A book blurb is an endorsement from a famous author or well-known expert. It’s shocking how a quote from the right person can lure an agent, editor, or reader. Here’s HOW to get blurbs and WHEN you need them.
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BLURBS: WHAT WE COVER
📘 WHAT IS A BOOK BLURB?
📘 Why book blurbs matter
📘 How to get book blurbs
📘 When to get book blurbs
Query Letter Webinar & Critique with The Book Doctors https://youtu.be/IIOzBjV72o0
Take a look at our BOOK PROMOTION & MARKETING PLAYLIST https://www.youtube.com/watch?v=s1tST…
Check out our QUERY LETTER PLAYLIST https://www.youtube.com/watch?v=L7Ncx…
Writer beware! Disreputable author service companies often masquerade as legitimate publishers. Here’s how to publish a book without getting scammed.
WHAT WE COVER
0:20 What’s the difference between a publishing scam and a legitimate publishing company? Arielle shares an example from an author whose “publisher” didn’t do any marketing and publicity for the author’s first book. Now the author can’t sell the rest of the series to a legitimate publishing company. Turns out, the author used a disreputable author services company.
1:09 What is an author services company? Some author services companies take an author’s money and don’t do any work. At the most they might put your book on Amazon.
1:37 How can writers tell the difference between scammers and legit publishers?
1:58 What about publishers who ask authors to pay for services? What about publishers who ask authors to buy back copies of their book?
3:07 What is a micro-publisher? David shares his wonderful experience with a micro-publisher, including what the publisher did and what they couldn’t do.
3:59 Research is key.
4:40 The consequences of when a literary agent or legit publisher googles your book.
4:58 There are legitimate assisted self-publishing companies and legitimate author services companies. The companies include Bookbaby, She Writes Press, IngramSpark, and Createspace.
5:23 When it’s okay to give these companies money for marketing your book.
6:00 Reach out to authors who have been published by these companies.
6:20 Let us know your stories and questions in the comments section.
THE BOOK DOCTORS
We’re Arielle Eckstut and David Henry Sterry. Between us, we have a quarter of a century’s worth of experience turning talented writers into published authors. Arielle is an author and literary agent-at-large at the Levine Greenberg Rostan Literary Agency. David is an author, and before writing professionally, he was a comic and actor. We’re dedicated to helping writers get their books published. Successfully!
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Our book, The Essential Guide to Getting Your Book Published, takes you through the entire process of conceiving, writing, selling, marketing and promoting your book.
As book doctors, we have the privilege of traveling all over the country and connecting with organizations that help writers get successfully published. We’ve been hearing about GrubStreet for years, and when we started investigating, we found out what an amazing organization it is. So when we discovered that Katherine A. Sherbrooke, GrubStreet’s board chair, was coming out with a new book, Fill the Sky, we thought we’d pick her brain about writing, writers groups, and the joys and perils of switching from memoir to fiction.
The Book Doctors: We understand you’ve always wanted to be a writer since you were a kid. Why in God’s name would you want to be a writer?
Katherine A. Sherbrooke: I suppose in the same way a kid watching the lunar landing decides they want to be an astronaut, or the way the 1980 Winter Olympics spawned legions of hockey players. Witnessing something extraordinary makes you want to do it. Reading books transported me in that way. Plus, I’m claustrophobic and afraid of heights, so space travel was definitely out.
TBD: What were some of your favorite books as a kid, and why?
KS: I vividly remember being mesmerized by James and the Giant Peach, and The Lion the Witch and the Wardrobe, I suppose in part because they opened my eyes to the power of imagination combined with ink and paper. One of my all-time favorites had to be The Velveteen Rabbit. Its metaphor of fraying fur and missing buttons as proof of love, of being real, moved me deeply.
TBD: How did you learn the craft of writing?
KS: I was blessed with incredible English teachers in my early days, and built a strong foundation for writing through (don’t laugh) diagramming sentences until I was blue in the face, and later learning the art of a well-written essay and the importance of good structure. While that gave me a certain confidence with the written word, creative writing requires a whole added set of skills. The first teacher was good novels, reading a lot of them. The rest I learned at GrubStreet, mostly getting feedback on my work from other writers so I could hear first hand what techniques were working and which ones weren’t.
TBD: Tell us about GrubStreet and your involvement with it. What have you learned about writing and writers from being involved with this organization?
KS: GrubStreet is one of the largest creative writing organizations in the country, open to writers of all levels. It is an organization that believes deeply in the power of narrative to transform us as humans, and the desperate need for us to hear stories from all walks of life, a mission very close to my heart. So I fell in love with them from the minute I walked in the door and immediately wanted to help. From a writer’s point of view, I describe GrubStreet as the lifeline of my creative pursuits. Many people think of writing as a lonely endeavor, and I suppose the actual act of sitting down and putting thoughts on paper can feel that way, but there is much more to the process than that if you are willing to give and accept help. I have found the most incredible community of writers at GrubStreet. This is a group of amazingly talented and generous people who truly want to help each other succeed. I have learned everything I know about what it takes to actually complete a novel and get it out into the marketplace through classes, conferences and the community at Grub.
TBD: You’re also an entrepreneur. We are too. What did you learn about being a writer by inventing and running a business?
KS: My co-founder of Circles used to say that there is a fine line between entrepreneurs and mad men: they both see things that aren’t there. Writing is the same. You have to believe that what you have to offer has a place out there in the world, even when it’s not finished, even if it doesn’t fly off the shelf at first. Entrepreneurship, in my view, takes a whole lot of really hard work, a good measure of luck, a legion of people keen to help the project succeed, and a willingness to take a deep breath and fling yourself off the cliff. Trying to get a book out into the world isn’t much different. Or maybe I’m still just crazy.
TBD: Your first book was a memoir, and it was about your family. After David’s memoir came out, his family didn’t speak to him for five years. What were some of the dangers and joys of writing and publishing your memoir?
KS: My parents had a classic, tumultuous love story leading up to their marriage that they would occasionally indulge me or my siblings by telling. We had each heard different snippets, but none of us had all the detail, all the various pieces. When my mother was overcome by dementia, I realized that I had to sit down with my father (who thankfully has an iron-clad memory) and get the whole story on paper before it was too late. The best part were the hours of conversation I had with my dad about his younger days, including touring through every corner of Newark, NJ with him to set the scene: where he grew up, his high school, his father’s old tavern, where they went on dates, etc. I walked away with much more material than fit in the book, but they were conversations I might never have had without that impetus. On the flip side, handing my own version of my parent’s love story back to my father to read was terrifying. Thankfully he loved it. He emails me all the time to tell me he stayed up all night to read it again.
TBD: How was it transitioning from writing non-fiction to being able to make stuff up and create a novel?
KS: Really hard! As restrictive as the requirement to stick to the facts felt at times while I was writing the memoir, I was handed a great cast of characters, a fantastic plot, and a setting that I didn’t have to invent. I added a little research to corroborate what my father had told me, and voila, my book was born. When I turned to fiction, having absolutely no boundaries on any of that made the process much harder, and take much longer. That said, it is really satisfying to have a new plot point or a new character pop into my head while I’m out for a walk and suddenly know that my story has taken a turn for the better. And having the license to explore through fiction things that have never actually happened to me is pretty amazing.
TBD: What was your inspiration for your new novel Fill the Sky?
KS: I love reading books that take me to a place or time I have never been to so I can learn through the ease of a great story. I was beginning to hunt around for a book idea when I happened to go on a trip to Ecuador with a group of friends to spend some time with local shamans. The trip was a life-changer for me, and it struck me as an incredible and unique setting for a novel. The premise is fictional (we didn’t travel there for health reasons) but all the rituals in the book save one are things I have actually experienced.
TBD: What is your next project?
KS: I’m at work on another novel. Stay tuned.
TBD: We hate to ask you this, but what advice do you have for writers?
KS: Find trusted readers, people who are willing to read your entire manuscript and give you honest and detailed feedback. They do not have to be writers; in fact, some of the best input can come from avid readers. But don’t just do this because you want applause and adoration. It is really important to be open to their feedback. It can be very hard to hear that a scene that had you weeping while you wrote it barely registered with your reader, or that your favorite character leaves them cold (and you may need several days or weeks to process what they have to say), but that is precisely the kind of input you want. I find it very hard to see my work for what it is without the guiding hands of intelligent readers. They are worth their weight in gold.
Katherine A. Sherbrooke received her B.A. from Dartmouth College and M.B.A. from Stanford University. An entrepreneur and writer, she is the author of Finding Home, a family memoir about her parents’ tumultuous and inspiring love affair. This is her first novel. She lives outside Boston with her husband, two sons, and black lab. Visit her online at www.kasherbrooke.com, Facebook, or Twitter.
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What’s the key to unlocking publishing doors? A great pitch! Earlier this year, we taught a live webinar on how to craft a pitch that’ll grab the attention of agents, publishers, booksellers, and readers. The recording is now available for everyone to view.
The Art of the Book Pitch
Learn the art and science of the seemingly impossible task of boiling your book down into 250 words or less.
- What is a pitch?
- Why is a pitch important?
- How do authors use pitches?
- Is a plot-heavy pitch good or bad?
- What is an elevator pitch?
- How is a pitch like a poem?
- How do authors use the pitch as a sales tool?
- And more!
DO YOU WANT NOTIFICATION OF UPCOMING WEBINARS? LET US KNOW.
The Association of American University Presses has chosen Rebel on Pointe as one of five books that are “Best of the Best” published in 2014.
We connected with Lee Wilson during Pitchapalooza at pages: a book store in Manhattan Beach, California. She was so warm, funny, passionate and professional. And she had excellent posture! Turns out that was no accident. She had been a professional dancer at the highest level. She blew us away with her pitch. We helped her with her proposal, and with the help of the amazing Toni Bentley, we hooked her up with a fantastic publisher. Her memoir, Rebel on Pointe, came out Fall 2014 from University Press of Florida.
In other book news, Wendy Perron, editor at large for Dance Magazine, included Rebel on Pointe in her list of 2015 books that are “especially engaging.”
Rebel on Pointe
In this uplifting memoir, Lee Wilson describes how she danced her way out of the stifling suburbs of 1950s Delaware into the opera houses of Europe and onto the Broadway stage.
Rebel on Pointe brings readers into a remarkable and visionary world. It gives new perspectives on legendary dance icons like George Balanchine, Rosella Hightower, Erik Bruhn, and Rudolf Nureyev. Wilson describes the process of becoming a professional dancer and gives insight into a dancer’s daily life both in ballet companies and on Broadway. She shares the pain of rejection, the thrill of her first bravos, and the unforgettable experience of arriving in Algeria without her passport to dance for men with automatic weapons in a Roman amphitheater.
In her quest for freedom from the patriarchal post-war society in America, she finds a home in the inclusive, multicultural community of dance.
Lee Wilson danced for royalty in Europe, gun-toting revolutionaries in Algeria, American aristocrats at the Metropolitan Opera, and a galaxy of stars on Broadway. She is an award-winning writer, producer, and actor living in Los Angeles. Her website is: www.leewilsonpro.com.
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Ann Ralph on the Joys of Fruit Trees, Taking Care of Mother Earth, and How to Get a Book Deal Writing About Something You Love
We first met Ann Ralph when she won our Pitchapalooza with one of the greatest elevator pitches we’ve ever heard: The Elements of Style for fruit trees. It made total sense even as it was counterintuitive. It communicated something so clearly, with such economy, intelligence and style. She also presented it in such a smart, relaxed, fun and yet information-packed way you couldn’t help but sit up and pay attention. Plus, who doesn’t love a great fruit tree? So now that her book Grow a Little Fruit Tree: Simple Pruning Techniques for Small-Space, Easy Harvest Fruit Trees is out, we thought we’d pick her brain and find out exactly how she did it.
To read this interview on the Huffington Post, click here.
The Book Doctors: How is your garden?
Ann Ralph: The garden is thirsty, but so far, so good. These dry winters are unusual and scary. Long, dry summers are nothing new. In most of California rain stops in May and won’t start again until November. I planted with this in mind. The plants on a hot bank behind my house do entirely without summer water. The roadside tree trimmers left behind a huge pile of chipped prunings last fall. This stuff is gold to me. I applied it as a deep mulch around my fruit trees and ornamentals. Mulch helps tremendously with transpiration. I water my established fruit trees only about once a month. Mulch improves soil quality and sequesters carbon, too.
TBD: How did you get started as a writer?
AR: Nursery work was meant to be a placeholder until I got a real job. I got waylaid in a composition class on the way to a respectable career, then abandoned pretense for the work I liked, low pay, the outdoors, a cavalcade of interesting questions, great people, and writing in my off hours.
TBD: What are some of your favorite books and why?
AR: However beautifully rendered, nonfiction is constrained by facts. I get more sustenance from the truth in fiction: I think of the Salman Rushdie character who cooks grievances into her chutneys. I wish everyone would read All the King’s Men, A Passage to India, and A Place on Earth. When our president quotes Marilynne Robinson, I feel sure we’ll be okay.
TBD: How did you get started as a fruit tree enthusiast? What are some of your favorite fruit trees and why?
AR: I grew up in the San Joaquin Valley. We were awash in fresh fruit all year long. I went out the front door for Meyer lemons. Neighbors left bags of nectarines on the front porch. Teachers, like my dad, graded and weighed peaches for Del Monte in the summertime. He brought home leftover lug boxes full of fruit. My mother canned peaches and apricots to tide us over until summer came again. I had no idea how good we had it until I left California for New York. This last weekend I visited friends in Ripon and came home with a huge box of tree-ripe grapefruit. There is never too much grapefruit at my house.
TBD: What were some of the joys and difficulties of taking your passion and turning it into a book?
AR: I had a good idea about what made fruit trees confusing and difficult for people, and what was missing from existing books on the subject. Storey asked me to double the content. How right they were! Every step in the process led to a better book. The photography was more complicated than I expected it to be. Marion Brenner was generous with her time and up for anything. The trees, weather, light, and backgrounds weren’t as cooperative. The photos took another year, the design a third. I sometimes despaired that I’d ever see the thing in print.
TBD: You’ve gotten some wonderful reviews. What did you do to promote and market the book?
AR: Storey Publishing has reach into the book business I could never have managed on my own. My sister has been a buyer for independent bookstores for thirty-five years. She drilled into me a sense of my shared responsibility for the book’s promotion. I knew my audience. I also knew I had a book that people needed and would want to buy. I have great garden connections from Berkeley Horticultural Nursery. I’m easily evangelical on the subject of fruit trees.
TBD: The environment is going through some terrible times. What do you think are some solutions to bring back a balance with nature?
AR: Humans wield a lot of clout in the natural world. The organics now in markets are there because we wanted to buy them. We can look to decisions we make everyday, regarding packaging for one. We’re drowning in plastic. Recycling is better than nothing, I suppose, but recycling plastics is a dirty business. I make yogurt at home. Its deliciousness aside, this small action by one person eliminates a need for hundreds of plastic containers. The environment doesn’t exist apart from us. We’re in the thick of it. For good or ill, we build it as we go.
TBD: How did you get a book deal?
AR: The Book Doctors pulled my name out of a hat at a Pitchapalooza at Book Passage in Corte Madera. They liked my pitch. I shopped a proposal around to several publishers with interest but without success, always on the heels of another fruit book. Arielle took the idea to Storey Publishing. I strengthened the proposal based on information from The Essential Guide to Getting Your Book Published. I’m sure that made the difference. I’m not just saying this because the Book Doctors happen to be asking the question. It’s true.
TBD: What advice do you have for fruit tree growers?
AR: Keep your fruit trees small enough to manage. I wish I could take credit for my favorite pruning advice. It came from a UC Davis seminar, “If you don’t know what to do, cut some stuff out.” Fruit trees are forgiving. If you goof it up, they give you another chance.
TBD: What advice do you have for writers?
AR: Let’s leave fruit advice to me and writing advice to Anne Lamott.
Ann Ralph is the author of Grow a Little Fruit Tree: Simple Pruning Techniques for Small-Space, Easy Harvest Fruit Trees. Publisher’s Weekly called the book “a thrilling read for the backyard farmer.” She is a fruit tree specialist with 20 years of nursery experience. She lives in the Sierra Foothills near Jackson, California.
One of the fun things about being a Book Doctor is that we get to travel to cool places and meet cool people. If you haven’t been to San Antonio, do yourself a favor and go. It’s a beautiful city. The San Antonio Book Festival was really a blast: great authors, great craft stuff for Olive, our daughter, and most importantly, lots of readers. While we were there, we met Lance Rubin at the party they have for authors. He explained what his first book is about, and it’s great. We decided to pick his brain about writing, publishing, and how he got his first book deal. To read on the Huffington Post, click here.
The Book Doctors: How did you get started as a writer?
Lance Rubin: Since I was eight years old, I always thought I was going to be a professional actor. So the writing I did through most of my life was often in service of that. When I was younger, I wrote skits and short films with friends that we would perform. In college, I wrote and performed a one-man show. After college, I co-wrote and performed a sketch comedy show called The Lance and Ray Show at the Upright Citizens Brigade Theatre. Then, several years ago, I was finding my acting career frustrating and unfulfilling right around the same time I read The Hunger Games. I really loved it, and I thought, “Maybe I’ll try to write a YA novel.” It wasn’t a fully rational decision, but I started writing, and I was having such a good time–feeling empowered and creatively fulfilled in new, exciting ways–that I kept at it. Even though I hadn’t written long-form fiction before, I think all the various writing I’d been doing my whole life completely informed this book.
TBD: What are some of your favorite books and why?
LR: Some favorites include:
The Harry Potter series by J.K. Rowling. Such brilliant storytelling: magical situations always grounded in humanity; a complex story that weaves and intertwines through seven books; humor that comes from a place of love; and fully fleshed-out characters who truly care about each other. I could go on and on. Anyone who’s been resisting reading these is a fool.
The Amazing Adventures of Kavalier and Clay by Michael Chabon. Not only does Chabon spin the most delightful, acrobatic sentences, but he tells a completely engaging story of friendship, love, comic books, WWII, and superheroes.
The Spontaneous Fulfillment of Desire by Deepak Chopra. This nonfiction is all about the power of coincidences and synchronicity. I try to read it every couple years because it makes life more fun; you start to find coincidences everywhere, like a code from the universe you have to solve.
The Stinky Cheese Man and Other Fairly Stupid Tales by Jon Scieszka and Lane Smith. When I first read it as a kid, it made me aware of the way books can subvert narrative expectations and make you laugh out loud.
TBD: How did being a professional actor help and/or hinder you as a writer?
LR: As an actor, I was always trying to get inside the head of a character, figure out how that character thinks and responds to the world. When I started writing this book, with its first-person narrator, I realized there was a surprising amount of overlap, as I was essentially doing the same thing: figuring out how the main character (and all of the other characters, too) thinks and responds to the world. And it was even better because now I got to actually come up with what the characters say! That said, since I come from the world of acting and comedy, I’m often so focused on dialogue that the descriptive parts of my writing are severely lacking. But hey, that’s what rewriting is for!
TBD: The idea for your new book, Denton Little’s Deathdate, is so cool. How did you come up with it?
LR: I think about time a lot. I’m always taking inventory of my life in terms of dates. I’ll think things like, “What was going on in my life a year ago today? Two years ago today? Three?” And so on. And I’m usually able to remember. So one day I thought, “What if I could take inventory of my life in terms of a future date? Specifically, themost important date, the day I’m going to die?” I wondered how this would change the way I lived. Or if maybe it wouldn’t change a thing. And then I thought, “What ifeveryone knew the day they were going to die?” So then there was the idea: in a world where everyone knows their deathdate, the protagonist is going to die tomorrow. That was pretty much all I had for a few years. The rest came later.
TBD: How did you go about getting a book deal?
LR: I just Googled “book deal,” clicked on the first link that appeared, and signed up! Isn’t that how it works for everybody?
Apologies for that dumb joke. I did have a relatively charmed journey to a book deal, as my best friend since I was three, Zack Wagman, has worked in publishing for over a decade and is a brilliant editor, currently at Ecco. He was one of a handful of close people in my life who read the first draft of my book and gave feedback, and then was one of a duo of close people in my life (along with my wife, Katie Schorr) who gave feedback on the three or four subsequent drafts over the next year. Finally, once I had a draft that was in solid shape, Zack connected me to agent Mollie Glick at Foundry Literary + Media, who responded to the book and signed me. (I know getting an agent is not supposed to be such a smooth process, so I understand if writers out there want to spit in my proverbial soup. I’ve faced a ton of rejection in my life, too, if that makes you feel better. See: abandoned acting career.) Mollie is terrific, and she guided me through one last big rewrite before submitting to various publishing houses. In November 2013, Denton was sold to Knopf Books for Young Readers.
TBD: What was it like working with your editor?
LR: Super. I feel so fortunate that I ended up working with Nancy Siscoe. She’s smart and kind and funny, and she loves all the same things about my book that I do. By the time she got my first book, it had already been rewritten a lot, so her changes were minor but really insightful as to things that would make the story clearer and more satisfying. My second book, which comes out in April 2016, was pretty much a mess when she got it. So I was truly relieved when I received her pages and pages of single-spaced notes and they all resonated with me. It was like, “Oh man, she has great ideas about how to make this less of a mess. Thank god.”
TBD: We’re intrigued by the musical you’re writing. What exactly is Annie Golden: Bounty Hunter, Yo!?
LR: Hey, thanks for asking! It’s a musical I co-wrote with Joe Iconis and Jason “SweetTooth” Williams about a veteran musical theater actress named Annie Golden (to be played by veteran musical theater actress Annie Golden, known to many as Norma on Orange is the New Black) who gets pulled into the world of bounty hunting and starts kicking ass in ways she never imagined she could. It’s a comedy highly inspired by exploitation movies of the 1970s and ’80s–both story-wise and musically–but it’s also about breaking out of the boxes society puts people into. It’s been an exciting project to work on. We’re hoping it will have its first production in the not-so-distant future.
TBD: Did you outline your book before you started writing? What kind of a routine do you have as a writer?
LR: Thus far in the two books I’ve written, I haven’t outlined before starting my first drafts. I generally have some broad ideas about where the story might go and a page or two of notes on characters and potential plot points, but then I just start writing and discover as I go. In the case of my second book, I got about 15,000 words in, realized I hated where the story was going, scrapped it, and started again. Outlining might have helped me avoid that, but it’s still the way I prefer to work.
As far as writing routine, I have several coffee shops and libraries that I bounce between. Last year, I worked almost exclusively at the Tea Lounge in Brooklyn. Then it closed out of nowhere in December, which was quietly devastating. I now keep a rotation of several spots because I’m not gonna get hurt like that again.
When I’m working on a first draft, I’m always aiming for word count, which was something I took from Stephen King’s On Writing. With my first book, I tried to get 1,000 words a day. With my second, I aimed for 2,000 (and often only got to around 1,700).
I work way better in the morning, so it’s often an 8:30 am – 3 pm workday, give or take an hour (and sometimes I’m needed on Dad duty for my 1-year-old son, so that timing’s always subject to change).
I usually listen to music while I write, and the headphones going in is my indicator to myself: “Okay, stop dicking around on the internet. Time to work.”
TBD: I noticed your book has been translated into several languages. It was really fun for me when I saw my book in Russian and its different covers. What was it like seeing the book you wrote in a language you can’t read?
LR: That’s absolutely been one of the most surreal parts of the experience. Each cover has had its own wonderfully distinct take on the story, which has been so cool, but it’s the different-language part that is truly hard to wrap my head around. I heard an audiobook sample of the German edition last week, and I think my brain exploded. This story I plunked out on my laptop in random coffee shops has ended up in a recording booth in Germany, being read aloud by some talented German actor. That’s nuts.
TBD: We admire the fact that you publicly admit to loving the New York Knicks. How are you holding up during this very difficult time?
LR: Oh man, it’s been so rough. I mean, maybe there’s some historical joy in knowing I just lived through the Worst Knicks Season of All Time. No, there really isn’t. What a joke of a season. I miss Jeremy Lin.
TBD: I hate to ask you this, but what advice do you have for writers?
LR: Ha, I love the disclaimer at the beginning of that question. Here’s my two cents: whether you’re published or not, you need to start operating as if you’re a published writer. Make writing a part of your daily routine, as if it’s your job. Don’t wait for inspiration to strike; just sit down and do the work every day. If you don’t take yourself seriously in this way, then the universe won’t be able to, either.
Lance Rubin is a New Jersey native who has worked as an actor and written sketch comedy, including successful runs of The Lance and Ray Show at the Upright Citizens Brigade Theatre. He’s also co-writing a new musical called Annie Golden: Bounty Hunter, Yo! and loves Pixar, the Knicks, and Back to the Future. Lance lives in Brooklyn with his wife and son. His debut novel, Denton Little’s Deathdate, is out now from Knopf Books for Young Readers, to be followed by a second Denton book in 2016. Learn more at lancerubin.com and follow him on Twitter @lancerubinparty.
David has now been a writer for 15 years. Before that, he was a professional actor for 15 years. In that time, he located, lured and landed over 50 agents. In fact, he got so good at it that he eventually got an agent to marry him and be the mother of his child. Sadly, on their wedding day, she fired him as a client. For those of you who don’t know, that agent is Arielle.
We’ve seen lots of agents try to tell writers how to find an agent. The sad truth is agents have no idea how to find an agent. All they have to do is look in the mirror, and there is an agent staring back at them. They look around the office; they’re surrounded by agents. Agents can tell you what things not to do and what things annoy them. But they also often give bad advice because, quite frankly, they don’t want the competition.
We see lots of agents tell writers not to do multiple submissions. But, in fact, it can take an agent nine months to get to your manuscript. That’s how long it took Arielle to read David’s manuscript after he submitted it to her. And we went on to get married! Imagine if it took nine months for every agent to get back to you, it would take you seven years to query 10 agents. Of course, agents don’t want you to do multiple submissions. They want you all to themselves.
David also heard an agent say a writer should never submit a book that’s already been self-published. She said it in such a dismissive and entitled way. You find this a lot with agents; they tend to develop a dismissive, entitled, bitter, jaded, snarky outer shell. You can’t blame them because they are constantly inundated, and everyone wants the agent to make their dreams come true. In fact, a great agent can make your dreams come true. David is living proof of that. However, he also did exactly what the dismissive, entitled agent said couldn’t be done. One of his books went out-of-print, and people kept asking where they could buy it. So, as an experiment, he decided to self-publish the book. It was a great experience, and he learned an amazing amount from doing it. It cost him nothing because the book had already been published; and he bartered with people to make him a new cover, a new layout for the printed version and an e-book. He immediately started making money on the book. At the same time, he went out to a number of agents and editors, and lo and behold, got a book contract. When that happened, he immediately took the book down from where it was available, and no one was the wiser. Mind you, he didn’t tell the people he was submitting a book that had already been self-published. But if they had asked, he certainly would not have lied. They didn’t ask. He didn’t tell.
So how do you find an agent?
There is a fine line between research and stalking. The Book Doctors firmly believe it’s important to stay on the research side of that line. The first thing David does is make a list of 10 to 15 books that are similar, in the biggest broadest sense of that word, to his book. Let us emphasize in no uncertain terms that we mean big broad strokes. And please, for goodness sake, don’t say that your book is like no book ever written. Because that book will never be published. Lots of our clients have no idea what books are similar to their books. That’s a problem.
One of the most important things you can do as a writer is to read, and you have to become an expert in the section of the bookstore where your book is going to live. Recently, someone pitched us a piece of noir. We asked him if it was more like Raymond Chandler, Dennis Lehane, or James Elroy. He looked at us like a confused puppy and said, “Who are they?” They’re only three of the most successful and brilliant noir writers in history. If you are lucky enough to get an agent or editor interested, and they ask you if your book is similar to another book on the shelf, you have to be able to say, “Oh yes, I love that book, and readers of that book will love my book, but it’s different in these ways …”
2. Find Books Similar to Yours
Take a field trip to your local independent bookstore. When the phones aren’t ringing off the hook and the cash registers aren’t going crazy, find a person who is the expert, or as close to an expert there is, in the kind of book you’re writing. Then ask them what books they have that are similar to your book. Start making a list of books that are similar to yours, again in the broadest, largest sense. List books that looked interesting to you, that looked like they were done by people you’d like to do business with. In the acknowledgments section of those books, look for the agent and/or editor.
3. Make a List and Create an Environment of Competition for Your Book
Your agent list should be a little bit like a high school senior putting together their college list. You should have some well-known agents at the top of your list, some agents you admire but aren’t bigwigs yet, and some agents that have just started out or whose lists are small.
As soon as anyone expresses interest, you immediately email everyone else on your list. There’s nothing that’s going to get you a response faster than having someone else interested. That’s human nature. It’s like the sorta cute kid in high school who shows up with a beautiful cheerleader on his arm. Immediately, he becomes much more attractive. He’s exactly the same guy he was yesterday; only now someone else wants him. You see, every agent who’s been in the business for any length of time has a recurring nightmare in which they’re walking down the street, people are pointing at them, laughing and giggling, whispering to each other, “There goes the agent who passed on Harry Potter!” That’s because every agent has passed on a book that has become wildly successful.
4. Know Thy Agent-to-Be
Make a file on each of the agents. Where are they from? Where did they go to college? What are their hobbies? Where have they been interviewed? What books have they agented? Are they a dog person? You’re going to use all this information when you write your query letter.
One of the biggest mistakes that most amateur writers make is that they just send anonymous letters without doing any research. In lots and lots of places, it says that Arielle does not like fantasy and science fiction; and yet every week she gets another email from a writer that says, “Dear Agent, I know you’re going to love my book; it’s the first in a 37 book series. It’s called the Unicorns of Narnia.” Arielle used to actually answer those emails. She doesn’t answer them anymore. They go directly into the trash.
5. Make it Easy for an Agent to Say Yes
Agents are trained to say no. They’re just looking for a reason to reject you. It sounds cold and cruel from a writer’s perspective; but having lived with an agent for so long now, David totally understands it. They are inundated and overwhelmed, mostly overworked and underpaid. They’ve got 50 submissions that arrived in their inbox today, they had 50 yesterday, and will have 50 tomorrow. It’s relentless. That’s why they’re looking for a reason to say no. These reasons include:
- Spelling or punctuation mistakes—we can’t tell you how many people have spelled Arielle’s name wrong
- Over-promising and under-delivering
- Too much horn-tooting and butt-kissing
- Using obvious and overblown comp titles (i.e. Harry Potter, Eat Pray Love, Hunger Games)
- Not following agent submission guidelines—you can’t believe the percentage of submissions that do one or more of the above.
That’s why if you just do the basics, it already ups your odds by loads.
6. Don’t Submit Your Book Until It’s Fully Polished
Writers are under the mistaken impression that an agent will help them fix their books. The agent is almost certainly not going to help you fix your book. If your book is not ready, the agent will reject you and your book. Almost certainly, that bridge will be burned.
7. Develop a Coping Mechanism for Rejection
JK Rowling was rejected 25 times. What makes you think you’re any better than JK Rowling? Thicken your skin. Everyone has her own method of doing this. David subscribes to the Godfather model: It’s never personal; it’s always business. He also enjoys accumulating lists of people who’ve rejected him; so that when he finally gets a deal he’s been looking for, he can send them all a very sweet email, and rub their noses right in it. But again, everyone has to come up with their own personal method.
8. Keep Up-to-Date
Sign up for Publishers Marketplace and Shelf Awareness. Keep abreast of who is selling books and making deals. Know what agents have awesome blogs. Speaking of which, here’s a shout out to Jennifer Laughran, who has an absolutely awesome blogfor those of you writing children’s books.
9. Go to Writers Conferences, Seminars and Workshops
There are very few places a writer can actually get face time with an agent. Conferences, seminars or workshops are one of them. You can listen to agents make presentations, and sometimes you can even have one-on-one sessions with them.
10. Join a Writers Group
When David lived in San Francisco, he found an amazing writing group. One of the writers was a very handsome, very charming, ridiculously talented writer. Plus he was a doctor. You wanted to hate him, but he was just too nice to hate. You knew if he caught a break, he was going to be huge. Well, he did catch a break. He wrote a little book called The Kite Runner and became an international sensation. His name is Khaled Husseini. Now David is connected with his agent by one degree of separation.
11. Attend Readings at Bookstores and Libraries
Any time an author whose work is similar to yours in any way, shape, or form comes to town to do a reading, GO! Buy a book. Be the last person in line at the signing. If someone comes behind you, get behind him/her. This is important because when you get up to the front of the line to have the author sign the book, it’s very rude to have a conversation if there’s someone waiting behind you. If you’re the last one, then there’s no pressure to move along. Sometimes the writer will want to talk to you; sometimes the writer will not want to talk to you. Pay very close attention to body language. Ask the writers if they’re happy with their agent. If they say yes, this gives you the opening to contact the agent and say, “I was talking to your client yesterday, and she said how much she enjoyed having you as her agent.”
12. Write a Killer Query
Three paragraphs. The first is always customized. Why should this agent be your agent? The second paragraph is your pitch. The third paragraph is a short bio. The whole query should reflect the voice of your book whether that be funny, authoritative, lyrical or whatever. This is your audition to show what a fabulous writer you are.
13. Persevere and Follow Up
Don’t ever assume if you don’t hear back from an agent that they are rejecting you. Assume they haven’t even looked at your query or manuscript. David’s maxim is: keep submitting until they say yes or the agent tells you to go to hell. He tries to have the Zen attitude that it doesn’t matter whether they say yesor no. Because when someone says no, it’s like you bought another lottery ticket. You have increased your chances of winning.
However, there are two kinds of perseverance: smart perseverance and stupid perseverance. The Book Doctors highly advocate smart perseverance. Always try to make your query/proposal/manuscript a little better. Polish, buff, shine until is evolves into the best versions of itself.
Whenever you are rejected, ask if there’s anything you can do to make your work better. Time and again, David has seen people be very generous with their advice. When David first approached Arielle, he didn’t know her. In fact, David didn’t know anyone in the publishing business. After making initial contact, he sent her his manuscript. A week later he followed up, just to make sure she received the manuscript. It turned out she had already lost it. He sent another. A month later, when he hadn’t heard anything, he called her on the phone. Generally speaking, agents don’t want you to call them on the phone. But this is David’s strength. We had a very nice conversation; he never even mentioned his manuscript. He found out afterwards that because he’d been so nice, Arielle felt very guilty. One month later, he did the same thing. This went on, as he mentioned earlier, for nine months. One human gestation period. Finally, he told her he was coming to New York for Christmas. He lived in Venice Beach at the time, and in fact he wasn’t going to New York at all; but he had a feeling that if he said that, she would read his manuscript. He was right. As soon as they hung up, he went and booked a ticket to New York. Six months later, after she had helped him craft his proposal, she sold it for six figures in less than two hours. Ten years after that, they had the most amazing daughter ever.
Texas, come pitch us your books! April 11, 2015.
The Book Doctors Ask Pitchapalooza Winner Judith Fertig: How Did You Get a 2-Book Deal for Your Debut Novel?
The Book Doctors first met Judith Fertig when she won our Kansas City Pitchapalooza (think American Idol for Books). She was commanding without being overbearing, powerful but warm, a total pro. And her pitch was really good. When we consulted with her, one of the things we did was help her figure out what genre her book fit in. It’s rather shocking how many of our clients don’t know exactly where their book wants to sit on the bookshelf. One we helped her get that sorted out, she got a great agent, who helped her edit her book, then got her a two-book deal with Penguin. And since we’re doing an Online Pitchapalooza with National Novel Writing Month (NaNoWriMo) right now, we’d thought we’d pick her brain to see how she did it. (To read on Huffington Post click here.)
The Book Doctors: So, how did you get started in the book business?
Judith Fertig: Like most English majors, I wrote an early novel, unpublished, that remains in the proverbial desk drawer. When I was living and working in London, England, I realized that absence makes the heart grow fonder and I wanted to write a Midwestern cookbook when I got back home. It took a few years, and a couple of restaurant recipe “starter” cookbooks, but then I wrote Pure Prairie in 1995. After that, I wrote Prairie Home Cooking in 1999, which was nominated for the James Beard Award, became a bestseller, and earned me the title of “heartland cookbook icon” conferred by Saveur Magazine.
TBD: Who are some of your inspirations?
JF: I love cookbooks that tell a story. I still miss the late Laurie Colwin, a novelist who also wrote a column for the equally late Gourmet, which turned into two cookbooks, Home Cooking and More Home Cooking. I am an avid mystery reader, especially those with depth from Louise Penny and Jacqueline Winspear.
TBD: How did you come up with the idea for The Cake Therapist?
JF: I started out with Neely, a young pastry chef whose New York life is melting down like buttercream frosting on a hot day. She goes back to her Midwestern hometown and opens the bakery she’s been dreaming about. And then I had a vision of Neely opening the door of her bakery after working all day and unleashing that bakery air into the cold. In my mind, the bakery air refracted into a baker’s rainbow that only she can see and taste: pomegranate red, orange, lemon yellow, pistachio green, blueberry, indigo plum, violet blackberry, spice and vanilla.
TBD: How was it making the transition from non-fiction to a novel?
JF: Very interesting. I had to learn to write in scenes rather than in recipes with headnotes and sidebars. I had to develop an ear for believable and interesting dialogue. I had to learn how to go back and forth in time, to put the flashback chapters in chronological order rather than in theme order, which was too confusing for the reader. Non-fiction also requires more planning–you make an appointment to interview someone or buy groceries to test a recipe. With fiction, I learned it was just as important to allow for the unplanned, the plot twist that was just waiting if you gave yourself enough time to lose yourself in the writing. I was also working on a cookbook (Bake Happy, Running Press, May 2015) sort of at the same time as The Cake Therapist. So I would get an idea for a flavor pairing or wonder if strawberries with rosewater really tasted like a summer’s day, then go into the kitchen and test it out in cakes, cookies, tarts, etc.. My taste-tester friends and family were very happy there for a while.
TBD: How did you get your book deal?
JF: It all happened much faster than I thought. I won a 1-minute Pitchapalooza contest when The Book Doctors in Kansas City in spring 2012. After my winner’s conference with her, I knew my book was not a mystery as I had thought, but commercial women’s fiction. After my manuscript went through my writers group, right before Thanksgiving in 2013, I sent pitch letters (with a great cake photo) to agents who I thought might like my work. A friend had recommended I read Beatriz Williams’ One Hundred Summers because her plot goes back and forth in time like mine does. And I loved that book. Her agent liked my pitch and hooked me up with Stefanie Lieberman at Janklow & Nesbit. Stefanie sent the manuscript out to readers and I worked on the tweaks to the manuscript over the December holidays. She sent it out in early January, and we had a pre-empt offer for two books from Kate Seaver shortly afterward. The second book in the series, The Memory of Lemon, will be out in 2016.
TBD: What was it like working with your editor?
JF: Kate Seaver at Berkley (Penguin Random House) was very enthusiastic from the start. She went over and over the book, guiding me to tweak scenes, lose the prologue, amp up a character. I think writers have to be open to some change, and she was very skillful at helping me get to the heart of the main character and the story. This past November, I was able to go to New York and meet Kate, the Berkley/Penguin team, and Stefanie; I highly recommend doing that. It’s so much better to work with people when you can put a name with a face.
TBD: What do you plan to do to promote and market the book?
JF: Because I want this to become a very successful series, I’m really stepping up my efforts on the first book. Berkley/Penguin already has a strong marketing and public relations presence, but I also know that “who you know” and persistence can also make a difference. That led me to hire additional PR and marketing assistance from Tandem Literary, who will work closely with Berkley/Penguin. I’ve made, decorated, and sent boxes and boxes of “cake therapy” cupcakes to possible blurb writers as well as book reviewers at major magazines. You always learn something unexpectedly new with every book and I’ve learned how to overnight cupcakes successfully (a 6-pack clear plastic cupcake container, frozen cupcakes, and a snug box). I’ve finally gotten my web site going, www.judithfertig.com. In the past few weeks, I’ve been doing more social media, mainly Twitter and Facebook. And planning the first event at my local independent bookstore, Rainy Day Books. That’s the first stop on the author tour. I will be blogging and guest blogging. As much as possible, I will also bring little treats to events so readers can “taste” what The Cake Therapist is all about.
TBD: How did having an expertise in cake help you write your novel?
JF: I grew up in Cincinnati, a great mom-and-pop bakery town. All of our family’s special occasion cakes, fantasies of frosting, came from The Wyoming Pastry Shop. For me, cake symbolized something good happening; its elusive flavor made me want to figure out how to make it myself. I’ve spent my cookbook career starting with an idea for a main dish or a dessert and then figuring out how to get there. It was the same process for the novel–minus the mess in the kitchen!
TBD: You are working within two niches: food & woman’s fiction. What are some of the challenges and advantages to this?
JF: The Cake Therapist turned out to be women’s commercial fiction, although I thought it was going to be a mystery. That was one of the surprises along the way. But there is a mystery within the novel, like a secret filling. I started out writing cookbooks that had a storytelling quality and now I’m writing fiction that has recipe elements. The challenge for me was getting the plot going, but I went to the Iowa Summer Writers Workshop and had a basic plot by the end of the session. The advantage for me from a non-fiction background is that I think in a multi-sensory way and try to get this on the page so readers can see, hear (with sort of a playlist), touch, smell, and especially taste their way through The Cake Therapist.
TBD: What advice do you have for writers?
JF: Adjust your book as you go along. You may start writing and a new character can appear or a plot twist present itself or something equally surprising can occur when you’re into it. AND join a good writers group. Feedback is so important.
Novelist and cookbook author Judith Fertig, who was described by Saveur Magazine as a “heartland cookbook icon,” debuts a new novel, The Cake Therapist (Berkley/Penguin, 2015). Bake Happy (Running Press, 2015), a also comes out this year. Her other books include In Heartland: The Cookbook (Andrews McMeel, 2011) and Prairie Home Cooking (Harvard Common Press, 2000), which was nominated for James Beard and IACP cookbook awards. Fertig’s food and lifestyle writing has appeared in Bon Appetit, Food & Wine, Better Homes & Gardens, Saveur, Country Homes and Interiors (London), The New York Times, and The London Sunday Times. She is a member of Les Dames d’Escoffier, The Kansas City Barbeque Society, The Kansas City Novel Group, and IACP.
Arielle Eckstut and David Henry Sterry are co-founders of The Book Doctors, a company that has helped countless authors get their books published. They are also co-authors of The Essential Guide to Getting Your Book Published: How To Write It, Sell It, and Market It… Successfully (Workman, 2010). They are also book editors, and between them they have authored 25 books, and appeared on National Public Radio, the London Times, and the front cover of the Sunday New York Times Book Review.