else entirely . . .

Writing is an art; publishing is a business.

Don’t confuse the two. Disassociate the writing process from the publishing process – words should spring from your heart without the reader in mind. Right now, as yet-to-be-published author, no one cares about what you’re writing except you – you have to care about it enough for the lack of readership to be completely irrelevant. Focus on that and finish the first draft before you read any more of these tips.

Finished you first draft? CELEBRATE! Put it away for as long as you can bear. Read a book. Have a holiday. Go to the cinema.

Anything to stop you attaching that first draft to an email to your preferred agent/editor.

Gemma Cooper of the Bent Agency once said, “I can only read something for the first time once.” This is a ONE TIME DEAL don’t waste it on your first draft.

Now’s the time to switch from heart to head. Editing is part of the writing process, but it is also firmly a profession and it’s up to you to try and employ those skills yourself.

Be as ruthless with your own words as if they mean no more to you than someone else’s.

This is tough. I have a workshop on editorial bad-assery that doesn’t even begin to cover it, but here are some condensed tips:

a) Find the heart of your book. What was it that made you sit down to write the idea in the first place? What thing did you want to show that only these words could invoke? Write it down. Keep it in mind with every page you edit.

b) Plot/character/world/language – chances are you’re really good at one of these (hint: it’s the one you find easiest/enjoy the most). Work out which is your strength, then work on the others until they match up.

c) Cut out the boring. If you’re tempted to skip over a passage to get to the good bit, cut that passage. If you can’t be bothered to read your words, why will anyone else?

d) Too much stuff. Cut superfluous words, characters, dialogue, descriptions . . . Meg Rosof once said to only tell the reader something once. This seems like good advice.

Get agented. Sure they take 15% of whatever you earn, but that still leaves you with 85% of something rather than 100% of nothing.

The right agent will place the right book in the hands of the right editor at the right time.

Because this is their job. And their job depends on making you as successful as possible. But how do you find one. Here’s another subset of mini tips:

a) The Children’s Writers’ and Artists’ Yearbook. Get an up to date edition.

b) Check the acknowledgements of your favourite authors – and, indeed, the dedications and their websites. Make a tally chart of names that crop up.

c) Submit to small and large agencies alike. The difference between the two is usually in volume of staff and real estate, neither of which matter when it comes to making a deal.

d) If you’re on twitter, look for them – the #askagent hashtag is a good place to start.

e) Submit to more than one agency at a time, but make sure you mention this is in your submission letter. It’s only polite.

f) Don’t automatically accept the first offer of representation you get. Too many writers snatch the dream before it’s materialised. In the case of agents, if one person sees potential, so will another. Meet with the agent, talk to them, see if you click. This is a business relationship that should last for life. See it as a choice and choose wisely.

Remember tip number one? Good. Never forget it.

Publishing is a business so be professional.

Think of submitting to agents as applying for the job of being an author. Like any application, read the guidelines, meet their criteria and write an entirely professional letter, one that’s honest, respectful and reflects your personality and what you’ve written. Friendly is fine, over-friendly is not. And like every piece of applying-for-a-job advice ever: tailor your letter to each agent you approach. Get their name right and say why you’re interested in them if you’ve seen them talk at a conference/be funny on twitter/you like someone they represent.

Honestly, I’d say that once you’ve got an agent, these tips become largely redundant. Agents are remarkably good at giving you the kind of tailored professional guidance that a blogpost from a stranger can’t.

Having said that…

Random subset of things people worry about but don’t need to:

a) Social media. If you like twitter/tumblr/whatever, go for it. If you don’t, don’t. It’s better to have no online profile than a bad one. And if you are active on twitter, watch your tone. Snark is funny, but no one’s looking to work with someone who seems bitter.

b) Belonging to things. There are some great organisations out there – I’m a member of SCBWI, which arranges events at which writers can meet and learn from industry professionals like agents and editors. These can provide great resources and help a lot of members who like this sort of set-up, but you don’t have to be a part of it to get published.

c) Not having a clue. In the internet age it seems like there’s no excuse for not knowing the answer to everything, but no one will be offended if you are naïve, so long as you’re polite.

d) Having a brand. You don’t need to have a brand, you just need to have a good book.

e) Making it perfect. There’s no such thing. Make it as good as it can be and then send off. No one will offer for a book they never get to read.

f) People changing your words. Get over this, it will happen and these changes will make your words better.