Writing a Book to be Published

authoring

You can join a group of critics or authors to get feedback on your manuscript. You can use pages like Scribophile or YouWriteOn.com to submit parts of your book (the opening chapter is a good starting point) to get feedback from other authors and have the chance that an editor will discover your book. Get their points on board. Once you have written a historical biography, you can read who the respective publishers are in this area in the History section.

It' up to you to publish something big yourself.

It' s Initial : I'm I' It' s Initial : I'm I' Book It' s Initial : I'm I' It' s Initial : I'm I' Book that Will Be Released by Penguin/Random House's Portfolio.

I went to New York last weekend to present the editors with a novel about openness, starting battles and the last 15 years of Moz's history. But at noon on Wednesday, after the Monday and Tuesday meeting, I got a call from my spy, Shylvie, with thrilling newscast. Sylie: Sylvie: Sylie: Sylvie: This means that you want to prevent an online bidding with other publishing houses.

Sylie: Sylvie: It' for $- (unfortunately I'm not allowed to split the deposit, but it was a large number) for global permissions, which means they want to distribute the title worldwide. Sylie: Sylvie: Geraldine, who had just come over from a publisher's own meet, came out at the end of my call.

But before I do, I thought I'd tell you more about the trial, why I chose to do it, and when you could see it. I was fascinated by the publication tradition and hope my experiences can help other inquisitive people to better comprehend the finer points.

What's the point of making a work? My keen wish to continue the work of the "individual contributor" was one of the results of my reflections on this period. There is a perfect fitting companion piece to this style, and although I am sure that the lettering will be very hard, I am also extremely thrilled to make something out of this area myself (with the help of my publishers and editors, of course).

Might as well do traditional publication. Last May, when I came to the decision that a work was something I wanted to follow, I spend a lot of my free day exploring the publisher's environment and understanding the pros and cons of different approach. Yes, Tony hasn't answered, but many people, myself included Nir Eyal, writer of the noteworthy Hooked (which I very much recommend):

I' ve spoken to many of those who had done it before, had great results and shared their experience. I' ve done a remunerated consult with Jane Friedman (who has written this great start page on how to get published). Talking to Tim Ferris, whose contribution "How to World a Bestselling Book" was inestimable.

And then I spoke to Eric Ries, whose Lean Start-Up is known as the scripture for people like me in the start-up business. This was Eric who presented me to the agents I would ultimately be signing with, Sylvie Greenberg of Fletcher and Co. My main objective was to choose a conventional publishers instead of releasing myself, using Kickstarter, or choosing one of the many alternate release methods.

Most of the advices I got from writers and connoisseurs of the publisher's community were these: When my aim was to get a new audience that Moz and I couldn't already have and to explore the impact of the label that a "book in a bookstore" could have, then it was the right way to go.

I really expect this work to provide an inside view into a whole different universe of contents, advertising, selling and learning if and how a conventional textbook can affect them. It felt like I couldn't do it so well without a conventional publishing house, so I took this one. How has the bookselling process affected you?

It' almost not possible to contact conventional publishing houses without a bookserver ('as I learnt in my conversations), and those who previously were representing writers who were very good in their field are what I was looking for. I had Sylvie meet her in New York in August, and we had a telephone, e-mail and personal meeting.

Create a proposed work - a unique piece that is very unique to the publisher and follows a series of historical records to which I have long become accustomed. I have published a copy of my suggestion (with some edited/removed elements) on the internet so that everyone can try it out.

There were almost 30 pages in the definitive suggestion and it took me and Sylvie weeks of work. Type the first section - as part of the suggestion it is customary to submit the first or two sections. After a substantial work with Sylvie and a friendly reviewer by Geraldine and Wil, my first trick was ~8,500 words and my tale of early retirement, near crash, concealment of debts from my father and the first hunch that the SEOmoz blogs could be a way out of monetary collapse.

Plan a journey to New York - almost all the big publishing houses in the United States have their office in Manhattan, and we have found that face-to-face encounters would be good for both sides. As Sylvie noted, these sessions can also be held from a distance, by telephone. Just a fortnight before I came to New York, Sylvie sent my suggestion to a group of people she asked me to stay with.

See the editors in-personally - on Monday and Tuesday of last weeks I was sitting down with the people and talking about the work. Conduct an auctions - the idea Sylvie described to me was to ask all interested publishing houses to place a bid and then select or bargain from there.

But on Wednesday mornings Portfolio made a so-called "pre-purchase offer" before any trial began, and both Sylvie and I shared that it was a great fight and a great deal, so I went to Seattle that game! I' m sorry I can't divide the amount of me - Sylvie said that and the exact detail of which editors I dated and who was interested (or not) had to be kept under lock and key.

In my early thought, a big step forward seemed like a bad move for a publishers because they placed a gamble wager on an unverified wares. There also seemed to be uncertainty for an writer about their capacity to dispose of the books and make a royalty on the basis of the amount of money they were selling.

Great progress points to titles (and authors) in which the firm has faith and whose work it wants. There is not much leeway for royalties because profit is difficult to make in conventional printing (Sylvie even said they are non-negotiable). Progress is therefore the way editors offer on deal (similar to how venture capitalists use business valuations).

Those that make great progress also deserve the most of a publishing house's efforts in terms of sales, publishing, press, commercial and more. Thus for an writer, even if he is not particularly interested or concerned about the finances, great progress is an indicator and an implied commitment that the publishing house wants to do so.

What is it about in the work? Now, you can always browse the suggested reading I have made available to you: ? Kidding! To sum up, my textbook is about three things: I will be conducting this poll soon and comparing Moz with the data from other businesses in the books (and possibly also some of the items in this blog).

In our first conversation, Niki asked me to answer a series of Q&As about my premonition for the work, among them what would be a "minimum book" and what could help make it "extraordinary. It takes 18-24 month to publish, and it is not uncommon for a bookshop to do so.

Including the recent SaaS decline and Moz's response in 2016 will also make the work even better and more pertinent. I am crazy about making a work that is as clear and useful as possible. p.s. A big thank you to my agency, Sylvie Greenberg, and to my new journalist, Niki Papadopoulus, for everything they have done and everything they will endure from me.

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