Getting Published

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It concerns the tricky question of getting an agent and being published. Some of the best authors in the world know something you don't know: how to publish. Which books will be published? We' re investigating the secrets of publishing. Publishing your work is probably the biggest challenge for a beginner.

I' m getting published: You all set?

You' ve completed your work, but are you really prepared to ship it to publishing houses? It concerns the puzzling question of getting an operative and getting published. Well, you may write for a reason other than publishing, and I welcome that with enthusiasm. Will you be published?

Will you face the denials, the setbacks, the confusing opaqueness of the game? Most important, are you willing to ask yourself if you have a textbook that other readers might want to have? Irrespective of what the naysayers want to make them believe, new titles are constantly being published by new writers.

More modest, yes, and you have to look for them a little, but most newspapers have periodic "first novel" columns listing all sorts of quirks from big publishing houses that may not burn the planet like "Everything is Illuminated" or "Brick Lane", but are still published there.

If they can get these guys published, why can't you? This is your first volume of samples and an overview. However, the economy of publishers is currently as stinking as the world is, and so it is far less likely that authors who do not supply will take a risk.

You' ve got to end your work. So almost everyone gets an agency and almost everyone gets a publishing house. It' gotta be the best fucking notebook you can ever make. Did you have the hubris to think that was quite good? It' because operatives and publishing houses are very preoccupied.

When you present them with a textbook that requires a great deal of work, why should they take a second look at the two dozens of other textbooks that also require a great deal of work that they have just been given this mornings? You' ve got to put something on the desk, and when it's your first ledger, you have to get a completely ready-made ledger, one that glitters and shimmers and says new things about your lives and people.

And if you are not here yet, you are not yet prepared to contact an agent or publisher, and none of the following advice will help you. Legend number two: It is not possible to publish a new author because an agent or publisher no longer reads a stack of slushes; you have to know someone or be in a shop or have a boyfriend of a boyfriend, etc...

However, when I was taken over by an operative, I knew exactly nobody in editing (I knew hardly anyone in England) and had all a brief history in a journal in my honour (published there in an old-fashioned way by mailing it to the editor). I had a ready -made one that at least one of the agents thought was good and then got it published.

The following hints will tell you exactly how I did it, but at least let it break the legend that strangers will never find an agent. But, once again, it's important to have a good one. Second thing about snowballs is this: the: The operatives say they don't see their pile of snow, but they lie in an important way.

Every agent says they don't have a minute to dig snow heaps, but they say that because they're flooded with the most illegible garbage you've ever seen. Seriously, I've been reading batch postings of slushes; you wouldn't believe the half-finished, sloppy, often rather imbalanced scripts that are pushed through the agents' mailboxes.

You don't want or need any more, and believe me, if you were an operative, you wouldn't either. When you' re not so serious, there's no advice I can give you to publish. But, however cohesive they may say their customer list is, they will still be open enough for this new, fresher and smarter new novel, this smarter new take, no matter how busier the bro.

You want to publish good folks. Yes, there is poof that is published, but the vast greater part are interesting novels that someone somewhere has just fallen in love with the light of day. They like to fight about it, but maybe it's only because they're not willing to acknowledge that the work they tried wasn't good enough.

To which the response is: type another one, type a better one, refusal is an incentive, it is not the end. It wasn't even easy to summarize my first volume, and I did it. But, quite honestly, their performance has nothing to do with whether or not they are published. There is nothing souring a fellowship quicker for me than someone singing the customary Taurus about how it was only published because it was young and beautiful and blah blah blah blah.

Sure, Zadie Smith's extracurricular curricula have helped to get her publishers' interest, but she is a hit (and above all a lasting hit) because she is an amazingly good author. For it is the same thing again: if you don't begin with a good textbook, you don't go anywhere.

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