How to get a Book Deal before Writing the BookWhere can I get a bookstore before I write the book?
Getting a bookstore
I' ll be writing on a regular basis, refining my trade and throwing it into the worid. For years I have been flirting with the notion of writing a book and have several morbid ideas in my head. I' m sure I' ll fall! I' d like to stand under one grand piano. Perhaps Rebecca Solnit can take me under her wings.
She is an essays writer with a piano and a embrace and some bookstores. For example, what if I get a bookstore? I' ll have to do the book. Suppose I am writing the book and it is terrible and the poor critics disembowel me and I have to go crawling under the blanket again and pity myself until I do?
and someone wants me to show up? Reading trip? But what if I am writing the book and it is beautiful and folks like it ( "Hang with me, the evil comes) and I have to show EVEN MORE? I' d like to do a book, but I don't know how or where to begin, and I'm afraid that if I do, it will fall and I'm also afraid that it will work.
Chances of getting a bookstore after you find an operative.
Each year, a tipical manuscript manager gets 2,000 copies, including 2 of them. What is less known is how high your chance of getting a contract is if you manage to get an agency. It is not as simple for me to give a clear response, because the publisher will be more flexible in submission/acceptance than the agency, but at the top end of the business, the opportunities are still much less than marvellous.
Recently I talked to an editorial journalist who has a pivotal position with one of London's best publishing houses. Nowadays he accepts 3-4 new authors per year and gets (via Frahlingen) about 12 entries per weeks. These 12 entries correspond to about 600 papers that cross his desktop every year, and he therefore accounts for just under 1% of all the papers he is receiving.
He believes (and in my opinion) that too many operatives send out a good while of work before it is finished. For example, Robert Hale (for example) or Choc Lit are respectable editors, but smaller and less discriminating than the big ones. It' a true publisher business and you should be thrilled. And the better the asset, the higher the pass rates.
One of the top agencies will refuse any work that does not meet the right standards, will take any work that meets the right standards, with the powerful hope of sell it. But even then, no fed I know will have a 100% attendance but the best feds will have a strikes at well over 10%.
This is more than the number of debuts that will be featured by British top publishing houses in 2012. Under violent marketing circumstances the standards of the top publishing houses are constantly increasing, but the best work is still chosen, still attracting advance payments and investments, is still public. We were always opposed to authors submitting their works to tens of operatives.
As a general guideline, if you can't get a yes from an agency in 8-12 (intelligently selected and correctly displayed) entries, your script isn't good enough yet. Submitting to 200 editors will increase your odds of joining an editor, but I'd say your odds of getting a publishers remain the same.
Approximately 0% when the first 8-12 operatives have turned you down. We have a minimum of tenfold better performance than the figures above, and probably more.