Sit Down and Write That Bestselling Novel

Sit Down and Write that Bestselling Novel!
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Writing a Book "ro! S rat h

+our 7ook8s content is 'ital to 3our 7ook8s success. Rea2ers 2on8t 7u3 7ooks 7ecause the )ront co'ers entice them. The3 7u3 7ooks )or kno1le2ge or entertainment. The3 seek to gain a ne1 e94erience or a22 'alue to their li'es. 6riters 7elie'e the har2est 4art o) 1riting a 7ook is 1riting )rom scratch. Ho1 shoul2 3ou conce4tualize 3our i2eas: 6hat8s 3our stor38s angle an2 its )ocal 4oint: +ou nee2 to make man3 2ecisions to 1rite a 7ook that rea2ers )in2 1orth rea2ing% Here are some )ast ti4s to 1rite a 7ook )rom scratch....
#ip $: Write a brie" book.

Buil2 3our con)i2ence as a 1riter 1ith a mini-master4iece. Call it a trial an2 error metho2. Test 3our skills as a 7ook author. *ake 3our i2eas 4oignant an2 3our 4unch lines catch3.
#ip %: &ave a single topi .

To a'oi2 con)usion; concentrate on one to4ic. $rganize 3our thoughts that su44ort 3our 7ook8s main i2ea.
#ip '. What is your book(s purpose)


6h3 are 3ou 1riting it: 6ho 1ill 7ene)it )rom it: +ou 1rite a 7ook so that others 1ill rea2 it. Think a7out 3our rea2ers an2 1hat the3 1ant.
#ip *. &ire the servi es o" a book oa h or pro"essional editor.

Let )rien2s an2 )amil3 critic 3our master4iece< then incor4orate their i2eas into 3our 7ook. This is one 1a3 o) soliciting res4onses an2 reactions )rom )irst-han2 rea2ers 7e)ore 3ou 4u7lish 3our 7ook.
#ip +. ,ppeal to your readers( senti!entse!otions- and belie"s.

Sel)-hel4 an2 ins4irational 7ooks are common. (eo4le 1ho are too ashame2 to consult 4ro)essionals turn to sel)-hel4 7ooks to ans1er their 4ro7lems. 6riting a 7ook )rom scratch is ne'er a 2aunting task i) 3ou kno1 1here to start an2 ho1 to 2o it.

.nspire /oursel" to Write , Book

*ost 1riters agree that 1riting a 7ook re=uires ins4iration -- an2 lots o) it% Ha'ing the right insight an2 i2eas can hel4 3ou 4aint that 4er)ect 4icture o) 1or2s that 1ill touch 3our rea2ers. *an3 1riters 2eal 1ith 1riter8s 7lock at some 4oint 2uring their 1riting. n )act; )in2ing ins4iration is an o7stacle that most 1riters encounter. +ou can )in2 ins4iration e'er31here aroun2 3ou. ) 3ou learn ho1 to ins4ire 3oursel); 3ou 1ill )in2 it easier to 1rite 3our 7ook an2 a'oi2 1riter>s 7lock.
#.P $: 0se /our Personal 12perien e

$ne common tren2 among man3 )amous authors; 1hich can 7e use)ul to 3ou; is ho1 their 4ersonal li'es in)luence their 1ork. The human e94erience has 7een a classic source o) )ascination an2 ins4iration. 6riting a7out 3our o1n e94eriences gi'es 3ou material that 3ou trul3 kno1 7est. Ho1 2o 2ail3 e'ents a))ect 3ou as a 4erson: *a37e 3ou learne2 something ne1; or met some7o23 ne1 1ho in)luence2 3ou. *a37e a li)e-altering e'ent a))ecte2 3ou in some 1a3. ) 3ou e94erience2 something un)orgetta7le; then this e94erience ma3 a44eal to other 4eo4le as 1ell.

&ig 2ee4 into 3our 4ersonal histor3. Think a7out signi)icant chil2hoo2 memories that ha'e in)luence2 3ou in 3our li)e. Recall instances 1here 3ou ha'e e94erience2 e9treme emotions like ?o3; sorro1 or anger. These emotions can hel4 3ou )ocus on 1riting a7out human emotions an2 hel4 3ou )ormulate 1ell-roun2e2 characters in 3our 1riting.
#ip %: 0sing #he 3iewpoint 4" 4thers

Another common source o) ins4iration is through a secon2 4erson 4oint o) 'ie1. *an3 times; the li'es an2 con'ersations o) other 4eo4le can ins4ire 3ou an2 3our stor3. (a3 attention to the 4eo4le aroun2 3ou. !otice their 7eha'ior an2 listen to their con'ersations. nstilling something 3ou ha'e learne2 )rom someone else8s 4oint o) 'ie1 can 7ene)it 3our 1riting. +ou ma3 ne'er kno1 1hen 3ou 1ill 7um4 into an intellectual 4erson 1ho might in)luence 3our thinking 1ith 2i))erent o4inions an2 4hiloso4hies. @ee4 a 1riting note7ook or ?ournal an2 ?ot 2o1n i2eas 3ou get )rom other 4eo4le< then 3ou can return to 3our ?ournal )or sources o) ins4iration an2 creati'it3. !oticing 4eo4les8 =uirk3 4ersonalities can hel4 in)luence 3our i2eas an2 sha4e 3our characters. This can hel4 3ou 1rite a stor3 1ith interesting characters; 4lots; an2 stor3lines that rea2ers can relate to.

#ip ': ,dapt Stories #hat 5apture /our .nterest

The ne1s; 2i))erent cultures; m3ths an2 e'en )air3 tales are e9am4les o) stories that ma3 trigger 3our imagination. These stories can 7e great sources o) ins4iration to 7uil2 3our 1ork aroun2. A 4o4ular tren2 among )iction 1riters is a2a4ting m3ths an2 )air3tales into a contem4orar3 setting; so their stories 7ecome relata7le to the mo2ern 1orl2. ) 3ou are tr3ing to 1rite )iction; then a22ing a t1ist on the original stor3 can make it original an2 interesting )or 3our rea2ers. +ou can ins4ire an2 in)luence 3our thinking 73 rea2ing 2i))erent things; an2 use it to hel4 create 3our o1n master4iece. This is calle2 creating Art )rom Art. *an3 7rilliant 1riters use this techni=ue to 2e'elo4 their 1ork. +ou ma3 ne'er kno1 1hen 3ou 1ill stum7le u4on something in the ne1s4a4er or on the nternet that triggers 3our interest. +ou can ta4 into man3 2i))erent 1a3s to ins4ire 3oursel). 2eas )or ins4iration are )loating e'er31here aroun2 3ou at this moment. Sometimes; e'en the sim4lest things like nature; an unusual li)e e94erience; an acci2entall3 o'erhear2 con'ersation; or e'en a )a'orite chil2hoo2 )air3tale can ins4ire 3ou.

) 3ou e94erience 1riter>s 7lock; ?ust remem7er to clear 3our min2. Take time to rela9. Be o4en to an3thing that ma3 create that s4ecial s4ark in 3our min2. +ou ma3 ne'er kno1 1hen that ne9t 7ig i2ea might hit 3ou.

6esear h $7$ 8 Where #o 9o ,nd &ow #o 6esear h

Research is time-consuming an2 har2 1ork< ho1e'er; this 4hase in 1riting is essential to 1rite a 7ook that rea2ers 1ill )in2 7elie'a7le an2 original. As long as 3ou kno1 1here to start an2 1hat 3ou 1ant to achie'e 1ith 3our 1ork; then research shoul2n8t 7e a 4ro7lem. Here are a )e1 7asic ste4s to 2o research )or 3our 7ook.
#ip $: .denti"y /our #opi ,nd Develop .t

The )irst ste4 is to i2enti)3 3our to4ic. &eci2e 1hat goals 3ou 1ant to 2eri'e )rom 1riting a7out it. &e'elo4 3our to4ic 73 stating it as a =uestion. Aor e9am4le; i) 3our 7ook to4ic is a7out lo'e; then i2enti)3 =uestions on 1hat 4articular as4ects a7out lo'e 3ou 1ant to co'er. This 1a3; 3ou 7egin to 2e'elo4 an outline a7out 1hat 3ou 1ant to co'er as 1ell as a clear )lo1 on ho1 3ou 1ant 3our stor3 to go. This is a 'er3 goo2 ste4 to hel4 3ou organize 3our thoughts.
#ip %: :ind Basi Ba kground .n"or!ation

Esta7lish 7asic in)ormation a7out 3our to4ic. Search )or ke31or2s an2 2o 4reliminar3 rea2ings in enc3clo4e2ias an2 2ictionaries that hel4 3ou kno1 1hat 3our to4ic is a7out. Concentrate on general in)ormation as the 'er3 7asics; so that later on; 3ou can search )or other relate2 in)ormation to )lesh out 3our 7ook to4ic.

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#ip ': 5ondu t 6esear h on 5urrent Studies

A)ter 3ou ha'e e2ucate2 3oursel) a7out 3our 7ook8s to4ic; 3ou can e94an2 to s4eci)ic 2etails a7out 3our 7ook8s theme. This ma3 inclu2e e9hausting man3 t34es o) sources inclu2ing in)ormati'e 4u7lishe2 articles an2 e'en current or u4 to 2ate stu2ies that ma3 4resent 3ou 1ith statistics an2 the latest )in2ings. *ake sure 3ou e9haust all 3our sources to kno1 as much as 3ou can a7out 3our to4ic. #se the nternet or 4o4ular magazines to kno1 more a7out ho1 3our 7ook8s to4ic a))ects 4o4ular culture. This ma3 e'en inclu2e asking 4eo4le )or their o4inions on the issues that 3ou are tr3ing to co'er in 3our 7ook. $utsi2e o4inions can gi'e 3ou man3 i2eas an2 insights that ma3 4ro'e use)ul to 3our 1ork. Con2uct e9tensi'e research accor2ing to =uestions 3ou ha2 2e'elo4e2 in the 4reliminar3 stages o) 3our research. Al1a3s go 7ack to the root issue; an2 2o not 2e'iate too much )rom the to4ic. +ou 4ro7a7l3 1on8t use all in)ormation )rom 3our research as sources )or 3our 7ook< ho1e'er; 3ou can still use man3 t34es o) in)ormation to gi'e 3ou i2eas on 1hat to 1rite.
#ip *: 1valuate /our .n"or!ation

Be)ore 3ou close 3our research; e'aluate the things 3ou ha'e 2isco'ere2 a7out 3our to4ic. *ake sure 3ou s3nthesize an2 se4arate 1hat 4ieces o) in)ormation is use)ul )or 3our 7ook an2 2eci2e 1hich in)ormation is too tri'ial.

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Classi)3 3our in)ormation an2 1here 3our sources came )rom. Although 3ou ma3 get i2eas )rom magazines an2 ne1s4a4ers; the3 aren>t usuall3 use2 )or aca2emic 4ur4oses. #se nternet in)ormation s4aringl3 as this can make 3our 7ook look su4er)icial an2 research-2e4ri'e2. 2enti)3 an2 inclu2e )acts an2 in)ormation that are most 'i'i2 an2 can hel4 3ou 1rite con'incingl3 on 3our 7ook8s to4ic. ) 3ou nee2 to co43 an i2ea )rom another 4u7lishe2 1riter; 2on8t )orget to gi'e cre2it an2 cite sources. These sim4le ti4s can gui2e 3ou in 3our research. Collecting )acts an2 7its o) in)ormation is essential to 1rite a 7ook that s4eaks 7ol2l3 an2 con'incingl3 to 3our rea2ers.

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#he Basi 6ules o" Book Writing

+ou nee2 to )ollo1 man3 st3le rules to 1rite 3our 7ook. Some rules ma3 a44l3 to e'er3 1or2; 1hile other rules ma3 a44l3 to its general com4osition. Either 1a3; 3ou shoul2 )ollo1 these rules as 3ou 1ork on 3our 7ook. +our goal is to ca4ture 3our au2ience8s attention an2 strengthen the message 3ou 1ant to get across to 3our rea2ers. Here are a )e1 e9am4les o) these 7asic 1riting rules.
#ip $: 0se ,n , tive 3oi e

6hen 1riting -- es4eciall3 non-)iciton -- make sure 3ou use an acti'e 'oice as o)ten as 4ossi7le. 6riting in acti'e 'oice sim4l3 means the su7?ect is 4er)orming the 'er7. This is much more 4re)era7le )or most instances as com4are2 to a 4assi'e 'oice. A 4assi'e 'oice makes rea2ers think 7ack1ar2s an2 coul2 lea'e them 1on2ering 1ho e9actl3 is the 2oer o) the action. 6riting in acti'e 'oice shortens 3our sentences an2 makes 3our 1riting soun2 more 2irect an2 )ormal. E9am4les: PASSIVE: The reci4e 7ook is rea2 73 her. ACTIVE: She rea2s the reci4e 7ook. PASSIVE: The ra2io announcement shoul2 7e listene2 to 73 e'er3one.

ACTIVE: E'er3one shoul2 listen to the ra2io announcement. PASSIVE: The 4hoto is 7eing taken 73 the 4hotogra4her. ACTIVE: The 4hotogra4her is taking the 4hoto.
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B3 using an acti'e 'oice )or most 4arts o) 3our 7ook; 3ou can a'oi2 2ragging the stor3; 1hich coul2 7ore 3our rea2ers. Aor e9am4le; instea2 o) sa3ing; BThe 7all 1as hit 73 Ro3;B it 1oul2 7e 7etter to sa3; BRo3 hit the 7all. B
#ip %: 0se 5on rete Words .nstead o" 3ague ;anguage

Al1a3s use s4eci)ic an2 concrete 1or2s rather than 'ague an2 general 1or2s. nstea2 o) sa3ing Ba44arent consi2era7le monetar3 gains;B 3ou can easil3 sa3 Ba lot o) mone3B or Bone million 2ollars.B !ot onl3 are 3ou sa'ing 3oursel) e))ort 73 1riting this 1a3; 7ut 3ou are also making it easier )or 3our rea2ers to un2erstan2 3our 4oint imme2iatel3. #sing 'ague 2escri4tions can lose 3our rea2ers8 interests.
#ip ': ,lways Properly 5ite /our Sour es

6hen using 4assages )rom the 1orks o) other authors; 4lease remem7er to 4ro4erl3 cite them in 3our 7ook. Tr3 to 4ara4hrase; instea2 o) 2irectl3 =uoting )rom 3our original sources. (ara4hrasing in 3our o1n 1or2s makes 3ou more ethical 73 not 4lagiarizing; 7ut also 4ro'es to 3our rea2ers that 3ou8'e 2one 3our research; thus making 3ou soun2 more con'incing an2 cre2i7le as an author.

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#ip *: 6e!e!ber /our Sub<e t83erb ,gree!ent

Al1a3s remem7er to make 3our su7?ect an2 'er7 agree 1ith each other; an2 not 1ith a 1or2 that comes in 7et1een them. ) 3our su7?ect is singular; then make sure the 'er7 in 3our sentence is also singular. Aor e9am4le; it is correct to sa3; BCanice; like her 7rothers; has 7een going to school there;B instea2 o) BCanice; like her 7rothers; ha'e 7een gong to school there.B
#ip +: 4!it 0nne essary Words

n this e9am4le: B 1oul2 like to e9claim that trul3 consi2er her as =uite an incom4rehensi7le i2iot;B 1e can see 8'e inclu2e too man3 unnecessar3 1or2s. #nnecessar3 1or2s tire the rea2er an2 makes the sentence more 2i))icult to com4rehen2. B3 sa3ing; B think she is an i2iot;B 3ou make 3our rea2ers un2erstan2 1hat 3our mean instea2 o) making things com4licate2.
#ip =: Properly ,rrange Where /ou Pla e Pronouns or ,ppositives

Arrange the 4ronoun or a44ositi'es 4ro4erl3 in 3our sentences an2 make sure the3 re)er to the right su7?ect. Aor e9am4le; instea2 o) sa3ing; BIts mouth filled with dog food, Lorena picked up the puppy from the basket;B 3ou shoul2 sa3; BLorena picked up the puppy, its mouth filled with dog food, from the basket.B +ou 1ill not con)use 3our rea2ers a7out 1ho 3our su7?ect is 1ith the 2escri4tions.

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These rules are ?ust some o) the most 7asic. *an3 1riters still )orget these rules. Since 3our goal is to 1rite a 7ook 3our rea2ers can un2erstan2 an2 com4rehen2; stick to these 7asic rules to 1rite correctl3.

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Writing a :antasy Book

Aantas3 no'els are the most e9citing stories to 1rite. 6riting )antas3 gi'es the author so much )ree2om a7out e'er3 character an2 e'ent o) the stor3. Aantas3 stories allo1 authors to 4la3 1ith their imagination to the )ullest. 6riting )antas3 is like 4la3ing "o2. E'er3 element is un2er 3our control. +ou 2ictate the setting; the scenario an2 the characters8 traits an2 skills. To e9cel in 1riting )antas3; 3ou must create a stor3 close to li)e. +es; it is )ictional an2 )antastical; 7ut still -- rea2ers might criticize 3ou i) 3our stor3 is 4ure in'ention 1ithout 7asis o) histor3; science an2 common sense. Rea2ers are smart an2 intelligent. The3 ma3 rea2il3 thro1 a 7ook in the )ire i) the3 think 3our stor3 is stu4i2. An2 7elie'e me; the3 kno1 one 1hen the3 see it. As a )antas3 7ook author; 3ou shoul2 7e 4re4are2 to 2o 3our assignment like a goo2 stu2ent.
#ip $: >now your !ain hara ter- or !ain hara ters.

@no1 3our characters thoroughl3 7ecause the 1hole stor3 1ill e'ol'e aroun2 them< all su7-stories 1ill ha'e relation to them an2 their =uest. Buil2 3our characters com4letel3 1ell. To achie'e this; 3ou can 1rite a 7iogra4h3 o) 3our characters on se4arate sheets o) 4a4er that 1ill gui2e 3ou in 1riting the stor3. This 1ill ensure 3ou 2on8t go astra3 )rom their 4ersonalities. +ou characters shoul2 act an2 make

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2ecisions in accor2ance to each o) their 4ersonalit3 traits an2 li)e histor3. A smart rea2er 1ill notice things that are 2one out o) character. So 7e care)ul 1ith that.
#ip %. ,rrange your history learly.

(ro4erl3 construct 3our stor38s chain o) e'ents. Create a se4arate recor2 o) e'ents so 3ou 2on8t mi9 u4 3our e'ents. Create a timeline to a'oi2 o'erla44ing o) occurrences. *ake sure each o) 3our character8s age 4rogresses 1ith the chronolog3 o) e'ents. &ra1 a )amil3 tree o) 3our relate2 characters. n most )antas3 no'els; the 7loo2line is a 'er3 crucial element.
#ip '. >now every detail in your "antasy world.

A )antas3 1orl2 1ithout 2etails is em4t3. +ou are the "o2 o) this 1orl2< 3ou ha'e the 4o1er to create an2 2estro3. +ou ha'e the authorit3 to create the rules. E'en though 3our )antas3 1orl2 is entirel3 ma2e-u4; 3ou still nee2 to make it 7elie'a7le an2 logical. &o 3our research.

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Writing , 5hildren(s Book

+ou are a 'er3 goo2 7e2time stor3teller an2 1ant to take it to another le'el 73 a 1riting a chil2ren8s 7ook. +ou think it8s that eas3: 6ell; think again. ) 3ou think it8s eas3 to 1rite chil2ren8s 7ooks 7ecause the3 are short 1ith large )onts an2 man3 4ictures; 3ou thought 1rong. To 1rite )or a chil2; 3ou ha'e to think like a chil2. *ost a2ult authors ha'e trou7le relating to 1hat chil2ren 1ant to rea2 an2 learn these 2a3s. 6riting chil2ren8s 7ooks ha'e man3 restrictions. Doca7ular3 is limite2. +ou nee2 to use sim4le language to create a )ascinating stor3. +es; 4ictures hel4 7ut 3ou still ha'e to 2eli'er a great stor3. Chil2ren; E to -F; ha'e 'ar3ing 4re)erences in rea2ing materials. As the author; 3ou nee2 to target one age grou4 4er 7ook or stor3; other1ise 3ou risk alienating 3our rea2ers. Aor e9am4le; 7eginners; ages G to E; are intereste2 in eas3 rea2ing an2 more 4icture< ages H to I; 1ant scar3 7ut sim4le stories< an2 J to -F 1ant )antas3; like Harry Potter; Series of Unfortunate !ents; an2 so on. Be)ore 1riting a chil2ren8s 7ook; consi2er the age o) 3our target au2ience. @i2s 2o not ha'e long attention s4ans. The3 get 7ore2 easil3. To hel4 3ou 2eci2e 1hat to 1rite an2 ho1 to 1rite it; rea2 2i))erent chil2ren8s 7ooks. S4en2 some time in a 7ookstore rea2ing an2 a7sor7ing 2i))erent st3les o) authors. Rea2 e'er3thing )rom

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the goo2; to the not so goo2; to the 7a2. This 1a3; 3ou 1ill learn 1hat to 2o an2 1hat not to 2o. +ou can also ask the o4inions o) e94erts. +ou can ha'e a 1riter8s grou4 or a college 4ro)essor re'ie1 3our 1ork. E'en 7etter; 3ou can ha'e gra2e school chil2ren rea2 3our 1ork an2 ask them 1hat the3 think. A)ter all; the3 are 3our target au2ience an2 their o4inions matter most.

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#he Plot and 5hara ters

n 1riting a memoir or non-)iction; man3 1riters commit common mistakes as the3 7uil2 their stories. Achie'ing the right 7alance 7et1een 2e'elo4ing strong characters an2 a 7elie'a7le 4lot is sometimes 2i))icult. A stor3 has three )un2amental elements that 3ou nee2 to 1ork on to make 3our stor3 interesting< the three elements are: -) characters8 emotional 2e'elo4ment< F) 2ramatic action< an2 K) the thematic signi)icance (the o'erall stor3 meaning). ) 3ou em4hasize one more o'er the other; then 3ou coul2 o'er2e'elo4 3our stor3 or un2er 2e'elo4 the 4lot an2 make it 7oring.
#he Beginning
#se the 7eginning o) the stor3 to esta7lish elements like the setting; the m3ster3; an2 the lo'e interest i) there is one. The 7eginning is 1here 3ou intro2uce 3our character an2 gi'e a 4re'ie1 o) his or her emotional 2e'elo4ment throughout the stor3. &uring this time; 7egin to intro2uce the 4rotagonist8s lo'es an2 hates; 2reams an2 as4irations; as 1ell as strengths an2 1eaknesses. +our rea2ers 1ill 7egin to relate to 3our 4rotagonist an2 )eel an emotional connection to 3our character in later cha4ters. The B2ramatic actionB is another im4ortant element that 3ou must esta7lish in earlier cha4ters. As a 1riter; 3ou must create a central 2esire to entice rea2ers to

course; 1ill 2etermine the ans1ers to 3our character8s 2esires.
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look )or ans1ers as the3 1ork through the stor3 1ith 3our character. The en2; o)
#he ?iddle
n the mi22le 4art; 3ou must )urther 2e'elo4 the 4lot an2 2e'elo4 3our characters8 emotions. The mi22le is 1here the 4rotagonist )aces a2'ersit3; 7rought a7out 73 an antagonist; in or2er to re'eal characters8 traits; 4ersonalities; 2esires; an2 emotions. +ou ma3 1rite a stor3 1ith 2i))erent t34es o) antagonists. These ma3 inclu2e other 4eo4le; nature; societ3; a certain 7elie) s3stem; an2 e'en the 4rotagonist8s o1n sel). An antagonist is res4onsi7le to create con)lict in the stor3. +our stor3>s hero 1ill ha'e to react to an2 tr3 an2 resol'e the tension. &uring this 4art o) the stor3; it is im4ortant )or 3our rea2ers to )eel the sus4ense an2 2rama. 6hile con)lict 4laces 3our main character un2er 4ressure; this 4a'es 1a3 )or 3our 4lot to intro2uce morals an2 thematic signi)icance in 3our stor3. Through 3our main characters 1a3 o) acting to1ar2s tension; the3 1ill set an e9am4le on ho1 each action 1ill ha'e an e=ual reaction.
#he 1nd
The last 4art o) the stor3 is 3our chance to resol'e all con)licts an2 to sho1 3our rea2ers the conse=uences o) e'er3thing that has cons4ire2 1ithin 3our 4lot. +our characters must sho1 a clear change an2 emotional 2e'elo4ment; es4eciall3 on 3our 4rotagonist. A)ter all; this is 1here 3ou sho1 ho1 a2'ersities ha'e trans)orme2

3our characters that the3 ha2 )ace2 in the mi22le cha4ters.
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&uring this 4art; 3ou must ans1er the B2ramatic action.B A resolution -- to all e'ents an2 m3steries that ha'e un)ol2e2 in 3our stor3 -- must )ul)ill the central 2esire )rom the stor38s 7eginning. +our stor3 must 4resent a clear thematic signi)icance to teach rea2ers certain morals. +ou 2eci2e i) 3ou 1ant to lea'e 3our rea2ers hanging so the3 can create their o1n en2ing; or 3ou can 4aint a 4er)ect resolution )or them. 6hate'er 3ou choose; remem7er to lea'e 3our rea2ers 1ith a sense o) )ul)illment in the en2. +our rea2ers shoul2 also learn something )rom 3our chosen theme. The 7asic ke3 to ha'e 3our rea2ers relate to 3our 4lot; stor3 an2 characters is to strike that 7alance 7et1een the elements. *ake sure 3ou 7alance the gro1th o) 3our characters as 1ell as the action in 3our 4lot. *ake sure the 2ramatic action trans)orms 3our characters as 3our stor3 4rogresses. @ee4 3our stor3 )lo1ing. Em4hasize the three ma?or elements: the characters8 emotional 2e'elo4ment; the 2ramatic action; an2 the thematic signi)icance. &oing so 1ill kee4 3our rea2ers intereste2 in 3our 7ook.

23
Writing :i tion 3ersus Non8 :i tion

Aiction an2 non-)iction ha'e 7een com4are2 tirelessl3 throughout the 3ears. Because each genre has its o1n 4ros an2 cons; 4eo4le o)ten 2e7ate a7out 1hich 1riting st3le is easier or more 4ractical. Let8s e9amine some 2i))erences; an2 then )in2 out ho1 the3 2i))er an2 1hat similarities hol2 true to 7oth.
&ow Does 4ne Write ,bout :i tion)

Aiction 1riting tries to reach an au2ience that has a knack )or seeking entertainment. These rea2ers 1ant to )ee2 their imagination. The3 1ant the stor3 to trans4ort their imaginations to 2i))erent 4laces an2 4erio2s. A )iction 1riter shoul2 ha'e a 'er3 7ig imagination an2 7e 'er3 creati'e. A )iction 1riter shoul2 ha'e some 7asic re=uirements to 1rite a goo2 stor3< these 7asics inclu2e 2e'elo4ing: -) a soli2 an2 interesting 4lot< F) strong; relata7le characters< an2 K) a great 1riting st3le 1ith a )lair o) creati'it3. &e'elo4 these elements )ull3. Concentrate on ans1ering the B1h3sB 7ehin2 the e'ents in 3our stor3. *ost rea2ers o) )iction stories 1ant to esca4e their realities an2 challenge their 7rains. This is 1h3 inclu2ing m3steries; con)licts an2 sus4ense in 3our )iction is 'ital to entertain 3our rea2ers. These elements kee4 3our rea2ers entice2 an2 glue2

to 3our stor38s 4lot.
24
*ost 1riters lo'e 1riting )iction 7ecause the genre 2oes not ha'e strict 7oun2aries< )iction 1riters ha'e more )ree2om an2 control o'er 1hat the3 create; 1ithout rea2ers arguing 1hat is )actual or not. T34icall3; research 2oes not 4la3 an im4ortant role in 2e'elo4ing )iction 7ooks< 1hat matters most is using 3our imagination an2 creati'it3.
&ow Does 4ne Write ,bout Non8:i tion)

6riting a7out non-)iction ma3 not 7e as eas3 as )iction 1riting. A)ter all; non-)iction 1riters -- unlike their counter4arts -- thri'e o)) 1hat is real instea2 o) )in2ing entertainment through the imagination. !on-)iction 1riters concentrate more on things that 1e can see an2 touch. Actual e94eriences 4la3 a ma?or role on the stor38s =ualit3. Rea2ers look )or 'i'i2 2escri4tions a7out e'ents an2 historical re)erences to interest them. !on-)iction 1riting re=uires e9tensi'e research. +ou can8t )ake research in non)iction 1riting. Ailling in s4aces 1ith )ictional e'ents is rarel3 tolerate2. n )act; man3 contro'ersies in the 4u7lishing 1orl2 ha'e s4rung u4 a7out )alse research or )a7ricate2 stories; es4eciall3 in memoirs. As the author; 3ou must inclu2e e9act historical an2 )actual in)ormation.
Whi h Style .s Better #o 0se)

25
Aiction 1riting an2 non-)iction 1riting ha'e man3 2i))erences an2 re=uire 2i))erent s4ecialties an2 talents. *an3 1riters ma3 )eel con)use2 on 1hich 1riting st3le the3 1ant to a2o4t as their o1n. *ost 1riters sa3 that sticking 1ith one )orm o) 1riting is ina2e=uate to earn a li'ing as a )reelance author. ) 3ou 1ant to 7ecome kno1n an2 success)ul as a 1riter; then em7race 7oth 1riting st3les 7ecause man3 2i))erent 2eman2s ma3 come 3our 1a3. Each st3le has its 4ros an2 cons that ma3 ren2er them e=ual to each other. Although 1riting a7out )iction usuall3 2oes not re=uire a lot o) research; not e'er3 1riter can trans)orm his imagination an2 make-7elie'e-1orl2 to 4a4er. 6riters 1ill still )ace o7stacles in non-)iction 1riting 2uring the creati'e 4rocess. $n the other han2; 2oing research )or )iction can 7e =uite 2raining; 7ut at least 3ou ha'e )ree2om to create a stor3line instea2 o) real e'ents 2ictating the stor3line )or 3ou. These t1o 1riting st3les ma3 look 2i))erent; an2 the3 ha'e their o1n a2'antages an2 2isa2'antages. Being 'ersatile in 7oth st3les can 2o a lot to esta7lish 3our cre2i7ilit3 an2 creati'it3 as an author. !either st3le is su4erior or in)erior )rom the other. Both genres ca4ture the intelligence an2 interest o) man3 1riters. +ou can8t go 1rong 1ith either 1riting st3le.

26
@ #ips to Write 9reat :i tion

t )eels great to rea2 a goo2 )iction no'el. But 2o 3ou kno1 ho1 a goo2 author creates a goo2 )iction no'el: &o 3ou kno1 ho1 an author 2e'elo4s a 4lot that kee4s 3ou rea2ing )rom co'er to co'er: ) 3ou are a 1riter 1ho 1ants rea2ers to )inish 3our 7ook in one sitting; a44l3 some o) these ti4s to 1rite great )iction.
$. :i tion writing reAuires you to write original plots.

&on8t li)t a stor3line )rom some other 7ook. *ake 3our stor3line un4re2icta7le in e'er3 4art o) 3our )iction no'el.
%. Begin your story with a rough story outline.

E'en i) the stor3 e9ists onl3 in 3our hea2; 3ou nee2 to chronicle 3our stor38s e'ents. Begin 73 1riting 2o1n one sentence 2escri7ing the o4ening scene. !e9t; 1rite another sentence that 2escri7es the last scene o) 3our 7ook. A 7ig s4ace in 7et1een ser'es as the s4ace to create ma?or 4lot 4oints )rom 7eginning to en2. These sentences 1ill gui2e 3ou as 3ou 1rite 3our )iction no'el.
'. /ou !ust have the story(s hara ters in !ind by now.
1eaknesses. +ou must kno1 these characters insi2e out; as i) the3 are ali'e an2 3ou 4ersonall3 kno1 them. +ou must kno1 each one8s strengths an2

27
*. >now the weaknesses o" your hara ter and atta k the! using the plot.
struggle. +our stor3 shoul2 7ring 3our characters together to )ight 7et1een t1o strong emotions in some t34e o) emotional
+. 9reat "i tion writers are great storytellers.

3ou are a talente2 stor3teller; start 1ith a stor3line that comes )rom 3our o1n
e94erience. *ore stor3 i2eas 1ill come )rom research. +ou must ha'e a 2etaile2 e3e )or im4ortant )acts 2uring research. +ou coul2 al1a3s use these )or 3our 4lot an2 su7-4lots.
=. 0se the a tive voi e when telling the story.

Acti'e 'oice hel4s rea2ers relate themsel'es to 3our characters an2 the3 )eel 4art o) 3our stor3. #se short an2 concrete 1or2s )or im4act.
@. Pra ti e your typing skills.
) 3ou are a goo2 t34ist; it is
easier to 4ut 3our thoughts in 1ritten )orm. Sometimes; i2eas 7om7ar2 3ou 73 slo1 t34ing. T34e )ast; an2 get 3our thoughts an2 i2eas to 4a4er )aster. These im4ortant ti4s can hel4 3ou 1rite 7etter )ictional stories. @ee4 going at it. As 3ou get 7etter at the cra)t; it 1ill 7ecome easier to create ne1 4lots an2 characters.

28
Non8"i tion Book Writing #ips

!on-)iction to4ics such as histor3; 7iogra4hies; ho1-to 7ooks; an2 sel)-hel4 7ooks can 7e a 7ig 7ore to rea2ers. The o'erloa2 o) 2ata; )acts or in)ormation 7ores an2 turns o)) some rea2ers. Some 4eo4le ha'e a har2 time )ocusing on rea2ing 4ure )acts -- the3 ten2 to )orget 1hat the3 ha'e ?ust rea2 i) it is 1ritten in 4lain an2 straight)or1ar2 2r3 English. ) 3our aim is to 1rite a 7est-selling non-)iction 7ook; 3ou ha'e to turn 7oring an2 straight)or1ar2 )acts into )un an2 interesting )acts. $ther1ise; 3ou might as 1ell ?ust 1rite a te9t7ook. (Te9t7ooks onl3 sell 7ecause schools re=uire them; other1ise; the3 1oul2 rot on 7ookstores8 shel'es.) A)ter 3ou 2eci2e 1hat to 1rite a7out; 3ou nee2 to kno1 ho1 to make 3our in)ormation interesting to rea2ers. Remem7er; nothing 7eats human interest to ca4ture an au2ience. n?ect human interest into 3our other1ise 7oring ho1-to manual or non-)iction 7ook. Aor e9am4le; let8s sa3 3ou are 1riting a7out ho1 to 7uil2 a 2og house. nstea2 o) 4lainl3 telling rea2ers ste4 73 ste4 the ho1-to8s; insert some anec2otes or 4ossi7le inci2ents the rea2er might e94erience 1hile 2oing the task. +ou shoul2 al1a3s ca4italize on human )eelings. A44ealing to the emotions al1a3s 1orks.

29
n 1riting non-)iction; it is al1a3s 7est to sho1 rea2ers 1hat is ha44ening than tell them 1hat is ha44ening. B3 sho1ing; mean lea2ing rea2ers into the scene an2 making them )eel the3 are seeing or 1itnessing the e'ent )irsthan2. nstea2 o) enumerating )acts or stating num7ers; 2escri7e it in a 1a3 the a'erage 4erson can relate to. !ot e'er37o23 kno1s his or her metric s3stem; an2 not e'er37o23 has a 'i'i2 image o) ho1 long -/ meters is. n cases like these; 3ou can make use o) 3our stock i2iomatic e94ressions an2 meta4hors. +ou can liken the length to something the rea2ers see in their e'er32a3 li'es. nstea2 o) stating that the 1oo2 is t1o inches thick; 3ou can sa3 it is as thick as their Harr3 (otter 7ook H. These allusions gi'e rea2ers a 'i'i2 image in their min2. ) 3ou learn these sim4le techni=ues; 3ou can 1rite 3our non-)iction 7ook in a )un an2 interesting manner an2 not 7ore 3our rea2ers to 2eath.

30
#he Prin iples o" 1diting

Book e2iting can 7e a grueling 4rocess. ) 3ou are not use2 to criti=uing 3our o1n 1ork; then 3ou ma3 4ass o'er errors 1ithout realizing it. E2iting is im4ortant to 4ro2uce =ualit3 1ork. Learning the 7asic 4rinci4les on ho1 to organize an2 con2ense 3our manuscri4t can sa'e 3our 7ook8s re4utation -- not to mention 3our o1n.
#ip $: Be 5on ise as ?u h as Possible

A common mistake is inclu2ing unnecessar3 content in 3our 7ook 1ithout realizing it. 6hen e2iting 3our 1ork; make sure 3ou eliminate clutter. Clutter ma3 a44ear in 3our 1ork through useless an2 re4etiti'e 1or2s in the same sentences. Aor e9am4le; this sentence; BThe hast3 7risk 1a3 that she talks;B lea'es the im4ression that the e9tra 2escri4ti'e 1or2s a22 2rama; 7ut the 1or2s Bhast3B an2 B7riskB mean the same thing.
#ip %: 3ary Senten e Stru ture

+our rea2ers might )in2 3our 1riting st3le 2ull an2 cho443 i) 3ou al1a3s 1rite 3our sentences 1ith the main su7?ect )ollo1e2 73 the 'er7. This 7rings us to the secon2 4rinci4le: learn to 'ar3 the structure o) 3our sentences. Aor e9am4le; sa3ing; BBecause ate too much; gaine2 a lot o) 1eight;B soun2s

onl3 soun2s 7etter an2 less monotonous; 7ut it is also easier to un2erstan2.
31
7etter than sa3ing; B ate too much. gaine2 a lot o) 1eight.B The )irst 4hrase not
B3 'ar3ing the length an2 structure o) 3our sentences; 3ou can achie'e a smoother an2 more con'ersational tone; instea2 o) soun2ing like a ro7ot. Thus; 3our rea2ers can relate to 3our 7ook more an2 un2erstan2 it 7etter.
#ip ': 0se , tive 3oi e

B3 re4lacing Bto 7eB 'er7s 1ith acti'e 'er7s; 3ou can change 3our statement )rom a 4assi'e 'oice into an acti'e 'oice. Aor e9am4le; it8s 7etter to 1rite; BAnna ate the a44le; B rather than BThe a44le 1as eaten 73 Anna.B +ou a'oi2 con)using 3our rea2ers on 1ho the B2oerB o) the action is in 3our statements. #sing acti'e 'oice is an im4ortant e2iting 4rinci4le. Acti'e 'oice hol2s 3our rea2ers8 interests< unlike 4assi'e 'oice o) 1riting; acti'e 'oice 2oes not 2rag out 3our 4oint.
#ip *: 5larity- 5ohesion and 5oheren e

The three C>s in 1riting; other1ise kno1n as clarit3; cohesion an2 coherence; are use)ul e2iting techni=ues. Aor 3our 7ook to trul3 s4eak to rea2ers; 3ou must e'oke a res4onse so 3our rea2ers connect 1ith 1hat 3ou are tr3ing to sa3. #se clear; connecte2 an2 coherent 1or2s to achie'e this result. Aor 3our 1ork to 7ecome clear; a'oi2 using too much ?argon or unnecessar3 1or2s. As mentione2 4re'iousl3; kee4 3our 7ook concise an2 sim4le so rea2ers un2erstan2

3our 4oint 7etter.
32
*ake sure sentences an2 4aragra4hs clearl3 stick together. $ne trick is to use transitional 1or2s an2 4hrases like; there)ore; or; an2 so. These can sho1 the relationshi4 7et1een 3our 4hrases an2 2ri'e 3our 4oint across. To achie'e coherence; )ollo1 7asic 4rinci4les o) 1riting an2 e2iting as the ones mentione2 a7o'e. Sometimes it8s not 3our )ault i) rea2ers 2on>t )ull3 un2erstan2 3our 1ork. Ho1e'er; 3ou can make things easier 73 using correct grammar an2 cohesi'e sentences. E2iting is essential to im4ro'e the =ualit3 o) 3our 1ork. ) 3ou are not use2 to )in2ing errors on 3our o1n; then 3ou ma3 )in2 sel)-e2iting too ta9ing. As long as 3ou use these 7asic 4rinci4les; then 3ou 1ill see ho1 this 4rocess im4ro'es 3our 1riting st3le in man3 1a3s.

33
5opyright .n"or!ation "or ,uthors

ssues on co43right are hot to4ics in the creati'e 1orl2. Arom mo'ies; to music; an2 authorshi4; 4eo4le ha'e 7een 2is4uting the legal conce4t o) co43right. ) 3ou are an as4iring 1riter; then e2ucating 3oursel) a7out co43right 4rotection 1ill hel4 3ou to a'oi2 creati'e legalities in the )uture. Asi2e )rom this; claiming co43right )or 3our originall3-create2 7ook 1ill 7ene)it 3ou in man3 1a3s; not onl3 as an artist 7ut also as the creator.
#ip $: What .s 5opyright)

A co43right is a legal conce4t; a))or2e2 73 most go'ernment la1s; that grants the creator e9clusi'e rights to his or her o1n 1ork; such as o1nershi4 an2 2istri7ution; making 2eri'ati'es o) the 1ork; 4u7lic 4er)ormance an2 4u7lic 2is4la3. t also grants the creator; or 1hoe'er hol2s the co43right; the 4ri'ilege )or others to cre2it 3our 1ork i) the3 use an3 4art o) it. Co43right 4rotection ensures the co43right hol2er gets 4ai2 ro3alties )rom use o) his co43righte2 creations. Because it is a )orm o) intellectual 4ro4ert3; a co43righte2 item cannot 7e 2irectl3 imitate2 or claime2 )rom the hol2er 1ithout 4ro4er negotiations.

34
Co43right la1s 2ictate that the author 7ecomes the co43right o1ner; unless he or she sells or trans)ers the rights. Also; in some cases; the co43right ma3 7elong to the em4lo3er o) the 4erson 1ho create2 the 1ork; es4eciall3 1hen the 4articular 4iece 1as ma2e )or hire. Some e9am4les o) co43righta7le 1ork inclu2e literature; music; )ilms an2 man3 )orms o) art. All o) these arts are usuall3 original an2 the results o) signi)icant la7or; creati'it3 an2 e'en )inancial in'estment. (rotecting them )rom incorrect e94loitation )rom other 4eo4le is ?usti)ia7le.
#ip %: &ow 5an . 3iolate 5opyright ;aws)

6riters 1ho use the 1ork o) others to gain i2eas an2 ins4iration is common. Ho1e'er; 1hen one co4ies an original 4iece an2 2istri7utes it as his o1n; then this is a 2i))erent issue. This act o) co43ing; 2is4la3ing; 2istri7uting or creating a 4lagiarize2 'ersion o) a co43righte2 4iece is calle2 co43right in)ringement. Co43right in)ringement can 7e a serious o))ense; es4eciall3 i) a co43right hol2er sues )or 'iolations to misuse o) his 1orks. (enalties )or this crime can inclu2e a )ine o) L-//;/// in the #.S. Ho1e'er< co43right in)ringement has certain e9ce4tions; such as The Aair #se Act; 1hich allo1s someone to use a co43righte2 1ork 1ithout com4ensation )or e2ucational 4ur4oses.
#ip ': &ow 5an . ?ake #he 5opyright ;aw Work :or ?e)

35
The co43right la1 2oes not e9ist to con2emn those 1ho 4lagiarize. n )act; it e9ists 4rimaril3 to 4rotect creators8 1orks o) creati'it3 an2 to encourage 4eo4le to 4ro2uce more a2'ancement in societ3; culture an2 the arts. $1ning a co43right allo1s 3ou to earn more mone3 )rom 3our creation. As an author; this can 4rotect 3our right to 2istri7ute 3our o1n 7ook 1ithout ha'ing to 1orr3 that )ake an2 chea4er co4ies o) 3our 1ork 1ill circulate in the market -- i) this ha44ens; 3ou 1oul2 o7'iousl3 lose mone3. $1ning a co43right 4rotects the 2ignit3 o) 3our 1ork 7ecause it 4re'ents 4eo4le )rom e94loiting it 1ithout 3our consent. Co43right gi'es 3ou control o'er 3our 1ork. A)ter all; 3ou 1orke2 har2 to create 3our 7ook; an2 it 1oul2 7e a shame i) 4eo4le ?ust co4ie2 it; claime2 it as their o1n; or use2 it 1ithout 4ro4erl3 asking )or 4ermission -- an2 4erha4s using it in 1a3s 1ith 1hich 3ou 2o not a44ro'e. Remem7er that co43righte2 1orks are usuall3 the result o) creati'it3; originalit3; har2 1ork an2 )inancial in'estment< 1ithout 4rotection; 4eo4le ma3 )in2 it eas3 to e94loit 3our material 1ithout com4ensation. +ou can learn e'er3thing a7out co43rights an2 ho1 to 4rotect 3our 7ook at htt4:55111.ResearchCo43right.com

36
Do . Need a ;iterary ,gent)

6riting is a )ruit)ul an2 )ul)illing en2ea'or. The 2o1nsi2e is 3ou ma3 )in2 it 2i))icult to get 3our 7ook 4u7lishe2. The 4rocess o) con'incing 4u7lishers to 4u7lish 3our 7ook as 1ell as negotiating on ho1 to market 3our 7ook ma3 7ur2en 3ou 1ith too much res4onsi7ilit3. The literar3 agent ser'es as an im4ortant role to com7at these o7stacles; es4eciall3 i) 3ou 2o not 1ant to 1aste 3our creati'e e))orts 2ealing 1ith the 7usiness si2e o) 7ook 4u7lishing.
#ip $: What .s , ;iterary ,gent)

A literar3 agent re4resents 1riters an2 their 1ritten 1orks to 4u7lishers; 4ro2ucers an2 other com4anies. Basicall3; these agents assist 3ou in selling 3our 7ook an2 negotiating contracts. n most cases; 3ou 2o not 4a3 the literar3 agent 2irectl3; 7ecause the3 recei'e a 4ercentage o) 3our 7ook ro3alties. Literar3 agents act as 7u))ers 7et1een 3ou an2 3our 4u7lisher; es4eciall3 negotiating ho1 each 4art3 shoul2 4ackage or market 3our 7ook. As a 1riter; 3ou 2o not 1ant the 4u7lisher to 7utcher an2 change 3our original 1ork too much< ho1e'er; 4u7lishers 2o insist on changing 3our 1ork to im4ro'e its sala7ilit3 in the market4lace. Ha'ing an agent to hel4 settle things can make things much easier )or e'er3one.
#ip %: Why Should . 9et a ;iterary ,gent)

37
*an3 7ook 1riters 1ant to concentrate on 1riting their 7ooks an2 use a literar3 agent to han2le the 7usiness o) 7ook 4u7lishing. n this case it makes sense to hire an e94erience2 agent to sell 3our 7ook to a 4u7lisher an2 negotiate ro3alties. Secon2l3; a literar3 agent 1ill ha'e connections in the in2ustr3 that 3ou 2o not; an2 this coul2 s4ee2 u4 the 4u7lishing 4rocess. An agent is res4onsi7le to sho4 3our manuscri4t aroun2 to 4u7lishers an2 use his connections to get 3our 1ork in the han2s o) a goo2 e2itor. +our literar3 agent 1ill han2le most o) the contracts; agreements an2 negotiations on 3our 7ehal). +ou ma3 also 2eci2e to 1ork 1ith a literar3 agent to e94ress an2 7rainstorm i2eas an2 o4inions a7out 3our 7ook an2 1hat 3ou 1ant to achie'e. #se a literar3 agent to assist 3ou in earning o4timal mone3 )rom 3our 1ork; an2 at the same time; 4ro'i2e 3ou 1ith creati'e 4rotection. A literar3 agent 1ill hel4 )ight )or 3our artistic 2ecisions an2 ensure 4u7lishers 2on8t com4romise 3our original conce4t.
#ip ': What Should . >now Be"ore 9etting , ;iterary ,gent)

As goo2 as it ma3 soun2 to get a literar3 agent; 2o not rush 3oursel) in choosing one. Aollo1 these 7asic rules: @no1 1ho the goo2 agents are; an2 research their cre2entials an2 accom4lishments. !arro1 2o1n a )e1 goo2 agents. Re=uest their su7mission gui2elines or ask i) the3 acce4t unsolicite2 material. The 7est a44roach is to sen2 a

asking them to re4resent 3ou.
38
7ook 4ro4osal 1ith a sam4le cha4ter; a com4rehensi'e s3no4sis; an2 a short letter
*ost literar3 agents are s1am4e2 1ith manuscri4ts. *an3 o) them are 4ick3 an2 har2 to 4lease. &o not )eel )rustrate2 i) 3ou e94erience some 2i))icult3 at this stage. Research 1ill unco'er man3 agents< in time; 3ou 1ill )in2 an agent 1ho 1ill 7elie'e in 3our 1ork an2 hel4 3ou sell it. Be 1ar3 o) scammers 1ho re=uest u4 )ront rea2ing )ees. *ake sure 3our chosen literar3 agents are legitimate. ) 3ou )in2 agents a2'ertising themsel'es too much; or a2'ertising Brags-to-richesB o))ers an2 4romises; then it8s likel3 the3 ma3 not 7e the real 2eal. As a 1riter 1ho is 2etermine2 to get 3our 1ork 4u7lishe2; )in2ing a re4uta7le literar3 agent is a 7asic ste4 to achie'e 3our goal. B3 2oing so; 3ou can get 3our stories across to 4eo4le an2 hel4 3ou make mone3 )rom 3our art. 6riting a 7ook is one ?ourne3; an2 the 7usiness as4ect is another. A goo2 literar3 agent can hel4 launch 3our career as a 1riter an2 make things a 1hole lot easier )or 3ou. ) 3ou 1ant to 7ecome success)ul in 3our 7ook 1riting en2ea'ors; it 1oul2 certainl3 not hurt 3ou to )in2 a goo2 agent.

39
What Does a ;iterary ,gen y ,gree!ent .n lude)

*an3 as4iring 7ook 1riters 3earn to get a literar3 agent )or re4resentation. Literar3 agents ha'e 7ecome 'alua7le to getting 7ooks 4u7lishe2. The )irst ste4 coul2 2etermine i) 3ou can make it or 7reak it. Be)ore signing an agreement; 3ou ma3 1on2er 1hat things 3ou nee2 to consi2er. *an3 literar3 agents ma3 not 7e legitimate. +ou shoul2 e'aluate terms an2 contents state2 in the con2ition the agenc3 o))ers 3ou.
Duration
The term or 2uration o) 3our agenc3 agreement is a critical )actor. The range o) terms 'aries )rom thirt3 2a3s to the 1hole 2uration o) 3our 1ork8s co43right. *ost authors 2on8t 1ant to 7e 7oun2 to an i2le agent )or a long time< on the other han2; literar3 agents are reluctant to sign short-term contracts 1ith 7ook authors. The 7est arrangement is one that allo1s an3 4art3 to use a K/-2a3 termination 4ro'ision. This ser'es as a trial 4erio2 to 2etermine i) 3our 4ro)essional authoragent relationshi4 can 1ork. ) 3ou ha'e alrea23 signe2 a long-term 2eal; make sure 3ou retain the right to terminate 3our agreement i) 3our agent has not hel4e2 3ou sell 3our 7ook 1ithin a

certain 4erio2 o) time.
40
S ope
*ost agreements grant the literar3 agent rights to re4resent 3our 1ork internationall3; in all t34es o) me2ia; an2 in all )ormats. All o) 3our e9isting 1orks 2uring the contract 4erio2 is co'ere2. This agreement ma3 not al1a3s 1ork )or 3ou; so consi2er negotiating 3our agent8s control to s4eci)ic 4ro?ects; es4eciall3 1hen 3ou are starting out. ) things go smoothl3 1ith 3our agent; 3ou can al1a3s a2?ust an2 7roa2en his or her sco4e o) control. +ou ma3 1ant to use a 2i))erent literar3 agent to han2le su7si2iaries like )ilm; au2io; an2 )oreign 2eals. This ma3 7e a44lica7le i) 3ou )eel 3our agent lacks e94ertise in a s4eci)ic market.
5o!!ission
#suall3; this 4art o) the agreement is non-negotia7le. *ost agents charge a )i)teen 4ercent (-G0) commission )rom 3our ro3alties. +ou can e94ect an a22itional )i'e to ten 4ercent (G--/0) )or international 2istri7ution; as 3our agent ma3 nee2 to com4ensate his su7-agents in )oreign countries. +ou shoul2 e94ect to 4a3 as much as a t1ent3-)i'e 4ercent (FG0) )ee )or a )oreign sale. There are e9ce4tions: i) 3ou 2isco'er a )oreign 4u7lisher an2 3ou 1ant 3our agent to

commission. negotiate the 2eal )or 3ou. n this case; some agents ma3 lo1er their usual
41
Disburse!ents
Since the literar3 agent 1ill recei'e ro3alties an2 a2'ances )rom the 4u7lisher; make sure 3our contract inclu2es an agreement that re=uires 3our agent to 2e4osit all )un2s on 3our 7ehal) into a se4arate an2 4ri'ate account instea2 o) 3our agent8s account. *ake sure 3our contract grants 3ou to recei'e 3our regular 4a3ment 1ithin -/ 7usiness 2a3s.
12penses and ,
ounting
!egotiate 1ith 3our agent as much as 4ossi7le; es4eciall3 i) 3ou incur an3 e9cessi'e an2 unusual e94enses. Such e94enses shoul2 not e9cee2 a s4eci)ic amount 1ithout 3our 4ermission an2 shoul2 not 7e taken 2irectl3 )rom 3our 4ocket; 7ut shoul2 7e 2e2ucte2 )rom )uture ro3alties instea2. ) 3our agenc3 agreement a7sor7s most client e94enses as a 4art o) their commission; then this 1oul2 7e a 7etter 2eal. *ake sure 3our agent is 1illing to 4ro'i2e an accounting re4ort along 1ith other RS 2ocuments at least once a 3ear. +ou nee2 to ensure that cash )lo1 )rom 3our ro3alties is going to all the right 4laces an2 3our agenc3 is not scamming 3ou.
Powers and ,ssign!ent

Be1are o) agreements that gi'e 3our agent 2i))erent 4o1ers that originall3 onl3 3ou

42
shoul2 ha'e. Such 4o1ers ma3 inclu2e signing checks an2 contracts on 3our 7ehal). +our contract shoul2 also not 7e trans)erre2 to a 4u7lisher or agent 1ithout 3our 4ermission. ) 3ou grante2 3our literar3 agent 1ith too much 4o1er; then 3ou shoul2 negotiate to 2ecrease them; es4eciall3 i) 3ou ha'e not 3et earne2 trust 1ith 3our agent.
Bankrupt y- Disability- ,nd Death

Check i) 3our contract inclu2es the clause that all 3our ro3alties ma3 7e trans)erre2 2irectl3 to 3ou; in the e'ent o) 7ankru4tc3; 2isa7ilit3 or 2eath to 3our agent. The 4re'ents 3our ro3alties )rom 7eing tie2 in court 2ue to e'ents that 3our agenc3 ma3 ha'e e94erience2. A literar3 agent8s ?o7 is to hel4 3ou 'oice 3our concerns 7et1een 3ou an2 the 7ook 4u7lisher. Al1a3s re'ie1 3our agenc38s contract to 2etermine i) 3ou ha'e the right re4resentation that su44orts 3our 7est interests. Some literar3 agents ma3 scam 3ou 1ith 3our creati'e a7ilities. These 4eo4le make themsel'es rich at 3our e94ense< the onl3 1a3 the3 coul2 2o this is i) 3ou allo1 them to 2o so. Be smart in signing an3 contracts an2 sta3 true to u4hol2ing the 'alue o) 3our intellectual 4ro4ert3.

43
What .s a Buery ;etter)

A =uer3 letter is a )ormal letter sent 73 a 1riter to literar3 agents; e2itors an2 4u7lishers. This is a 1a3 )or 1riters to 4ro4ose their 7ook i2eas. ) 3ou are a 1riter; as4iring to get 3our 1ork 4u7lishe2; then 1riting a 4ersuasi'e =uer3 letter is 'ital )or 3ou to achie'e 3our goal. A)ter all; literar3 agents an2 4u7lishers greatl3 7ase their )irst im4ressions o) 3ou an2 3our 7ook u4on a =uer3 letter or 7ook 4ro4osal. The =uer3 letter shoul2 7e a single 4age an2 shoul2 )ollo1 s4eci)ic gui2elines. The i2eal )ormat inclu2es single s4acing an2 a t1el'e-4oint )ont size. +our =uer3 letter shoul2 also consist o) )our sections in its single 4age )ormat: the hook; s3no4sis; the 7iogra4h3 an2 the closing.
#he &ook
The )irst section or 4aragra4h o) 3our =uer3 letter is the hook; 1hich is 3our 1hole 7ook com4resse2 into a single sentence. Here; 3ou 1ill 7rie)l3 intro2uce the most 7asic elements; like the character an2 the 2ilemma. Take in min2 that this sentence nee2s to gi'e ?ust the right =uantit3 o) in)ormation; 7ut o) course; not too much. *ore im4ortantl3; it nee2s to catch the attention o) the rea2er an2 intrigue the rea2er to learn more a7out 3our 7ook. This 4art o) 3our

remain2er o) 3our letter.
44
=uer3 letter 1ill 2etermine i) the agent or 4u7lisher 1ill continue rea2ing the
#he Synopsis
The secon2 4art in 3our =uer3 letter -- or the s3no4sis -- lets 3ou 2escri7e 3our manuscri4t in a 1hole 4aragra4h instea2 o) limiting 3oursel) to one sentence. Here; 3ou can e94an2 more on some things that 3ou ha'e mentione2 in the 4re'ious section. +ou must mention certain as4ects o) the 7ook such as its genre; 1or2 count an2 3our un2erstan2ing o) the market (i.e. 1ho 1oul2 7u3 3our 7ook:). Sho1 great 2eman2 in the market )or 3our 7ook an2 con'ince the literar3 agent or 4u7lisher that 4eo4le are intereste2 in 7u3ing an2 rea2ing 3our 7ook. E9amining success)ul 7ooks an2 not-so-success)ul 7ooks can hel4 3ou e94lain ho1 3our 7ook has 4otential to sell more co4ies than com4eting 7ooks in the market4lace.
#he Biography
The thir2 section is the easiest among all sections; 7ecause all 3ou ha'e to 2o is talk a7out 3oursel). +ou 2o not onl3 ha'e to sell 3our 7ook; 7ut as a 1riter; 3ou must also sell 3oursel).

45
n this 4art; mention an3 a1ar2s; achie'ements; as 1ell as e94eriences in 1riting an2 4u7lishing that 3ou ha'e ha2. *ention i) 3ou ha'e ha2 an3 1orks 4u7lishe2 7e)ore an2 1hat the3 are. &o not hol2 7ack on 3our cre2entials. ) 3ou ha'e an im4ressi'e recor2 in 1riting then make sure 3ou sho1 3our e2itor or agent that 3ou ha'e all the skills an2 e94erience in the 1orl2. *ake sure to )it e'er3thing in one 4aragra4h. ) this is 3our )irst 7ook; an2 3ou 2o not ha'e )anc3 a1ar2s or accom4lishments; 3ou 2o not ha'e to 1orr3. This means 3ou are le)t 1ith more s4ace to talk a7out 3our 7ook at a 2ee4er le'el.
,nd "inally- #he 5losing

The )ourth an2 )inal 4aragra4h is the closing 4aragra4h. This is the 4ortion in 3our =uer3 letter that 3ou ask the agent or 4u7lisher )or 4ermission to sen2 3our manuscri4t. At the same time; 3ou 1oul2 also thank the agent or 4u7lisher )or their time. Also; mention 3ou are looking )or1ar2 to hearing )rom them. Remem7er to 4lace 3our contact 2etails -- 3our name; e-mail a22ress; tele4hone or cell 4hone num7ers- at the en2 o) the 4aragra4h. This is a 'er3 7asic an2 uni'ersall3 acce4te2 )ormat in 1riting a =uer3 letter. ) this is 3our )irst time 1riting a =uer3 letter; then use this )ormat. *an3 agents; e2itors

)ormat.
46
an2 4u7lishers 2o not 4re)er =uer3 letters that 2e'iate )rom the uni'ersall3 acce4te2
The =uer3 letter can make or 7reak 3our 1riting career -- it is a7out making the right im4ression. @ee4 this 2ocument sim4le 3et im4ressi'e. Stimulate 3our rea2ers8 interest an2 make them 7eg )or more o) 1hat 3ou can o))er. *ost es4eciall3; 7e 3oursel) in the 7est 4ossi7le 1a3 3ou can.

47
Writing a 9ood Book Proposal

*ost 1riters su7mit a com4lete manuscri4t to a 4u7lisher an2 cross their )ingers as the3 1ait im4atientl3 )or the 4u7lisher to re4l3 7ack 1ith a re?ection or acce4tance. The3 ho4e the 4u7lisher likes their manuscri4t. The realit3 is most 4u7lishers 2o not like rea2ing com4lete manuscri4ts. +es; 3ou rea2 it right. (u7lishers recei'e man3 manuscri4ts )rom as4iring 1riters an2 the3 2o not 1ant to 1aste 'alua7le time rea2ing an entire manuscri4t onl3 to re?ect it. (u7lishers are sellers. The3 are onl3 intereste2 in 7ooks that sell. The3 2on8t 1ant to s4en2 time rea2ing 7a2 7ook manuscri4ts. +ou ha'e to con'ince the 4u7lisher that 3our 7ook is 7etter than most an2 it coul2 7e a 7estseller 1ith their e94ertise. +ou can 2o that 73 1riting a goo2 7ook 4ro4osal. A 7ook 4ro4osal contains the 2escri4tion o) 3our 7ook an2 its selling 4oints. t is 3our tool to get 3our 7ook 4u7lishe2. 6rite a goo2 4ro4osal that sa3s 3our 7ook is a must-ha'e an2 a must-rea2; lea'ing no 2ou7ts to 4u7lish 3our 7ook. 6rite a 7ook 4ro4osal 7e)ore 3ou 1rite 3our entire 7ook. This sa'es 3ou time i) the 4u7lisher likes 3our 7ook i2ea 7ut has some re'isions in min2. The 1riting 4rocess ma3 inclu2e in4ut )rom the 4u7lisher an2 e2itor< a)ter all; the3 ha'e e94erience an2 kno1 1hat -- an2 1hat 2oesn8t -- sell. Colla7orate creati'el3 1ith 3our 4u7lisher an25or e2itor an2 3ou 1ill 4ro2uce a 7etter 7ook.
What does a good book proposal look like)


48
A 7ook 4ro4osal has no stan2ar2 )ormat. Cust as 3ou ma3 use 2i))erent 1riting st3les; 3ou can also 1rite a 4ro4osal 1ith a 2i))erent st3le than the norm; 2e4en2ing on 1hat in)ormation the 4u7lisher re=uests. Aor a 7ook to sell; 3ou ha'e to custommake a 7ook 4ro4osal )or the inten2e2 4u7lisher. A2a4t a st3le that matches 3our 4u7lisher8s 4ersonalit3 an2 st3le. The 7asic re=uirements o) a goo2 7ook 4ro4osal shoul2 inclu2e the )ollo1ing: -. The title an2 the summar3; or at least the 4remise o) the 7ook. F. The 2istincti'e selling 4oint o) 3our 7ook. K. The manuscri4t la3out or 4lan. M. The target market or au2ience 1ith e94lanation an2 2escri4tions. G. The author8s 7ackgroun2 an2 1riting e94erience. E. S3no4sis o) e'er3 cha4ter o) the 7ook. H. $ne or t1o sam4le cha4ters o) the 7ook. +ou can rearrange this in)ormation in an3 se=uence; as long as it con'inces 3our 4u7lisher to 4u7lish 3our 7ook.

49
What is a Publishing ,gree!ent)

A 4u7lishing agreement is a 2ocument or contract that a 1riter signs 1ith a 4u7lisher 7e)ore their 1ork can 7e 4ut into 4rint an2 2istri7ute2 in 2i))erent me2ia. "etting such a contract is 4ro7a7l3 on e'er3 1riter8s 1ish list. !ot all clauses in such contracts ma3 1ork out to 3our a2'antage. +ou cannot rel3 on 3our agent to make all 2ecisions; es4eciall3 i) 3ou are 4lacing 3our o1n rights at stake. Aull3 un2erstan2ing 3our 4u7lishing agreement 1ill ensure 3ou remain in control 1ith 3our en2ea'ors.
6ights
Airst; look )or 1hat rights 7elong to 3ou in 3our contract. E9amine the clauses closel3 instea2 o) skimming through them. ) 3ou ha'e an3 2ou7ts; 2o not hesitate to consult a la13er or 3our agent or 4u7lisher. Stan2ar2 4u7lishing agreements usuall3 )orces the author to assign or license all 4rinting rights to the 4u7lisher. Su7si2iar3 rights -- such as )oreign sales; 7ook clu7s; )ilm; au2io -- are usuall3 inclu2e2. E9ce4t )or the rights to 4rinting; 3ou can negotiate all o) these rights. Retain as man3 secon2ar3 rights as 4ossi7le. A)ter all; 3ou ne'er kno1 1hen 3ou>ll

such su7si2iar3 rights; 3ou 1ill gain )inanciall3 more; o) course.
50
get a 7etter 2eal )rom a 2i))erent 4u7lisher )or )ilm an2 )oreign sales. ) 3ou retain
6oyalties
Closel3 e9amine the ro3alties in 3our contract; es4eciall3 i) 3ou 4lan to make a li'ing )rom 3our 1riting. Ro3alties are al1a3s a negotia7le clause. The rate o) 3our ro3alties is a sli2ing 4rice 4oint an2 2e4en2s i) 3our 7ook is har2co'er; 4a4er7ack; tra2e 4a4er7ack; or a com7ination. The 7ook8s genre -non)iction; )iction or 4ro)essional te9t7ook -- 1ill also 2etermine 4rices an2 4ercentages )or ro3alties. #n2erstan2 the im4lications o) the 2i))erent )ormulas )or 4ricing (retail 4rice; in'oice 4rice or net recei4ts) so 3ou can un2erstan2 the 4ro4ose2 ro3alt3 rates. ) the 4u7lisher retains su7si2iar3 rights; all net recei4ts shoul2 7e s4lit e=uall3 1ith 3ou; the author. At this 4oint; 2on8t hesitate to consult an e94ert i) 3ou are con)use2. &o not rel3 too much on the 4u7lisher8s generosit3; an2 al1a3s 7e 1ise in 2ealing 1ith the )inancial as4ects o) 3our transactions.
5o!pensations and Warranties

These t34es o) clauses in 3our contract are o)ten legal-hea'3. n )act; man3 authors; agents an2 e2itors ma3 not al1a3s ha'e a )ull gras4 o) 1hat the3 inclu2e in them.

51
These 4aragra4hs state the res4ecti'e res4onsi7ilities o) each 4art3; inclu2ing 1hat claims the3 can make against the 7ook; such as 2e)amation; in'asion o) 4ri'ac3 or co43right in)ringement. Asi2e )rom the 4u7lisher8s la13ers; 3ou shoul2 a44oint 3our o1n legal council to 4eruse the terms an2 con2itions. Ha'e a la13er care)ull3 e9amine 3our contract to ensure )ull 4rotection.
4ption 5lauses
Some clauses in 3our contract ma3 grant the 4u7lisher rights to either make an o))er or 7u3 3our ne9t 7ook. &o not acce4t such o4tion clauses. ) 3ou cannot remo'e such an o4tion clause entirel3; then negotiate so it 2oesn8t im4ose a real 7ur2en on 3ou. $ne 1a3 to negotiate such o4tion clauses is to esta7lish a limite2 4erio2 in 1hich the 4u7lisher can 7i2 on 3our ne9t 7ook; an2 4ermits 3ou to sell 3our ne9t 7ook to a 2i))erent 4u7lisher 1ho o))ers a 7etter 2eal.
6evisions and 0pdated 1ditions

Clauses on re'isions onl3 a44l3 to non)iction 7ooks. *ake sure 3our contract allo1s 3ou to u42ate 3our contract i) 3our 4u7lisher re'ises 3our contract e9tensi'el3. Also make sure 3our contract contains a clause that 4laces a ca4 on ho1 o)ten the 4u7lisher re=uires 3ou to re'ise 3our 7ook o'er a certain 4erio2 o) time.

52
4ut 4" Print 5lauses

n the 1orst-case scenario; 3our 7ook ma3 not 7ecome success)ul un2er 3our current 4u7lishing com4an3 an2 the3 ma3 lose interest. ) this ha44ens; 3our contract grants 3ou the rights to 3our 7ook; an2 3ou can re-4u7lish it 1ith another 4u7lisher. *ake sure the contract clearl3 2e)ines the Bout-o)-4rintB terms. 2eall3; 3our 7ook 7ecomes Bout-o)-4rintB 1hen the 4u7lisher8s catalog no longer lists 3our 7ook; or 3our 4u7lisher 1ith2ra1s 3our 7ook )rom ma?or 7ook chains. Remem7er to 7e smart in 2ealing 1ith the legal as4ects o) 3our 4u7lishing agreement. !e'er hesitate to ask )or 4ro)essional legal hel4 1hen 3ou nee2 to un2erstan2 an3 4art o) 3our contract. +our 2ecisions here 1ill 2etermine the success o) 3our 1riting career as a 7ook author.

53
Negotiating , Book 6oyalty

The har2est 4art as a 7ook author ma3 not 7e the 1riting; nor 7ook marketing or )in2ing a 4u7lisher. !egotiating 1ith a 4u7lisher also ma3 not 7e as 2i))icult -- i) 3ou e2ucate 3oursel) a7out 1hat is right)ull3 3ours as the creator o) the 1ork. The contract coul2 come eas3. 6hat is the har2est 4art: The har2est 4art is 4re'enting the 4u7lisher )rom taking a2'antage o) 3ou. +es; 4u7lishers ha'e a nast3 re4utation o) mishan2ling ne1 authors 1ho lack 7usiness-sense skills. (u7lishers entice unsus4ecting authors 1ith a huge a2'ance 4a3ment< 7ut t34icall3; the3 re1ork other 4rice 4oints (ro3alties an2 licensing) to their a2'antage. The a2'ance 4a3ment is ?ust the 7eginning in the li)e c3cle o) 3our 7ook. The ro3alt3 is the real mone3-generator. t is the most 4ro)ita7le 4art o) the 7ook8s sale; es4eciall3 i) 3our 7ook 7ecomes a 7estseller. So ho1 2oes an author 4rotect himsel) an2 his intellectual rights: Authors shoul2 consult e94erts; such as a literar3 agent; on negotiating 7ook contracts an2 ro3alties. +ou can also ?oin a2'ocac3 organizations that can a2'ise 3ou 1ith )irsthan2 e94erience on 4u7lishing contracts. Ho1e'er; most a2'ocac3 organizations onl3 acce4t 4u7lishe2 authors. !e1 authors ma3 7e out o) luck 1ith this o4tion. To sa)eguar2 3oursel) against 4u7lishing 4re2ators; use a la13er 1ho 1ill han2le the contract an2 e94lain e'er3 2etail to 3ou in 4lain English.

3oursel); then )ollo1 this a2'ice a7out 7ook 4u7lishing contracts.
54
) 3ou cannot a))or2 a la13er an2 3ou )eel con)i2ent 2ealing 1ith the 4u7lisher 73
#ip $: Deter!ine the nu!ber o" book opies that you and your publisher have agreed upon.
@no1 ho1 man3 co4ies 3our 4u7lisher is going to shi4 an2 2istri7ute. This 1a3; 3ou can also kee4 track o) the num7er o) co4ies that the 4u7lisher actuall3 sol2 an2 the num7er o) co4ies that 4eo4le returne2.
#ip %. ?ake it lear with your publisher what type o" royalty you are agreeing with in the ontra t.
s it a regular; )oreign e94ort; or a s4ecial 2iscount: Because the in2ustr3 has no stan2ar2 )ormat )or ro3alt3 contracts; the ro3alt3 coul2 also 7e Bsome other t34eB o) ro3alt3; unkno1n to most authors. *ake sure 3ou kno1 an2 un2erstan2 the ro3alt3 rate; 7oth in 4ercentage an2 2ollar amounts.
#ip '. >now the details o" reserve against returns as learly stated in dollars.

55
*ake sure 3ou get the 2etails o) su7si2iar3 contracts; income an2 sales. As much as 4ossi7le; tr3 to kno1 e'er3thing 3ou can. Be 7ra'e an2 ask 3our 4u7lisher man3 =uestions. A)ter all; it is 3our creation -- so 4rotect it%

56
&ow to 5reate a Saleable Book 5over

A sur'e3 cite2 73 BThe 6all Street CournalB sa3s that a 4erson 1ho sur)s the 7ookstore actuall3 s4en2s more time looking at the )ront 7ook co'er 7e)ore he rea2s the 7ack co'er. +es; 3ou got it right. +ou shoul2 care)ull3 think a7out ho1 to 2esign 3our 7ook co'er using recommen2e2 2esign techni=ues to attract 7u3ers. Here are some note1orth3 7ook co'er creation ti4s 3ou can use.
#he :ront 5over

The )ront 7ook co'er sho1cases the title; its su7title; an2 the author8s name. Think o) the )ront co'er as a 7ill7oar2 a2 2is4la3e2 on one o) the 7usiest streets in the cit3. ts 2esign must e94ress a soli2 message 1ithout 7eing too )lash3 an2 )uss3. The gra4hics shoul2 7e 7ol2; uni=ue; an2 2istinct. "ra4hics shoul2 relate to the 7ook8s content an2 not mislea2 rea2ers. #se contrasting 7ol2 t34e)ace as the lettering. +ou can use 3our imagination )or the color scheme. The )ont size must 7e rea2a7le; e'en )rom a 2istance. (oorl3 2esigne2 7ook co'ers 1ill result in 4oor sales. The 7est ti4 is to hire a 4ro)essional gra4hic 2esigner 1ho is skille2 in 4rinting; 4hotogra4h3; so)t1are; an2 creati'e skills. !o1 that 1ill trul3 make sense.

57
#he Book Spine

The 7ook8s s4ine must contain the author8s name; the 7ook8s title; an2 the 4u7lishing com4an38s logo (i) a44lica7le). The in)ormation must 7e legi7le; uncluttere2; an2 'isi7l3 clean. #se 7ol2 an2 contrasting colors )or the letters.
#ease the Ba k 5over

The 7ack co'er gi'es 3ou a secon2 chance at selling 3our 7ook to a 4otential 7u3er 1ho )oun2 3our )ront co'er interesting. The 7ack co'er shoul2 tease the min2s o) 4otential 7u3ers an2 4ersua2e them to 7u3 3our 7ook. "o )or a terri)ic hea2line an2 a2'ertise it to 3our target market; 4ro'i2e a 7rie) 7ut 4ersuasi'e 7ackgroun2 o) the content; inclu2e 3our 7io-2ata an2 4hoto; the 7ar co2e; an2 the -K-2igit SB! num7er. (on2er these im4ortant 7ook co'er creation ti4s an2 7e rea23 to hit the market 1ith the 4otential o) great sales.

58
= Si!ple Book ;ayout #ips to 6e!e!ber

A 7ook8s la3out is almost as im4ortant as its content. An e))ecti'el3 2esigne2 la3out makes it eas3 )or 4eo4le to rea2 an2 un2erstan2 3our 7ook. A 4oorl3 2esigne2 la3out can con)use 3our rea2ers an2 make them 2iscar2 3our 7ook com4letel3.
;ayout ,
ording to Page SiCe
@no1ing the 4age size o) 3our 7ook 1ill 2etermine the i2eal measurements o) 3our 7ook la3out. Because 7ooks ha'e stan2ar2 sizes; e94ect to a2?ust 3our la3outs to the 4age size chosen )or 3our 7ook rather than the other 1a3 aroun2.
:ont 5hoi es
Choose a )ont size that 1ill make it eas3 )or 3our rea2ers to rea2 1ithout greatl3 increasing the 4rinting costs o) 3our 7ooks. Secon2l3; choose the )ont t34e that 7est mirrors the content o) 3our 7ook. Aonts like Times !e1 Roman or !e1 Courier match cleanl3 )or non-)iction an2 no'els 1ith serious themes< 1hile )onts like Comic Sans *S match 7etter )or chick-lit stories or something that8s more entertaining rather than in)ormati'e.
0ni"or!ity

59
Ha'e a )ormat )or 3our 7ook an2 stick to it. ) 3ou 7egan 1ith 4age num7ers in the u44er-right han2 corner an2 s4elle2 out cha4ter num7ers rather than using Ara7ic numerals; make sure 3ou stick to it to the en2. Esta7lish rules 7e)orehan2 to ensure a uni)orm la3out. &etermine 1hen to un2erline certain 1or2s or 4lace them in 7ol2 or italics. 6hen outlining i2eas; 2eci2e i) 3ou 1ant to start 1ith u44ercase letters; 4rocee2ing to Roman numerals an2 lo1ercase letters; rather than using 7ullets.
?argins
*argins make 3our 7ook la3out look 7etter. The3 also make 3our content easier to rea2.
Spa ing
S4acing can con?ure a lot o) meaning so 7e care)ul on ho1 3ou use s4aces 7et1een 4aragra4hs an2 sections in 3our 7ook.
Photos
) 3ou inclu2e 4hotos an2 illustrations; consi2er ho1 3ou82 insert them in 3our la3out an2 align them 1ith 3our te9t. Ho1 1oul2 3ou inclu2e ca4tions an2 la7els: 6hat8s the a44ro4riate size )or them: Shoul2 3ou limit the num7er o) 4hotos on each 4age:

time%
60
Consi2er these ti4s an2 3ou8re sure to 2esign a smart la3out )or 3our 7ook in no

61
* 1asy #ips to 5hoose a Book #itle

6hether 3ou are 1riting )iction or non-)iction; 3ou must choose the 7est title )or 3our 7ook.
>eep .t Short
Aa'or short titles instea2 o) long titles. Short titles make a great im4act. Statistics sho1 that more rea2ers remem7er a short 7ook title instea2 o) a long 7ook title. Book titles 2on8t ha'e to )orm a com4lete sentence. (hrases; terms; )ragments; or e'en ?ust one 1or2 might make the 4er)ect 7ook title i) it can )ull3 encom4ass the main i2ea o) 3our 1ork.
>eep .t Des riptive

The title o) 3our 7ook must mirror the i2ea o) 3our 7ook. $ne sim4le 7ut e))ecti'e e9am4le is the )irst 7ook o) C.S. Le1is8 4o4ular Chronicles o) !arnia Series; the Lion, the "itch, and the "ardrobe. 6ith those 1or2s; 3ou kno1 imme2iatel3 1hich im4ortant )igures encom4ass the stor3.

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+ou 2on8t ha'e to 7e literal all the time. A7stract i2eas an2 allusions 1ork as long as 3ou can catch rea2ers8 attention an2 e9hi7it an un2erl3ing signi)icance in hin2sight. $ne goo2 e9am4le is Tennessee 6illiams8 4la3; #he $lass %enagerie.
Speak the ;anguage o" /our 6eaders

+our stor38s success relies on ho1 much 3our rea2ers can relate to an2 a44reciate 3our 7ook. Although this 2oesn8t mean 3ou ha'e to 1rite a7out situations that 3our rea2ers ha'e e94erience2; it 2oes mean 1riting in a 1a3 that hel4s rea2ers gras4 3our meaning. A44l3 the same reasoning as 3ou 2e'elo4 a title )or 3our 7ook. #sing 7uzz1or2s are oka3 i) 3ou 7elie'e the38re a44ro4riate. Consi2er the long-term conse=uences o) 3our choice. A 4o4ular term to2a3 ma3 7e o7solete in the ne9t 2eca2e.
?ake .t 0n"orgettable
This is 1here 'arious )actors like alliteration; rh3ming; choice o) 'er7s; an2 e'en choice o) language all come into 4la3. +ou 2on8t nee2 to use com4licate2 1or2s< one glance at &ich 'ad, Poor 'ad 4ro'es that rather 1ell. ) 3ou nee2 hel4 creating un)orgetta7le 7ook titles; )ocus on 3our 7ook8s content. 6hat i2eas in 3our 7ook seeme2 4re4osterous at the start; 7ut 3ou 2e)en2e2 an2 4ro'e2 3our 4oint in the en2: Can 3ou sum them u4 in a )e1 1or2s:

Remem7er these ti4s 1hen 3ou choose a title )or 3our 7ook. "oo2 luck%
63

64
So"tware "or Book Writers

&reaming o) 1riting 3our o1n 7ook: 6ell; it is not as eas3 as it looks. +ou 1ill ha'e to )in2 a theme; set u4 a 4lot; construct a goo2 )lo1 o) i2eas an2 )ormat an2 4roo)rea2 3our 1ork. Has 3our 2ream ?ust 2ie2: &on8t 1orr3% A han2)ul o) 7ook 1riting so)t1are 4ro2ucts can hel4 3ou; es4eciall3 )or 7eginning 1riters. Here are some so)t1are 4ro2ucts 3ou might 1ant to tr3. NewNovelist Software This so)t1are claims 3ou can 1rite 3our 7ook the 1a3 3ou 1ant to. t 1ill cut-o)) 3our 1riting time 73 )ollo1ing the 7roken-2o1n 4rocess o) 7ook 1riting into managea7le 4arts. t 1ill hel4 3ou organize 3our thoughts 7etter 1hether 1riting 3our intro2uction; 3our 4lot or e'en 3our en2ing )irst. Power riter Software
t has integrate2 stor3 2e'elo4ment an2 outline tools that hel4 1riters smoothen the )lo1 o) their stories. t o))ers )ull3 e2ita7le outlines; 2ictionar3; s4ell check an2 a thesaurus an2 a character name 7ank that 1ill hel4 3ou restructure 3our 1ork con'enientl3. t gi'es the )eel o) the 1hole 1riting e94erience minus the hassle.

65
C!ara"ter Pro Software This can hel4 3ou )in2 the right characters )or 3our stor3 e'er3 time 3ou nee2 one. The so)t1are contains the Enneagram s3stem that anal3zes human 7eha'iors an2 )its them into 1hat 3ou 1ant 3our characters to 7e. Character (ro lets 3ou create a realistic character. Stor#$ase Software Stor37ase So)t1are ser'es as 3our li7rar3 o) 2ata. t hel4s 1riters organize their i2eas an2 search through their stor3 i2eas 1ith its 4o1er)ul search engine s3stem. Stor37ase also 4ro'i2es suggestions on stor3 4ossi7ilities 2e4en2ing on 1hat is in 3our 2ata li7rar3. +ou can 2e'elo4 characters8 min2sets an2 thrusts to create 4ossi7le con)licts 1ithin 3our stor3line. This so)t1are is 'er3 use)ul i) 3ou ha'e 4ro7lems 7uil2ing u4 3our 4lot an2 en2ing. i%ar&s for or& Software
6izar2s )or 6or2 is a manuscri4t )ormatting so)t1are )or 1riters. 6hether 1riting something as short as a 7ook re4ort or a G//-4age no'el; 6izar2s )or 6or2 1ill hel4 3ou )ormat 3our 1ork 7e)ore 3ou su7mit it to an agent or 4u7lisher. 6izar2s )or 6or2 o))ers man3 4o1er)ul )eatures such as the Character 6izar2; the (lot

4roo)rea2ing.
66
6izar2 an2 the "host Re'ie1er. t greatl3 im4ro'es 3our 1riting; e2iting an2

67
:ind the Best Publisher "or /our Book

+ou8re rea23 to 4u7lish 3our )irst 7ook. +ou 1ant to )in2 the 7est 4u7lisher. +ou can )in2 hun2re2s o) 4u7lishers -- 7ig an2 small. The 4ossi7ilities seem en2less; so choose 3our 7ook 4u7lisher care)ull3. The a2'antages an2 2isa2'antages o) choosing a 4u7lisher make the 4rocess com4licate2 an2 con)using. Selling 3our 7ook to a 4u7lisher usuall3 means the3 2o most o) the grunt 1ork to ensure 3our 7ook8s success. (u7lishers ha'e in2ustr3 contacts as 1ell as the )inances to 4ro2uce an2 market 3our 7ook. +ou can also look )or1ar2 to a larger a2'ance 1ith a 4u7lisher. &isa2'antages also a7oun2. Big 4u7lishers 1on8t take on a ne1 author unless 3ou alrea23 ha'e a 7ook 4u7lishe2. (u7lishers also share in the ro3alties an2 a2'ances. This a22s to a22itional e94enses on 3our 4art. To )in2 the 7est 4u7lisher; market 3our 7ook to ma?or 4u7lishers that ha'e a 4ro'en track recor2 1ith 3our t34e o) 7ook. This 1ill re=uire leg1ork on 3our 4art; 7ut this metho2 is )ul)illing. Although not all 4u7lishers 1ill consi2er un-agente2 1ork; 3ou can still )in2 man3 4u7lishers 1ho acce4t unsolicite2 4ro4osals an2 7ook manuscri4ts.

68
) 3ou ha'e mone3 to sel)-4u7lish; then sel)-4u7lish. Sel)-4u7lishing also has 4ros an2 cons. The 4ros inclu2e: )ull control o'er 3our manuscri4t< 4u7lishers or e2itors 1ill not re=uest re'isions< an2 3ou kee4 all ro3alties.. +ou can earn some mone3 in the long run -- i) 3ou kno1 ho1 to market 3our 7ook. The cons inclu2e: lack o) gui2ance )rom e2itors an2 4u7lishers< 3ou are res4onsi7le to market 3our 7ook< an2 u4 )ront )ees ma3 7e large to 4ro2uce an2 2istri7ute 3our 7ook. The 1orst case is re'ie1ers an2 7ookstores 1on8t take 3ou or 3our sel)-4u7lishe2 7ook seriousl3. nternet research an2 1e7sites can hel4 3ou choose a 4u7lisher. +ou can 'isit se'eral 1e7sites such as 111.7ook4ro4osal1riting.com. 111.7ookcatcher.com; 111.c7c7ooks.org; 111.7ookmarket.com; or Amazon.com. $nline 4u7lishers 4ro'i2e 3ou 1ith 2i))erent )ormats in 1hich to 4u7lish 3our 7ook; such as 4a4er7ack; har2 co'er; 4ocket size; or 2igital. $nline 4u7lishers charge e=ui'alent )ees 7ase2 on 4age =uantit3; sizes or 4a4er stock. *an3 online 4u7lishers o))er 4u7lishing ser'ices; such as la3out; gra4hic 2esign an2 e2iting. ) 3ou are serious a7out 4u7lishing 3our 7ook; then 2o a lot o) research to make the 7est choice. *an3 4u7lishers are looking )or ne1 an2 )resh materials. This can 7e 3our 4ass4ort to 3our 1riting career.

69
4ther Ways #o Publish /our Book

E'er3 1riter 2reams to 4u7lish his or her o1n 7ook. Tra2itionall3; to get 3our 1ork into 4rint 3ou ha2 to su7mit 3our manuscri4t to 2ozens o) 4u7lishers or literar3 agents. Then 3ou ha2 to 1aitNan2 1aitNan2 1ait to get a res4onse. This res4onse 1as either an acce4tance or -- usuall3 -- a re?ection. (ntagoni)ing, isn*t it+ To2a38s 4u7lishing tren2s ha'e 'astl3 change2 in the last ten 3ears in )a'or o) hel4ing as4iring authors sel)-4u7lish their 7ooks 1ith little or no cost. Book authors ha'e more o4tions; thanks to the nternet; an2 such online 4u7lishing ser'ices o))ere2 73 Lulu.com an2 CreateS4ace.com. $nline ser'ices an2 ne1 4rinting technolog3 em4o1ers authors to 4u7lish an2 market their o1n 7ooks; e'en i) the )inancial return is nominal. Let8s learn a7out 2i))erent alternati'es to 4u7lish 3our o1n 7ook.
#he .ndie ?ove!ent

) 3ou are una7le to sign 1ith a 1ell-kno1n 4u7lisher to 4rint 3our 7ook; 2o not gi'e u4. *an3 authors success)ull3 4u7lish their 7ooks 1ithout the hel4 o) an agent or a )amous !e1 +ork 4u7lisher. *an3 tra2e 4a4er7ack 4u7lishers are 1illing to gam7le on ne1 an2 unkno1n 1riters. Tra2e 4a4er7ack 4u7lishers ha'e smaller 4rint 2eman2s than mainstream 4u7lishers.

A gro1ing tren2 )or tra2e 4a4er7ack 4u7lishers is using ne1 technolog3 an2
70
4rinting techni=ues calle2 Pri't o' De(a'&. This ne1 technolog3 allo1s an author to 4lace a small 4rint or2er or 4u7lish ?ust a single co43 1ithout an3 high costs. There is no longer a nee2 )or a huge 4ress run. (rint on &eman2 is a gro1ing market )or 7ooks an2 in2e4en2ent 4ro2ucts; an2 this ?ust ma3 7e 3our ticket to get 3our 7ook 4u7lishe2.
#he eBook 6evolution

Electronic 4u7lishing is a 'ia7le alternati'e to 4u7lish 3our 7ook. Since the nternet is a 'ast 1orl2 to 2istri7ute in)ormation 1ithout 7oun2aries an2 1ith little cost; small an2 large electronic 4u7lishers are intereste2 in a huge 'ariet3 o) genre -)rom sel)-hel4 7ooks; to romance; m3ster3; science )iction an2 )antas3. Signing u4 1ith an e-7ook 4u7lisher is 4ractical an2 a )ast 1a3 to market 3our 1ork as an e-7ook. A gro1ing tren2 o) 4eo4le en?o3 7u3ing e-7ooks online an2 rea2ing them on la4to4s; com4uters; han2hel2 rea2ers; cell 4hones an2 other electronic 2e'ices.
Sel"8Publishing
!e1 technologies ha'e 4a'e2 the 1a3 to make sel)-4u7lishing a 'ia7le o4tion to 4u7lish 3our 7ook. Sel)-4u7lishing no longer costs 3ou si9 to se'en thousan2 2ollars< 3ou can no1 sel)-4u7lish at a )raction o) the cost. (rinters using ne1 technolog3 can 4u7lish a 7ook )or a )e1 hun2re2 2ollars;

71
sometimes less. (lus; 3ou can contact an2 4a3 a 4rinter to 4ro2uce 3our 7ook )or a certain )ee. A)ter this; 3ou can use 3our o1n net1ork o) 4eo4le an2 marketing skills to sell 3our 7ook. Sel)-4u7lishing gi'es 3ou total control -- 3ou call all the shots. +ou 2o not ha'e to 1ait )or a literar3 agent or an e2itor to 2isco'er 3ou< instea2; 3ou can take things into 3our o1n han2s 73 in'esting 3our o1n mone3. ) 3our 7ook 7ecomes a hit; then 3ou can en?o3 the returns an2 rights )or 3oursel). Like an3 7usiness 'enture; sel)-4u7lishing ma3 ha'e more 4otential )or u4si2e; 7ut it ma3 also ha'e a greater chance )or )ailure since 3ou are res4onsi7le )or marketing an2 selling 3our 7ook. *ake sure 3ou are 2iligent 2uring the 2istri7ution 4rocess< an2 market 3our 7ook aggressi'el3 to generate stea23 sales. (u7lishing tren2s ha'e change2 ra4i2l3 in the 4ast )e1 3ears. To2a38s 7ook authors are em4o1ere2 1ith ne1 alternati'es to 4u7lish their 7ooks. The3 make their o1n 2ecisions an2 retain all creati'e rights. "one are the 2a3s 3ou 1aite2 M-I 1eeks to hear 7ack )rom a ma?or 4u7lisher a7out 3our 7ook 4ro4osal or manuscri4t. Sel)-4u7lishing 7anishes the anno3ing re?ection sli4. +ou ha'e 7etter alternati'es to 4u7lish 3our 7ook 3our 1a3.

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+ Book ?arketing #ips "or Sel"8Pro!otion

6riting an2 )inishing 3our 7ook is ?ust the 7eginning. "etting 3oursel) 4u7lishe2 is the hal)1a3 4oint. To reach the en2; 3ou nee2 to o'ercome one more o7stacle; an2 that8s marketing. ) 3ou 1ant 3our 7ook to 7e a success; 2on8t lea'e the marketing to 3our 4u7lisher. +ou can use man3 marketing techni=ues to 4romote 3our 7ook.
#ip $. 9ive :ree 5opies to 6eviewers

) 3ou8re con)i2ent a7out the =ualit3 o) 3our 1ork then go ahea2 an2 sen2 )ree co4ies to re'ie1ers. The 4u7licit3 )rom their re'ie1s; es4eciall3 i) the3 ra'e a7out 3our 7ook; 1ill interest man3 4eo4le to 7u3 3our 7ook.
#ip %. Post Su!!aries and 12 erpts

(ost summaries 1here'er an2 1hene'er 3ou can. Be sure 3our 4u7lisher grants 3ou 4ermission to 2o this. +ou can use 3our 7ook8s 7ack co'er 7lur7 )or the summar3. A22 an e9cer4t )rom 3our 7ook8s 4rologue an25or )irst cha4ter.
#ip '. Prepare a ?edia >it

73
(re4are a me2ia kit to make it eas3 )or 4eo4le )rom all sectors o) me2ia to 1rite a7out 3ou an2 3our 7ook. +our me2ia kit shoul2 inclu2e a 4itch letter (think o) it as a 'ariation o) a =uer3 letter) that intro2uces 3ou an2 3our 7ook. nclu2e -- in 3our 4itch letter -- a 7rie) histor3 o) 3our career an2 4ersonal li)e as 1ell. nclu2e 4hotos o) 3oursel); the 7ook; an2 other e'ents. Lastl3; 2on8t )orget to 4ro'i2e 3our contact 2etails%
#ip *. &old a 5ontest

Aree co4ies o) 3our 7ooks shoul2n8t ?ust go to re'ie1ers. (eo4le )rom 3our target market or rea2ershi4 shoul2 ha'e a chance to 1in a co43. This is an e9cellent 4romotion strateg3 7ecause it generates 1or2-o)-mouth marketing an2 increases 3our 7ook8s recognition in the market4lace.
#ip +. Doin a 5ontest

$) course; 3ou; too; shoul2 ?oin 1riting contests - 4articularl3 those that 4romote 3ou an2 3our 7ook. 6inning a1ar2s 1ill encourage rea2ers to rea2 3our 7ook. Ain2ing lo3al rea2ers is usuall3 the most 2i))icult hur2le. ) 3ou manage to achie'e that; the rest is much; much easier% +ou can )in2 man3 1riting contests at Areelance6riting.com; a )ree 1e7site )or )reelance 1riters.

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