Sometimes people approach authorship optimistically…and without much knowledge of what’s really involved with writing, publishing, and marketing a quality book that people want to read.

And for some, there is no better feeling than forgetting about the time as you craft a story or write a nonfiction book chapter that you know your audience will love reading.

But it’s not all rainbows and unicorns. And, sad to say, I’m often forced to point that out.

My intention is never to dissuade or discourage. My goal is always to help you understand what’s involved and what’s likely to happen. It’s about helping you manage your expectations while maximizing success.

5 things I tell authors that really annoy them

My reality checks can annoy people, though. In spite of that, I continue, because knowledge really is power.

With that in mind, here are just five of the things I tell authors that really annoy them.

Each is important for anyone hoping to bring to readers a book people truly want to read. Understanding them will help you sell more books.

Thing 1. You will probably have to self-publish your book.

This is the most annoying thing I tell authors. I hate saying it, but it’s true.

This is the case even for professional writers who got book contracts years ago — including me.

It used to be that if you were a good writer and had a marketable idea that you could show demand for, you had at least a shot at a traditional publishing contract.

Now, it’s often more about how many copies you can sell than it is about your ability to write a marketable manuscript. That’s what ghostwriters are for, after all.

Most authors-to-be don’t have a platform that will guarantee a significant number of book sales, so they have to abandon the traditional publishing approach and opt for an alternative. Whether you go with a hybrid, assisted, or do-it-yourself publishing model, it’s still a form of self-publishing.

Thing 2. You are responsible for marketing your book, regardless of your publishing model.

Authors often tell me they’re pursuing a traditional publishing contract because they “don’t like to do marketing.”

Bwahahaha!

It doesn’t matter what publishing model you use. If you want to sell books, you have to actively and continually market your book.

On the traditional and small press side, your publisher will do as much as it can to support your book. But that’s often limited to sending reviewing copies. Because resources are limited, they can’t put a lot of time, energy, and money into anything but those books that are expected to be blockbusters.

It doesn’t matter what publishing model you use. If you want to sell books, you have to actively and continually market your book.Click to tweet

Sometimes they don’t even provide a great deal of support for books they’ve spent a lot to acquire.

For example, because one of my book marketing coaching clients got a six-figure advance for his nonfiction book on a topic with widespread appeal, we both expected his publisher to put marketing muscle into it to recoup its investment. Surprisingly, the marketing was limited to sending review copies and creating a landing page with links to online retailers.

My author had to do the rest. So do you.

It’s up to you to make your book a success.

Thing 3. “Everybody” isn’t going to buy your book.

Last month, an author in a LinkedIn book marketing group asked, “Does this site help you promote yourself?”

When I asked what she writes, she said “fiction,” adding, “Anyone can read my novels.”

That’s true. But they won’t.

Most of us don’t read anything and everything. We have favorite fiction genres.

I noted that she wanted to put her effort into getting her book in front of her target audience. Where she will find them depends on the types of novels she writes and who enjoys reading them.

Many of the book marketing group’s members might read novels, but they don’t log in to LinkedIn hoping to find novels to buy. LinkedIn is a business networking site that people use for professional, rather than personal reasons.

via GIPHY

She didn’t respond, most likely because she didn’t like my advice. It didn’t fit with her notion that “everyone” will enjoy her books.

Abandon the “everybody” approach and focus instead on learning as much as possible about the people who read the types of books you write. To learn more about how that works, read “The powerful and effective formula for more book sales.”

Thing 4. You have to spend money to make money.

Cliché, but true.

If you want people to read, love, and recommend your book, it needs to look and read like it’s traditionally published. That means spending money on:

• A cover that’s appropriate for your genre or category
• Editing
• Proofreading

Many of today’s authors have no writing training, either, so I also recommend paying to learn how to do that. It might be a community college or adult education course, or online training offered by an expert.

While you can do quite a bit of promotion without spending money, at some point, you’ll want to consider budgeting for promotions that will zero in on your target audience.

Thing 5. You don’t become a popular author by treating authorship as a hobby.

It’s definitely okay to view it as a hobby. There’s nothing wrong with writing for the pure love of it or because you have something you need to get on paper.

All good.

But authors who sell books – and lots of them – view authorship as a business. If selling books is important to you, you need to do the same.

What does that look like? It means:

• Presenting a polished, professional front with your author photo, website, and social media profiles.
• Investing time and money in professional development, whether it’s learning how to be a good writer or how to self-publish a book.
• Spending on tools of the trade, such as software, an email list management service, and computer hardware.
• Creating an attractive, easy-to-navigate website.

Consider, too, creating a publishing imprint and a business checking account for bookkeeping and other purposes.

I’m well-intended

I do mean well when I provide reality checks. Really, I do.

Whether I’m explaining why there are limits to what you can learn from free information or advising against paying for a pricey cookie-cutter promotion package that doesn’t reach your target audience, I’m trying to help.

I want to help you avoid publishing predators. I want you to create a quality product. I want to connect you with people, products, and services that can make a positive difference for you and your book.

The more you know, the more successful you’ll be.

What have you learned about writing and publishing that has been hard to accept? Please tell us in a comment. 

My blog post two weeks ago shared insights into how traditional publishing works and noted that if you want to pursue a traditional publishing contract, you’ll probably need a literary agent.

A literary agent’s primary job is to sell your book to a publisher for the most favorable terms possible. Sometimes they help shape your proposal or manuscript to make it as marketable as possible before they “pitch” it.

Contrary to what you might see online or in groups, you don’t “hire” an agent. You “contract” with one. An agent works on commission, which means they aren’t paid until both parties sign a contract and the publisher pays the first amount due.

Because this is typically a commission-only sales job, literary agents need to be very, very selective about the people and projects they take on.

With this in mind, I asked literary agent Amy Collins to talk about what she does and offer advice on working with agents.

Introducing Amy Collins

Amy Collins, now an agent with Talcott Notch Literary Services, is one of my absolute favorite people in life and in the publishing business.

Amy has more than 30 years of experience matching books with readers. A former book buyer, publisher, sales director, and owner of New Shelves Books, she now represents many authors who have signed deals with major publishers.

Amy also teaches classes on querying and creating great proposals for Writers Digest. If you’re at a conference where Amy’s speaking, get to her session early and be prepared to take notes. She’s an entertaining and engaging speaker with something important to say to authors.

Behind the scenes with a literary agent

I know you love being a literary agent. Tell us why.

I have always enjoyed research, making new friends, and matching books with readers. For 30 years, I sold books to bookstores and libraries. Now, as an agent, I use my sales talent to help an author find a perfect fit at a publishing house. It is a joy to help authors achieve their dream of a publishing deal.

As an agent, I am constantly getting to meet talented editors and work with them to find clever ways to get my author’s books in front of as many people as possible.

What sorts of authors and projects do you represent — what’s your sweet spot?

My main focus is science fiction, fantasy, and speculative fiction. As for nonfiction, I work with books in the following categories: cookbooks, pop culture, and cultural reference.

I caution authors that I would not be a great agent for memoir, children’s, or business books. I have some clients who also write mystery, thriller, and children’s books, but I tend not to look specifically for them.

What’s your best client success story?

I love TikTok, and while scrolling one day, I was charmed by a young woman named Devrie Brynn Donalson. She was looking straight into the camera, telling the viewer that they were a hot mess and “good for us.” She raved and ranted and had me laughing so hard I had to catch my breath.

I sent her a message and asked if she had ever considered writing a book. Well, she had. She wanted very much to write a book. She and I spent a few months getting to know each other and developing book ideas. After a while, we felt confident we would work together well.

I put together the proposal, Devrie wrote the book, and I started pitching to publishers. We had interest in less than a week, and within a month, we had a wonderful offer. Blackstone will publish the book early next year.

How about a project disappointment — a book that didn’t find the home you thought it would, or that everyone had high hopes for but it didn’t find its audience?

Two years ago, one of my first clients had a terrific book. We got an offer and publishing deal that thrilled us all. I was sure the book would be a bestseller and sell like gangbusters.

At the same time, another client wrote a gorgeous novel, and I started pitching it that same month, expecting to have an offer within six months. In both cases, I am afraid that my expectations were way off. The nonfiction book sold well, but not enough to make the publisher or author happy. The novel is still one of my favorites, and I will not give up until I have found it a home.

But it is quite disappointing for the author to see my other clients get offers and published while she waits.

What do you look for in an author and a project — what makes you think you’ve got a winner?

I look for an author who has a LOT of books in them. I love the idea of helping an author navigate their career, not just one book. I can tell within a few moments if the writing is “my style.”

I need to really love the book I am working with, or it will not be a good fit.

I do not charge for any of my time or work. Agents only get paid once the book sells. If I am going spend months and years working with authors on a book’s editing, pitching, contracts, marketing, launch, and series as well as audio and international rights? I had better love it.

That being said? I do not depend solely on my personal taste. I love books I discovered when I was 30. I read and reread them and love them. But they would not sell today to 30-year-olds. I have to remember that my taste is not everyone’s taste.

My job as an agent is to match my client’s style with the right editor and publishing house. Thank goodness not everyone has my taste in books.

What’s the one thing you want to see in a message from an author who wants you to represent them?

I love to see in the message that the author understands how publishing works. If they mention a conference they attended or organizations they belong to, that is great. I love to see the word count and genre early in the email.

But mainly? Less is more. I do not need much to become willing to read a few pages. If the genre and premise fit the kind of book I represent? I will happily read a few pages.

What are some of the common mistakes authors make when approaching literary agents?

Not knowing the current successful authors in their genre and making claims that their book is unique. (It rarely is.) Another misstep is when I ask for a plot synopsis or plot outline; they do not have it ready. (Agents will need this eventually, so have it ready.)

Is there anything else you’d like to add?

The advice I give most often is to read books that are being published today and in your genre. Book pacing and writing styles change over time, and staying current is essential. If you are selling a book in 2023, your book needs to appeal to readers in 2023.

Thanks so much to Amy for sharing her insights with us!

Years ago, I generated so much global publicity for a subscription newsletter I created that I didn’t have to look for a literary agent for the book version of the newsletter – agents started calling me. That media exposure generated my first agent and book contract.

That’s just one reason why I’m always nudging you to get media attention. The exposure can be priceless.

To help with that, my author publicity course, Get Quoted: A Journalist’s Strategies for Using HARO to Snag Book Publicity, focuses on the single easiest way to get news media attention that can help build your author career. Get the details at https://build-book-buzz.teachable.com/p/get-quoted .

I also created Build Book Buzz Publicity Forms & Templates to help you write and use the most common publicity documents – pitch letters, press releases, sample Q&As, etc.– that you’ll use when seeking author and book publicity. Learn more about this collection of templates and real-world samples at https://build-book-buzz.teachable.com/p/build-book-buzz-publicity-forms-templates .

Get out there and get known. It can help you and your work be discovered by the right people … people like literary agent Amy Collins. 

Got questions about working with a literary agent? Please ask them in a comment. 

I’m so frustrated.

I’ve discovered that articles written to help authors decide between traditional publishing or self-publishing focus on the pros and cons of each model without providing a very, very important detail.

None of the sites you recognize and trust (I’m not going to name and shame) are willing to tell you the truth.

“Should I use traditional publishing or self-publishing?”

My experience with online author groups reinforces the need for the reality check that nobody seems to be offering.

A common post in many of these groups goes something like this: “I’m trying to decide if I should go with a traditional publisher or self-publish. What do you think I should do?”

I see some variation of this nearly every week.

The person asking the question usually isn’t a professional writer, hasn’t published any articles or short stories, and hasn’t received writing awards or recognition.

It’s their first book.

Beware the hive mind

Invariably, group members offer some version of this advice:

• “Don’t even think about traditional publishing. You’ll make more money self-publishing!”
• “You should NEVER pay anyone money to publish your book.”
• “I’ve heard so many horror stories about working with traditional publishers that I’d never go that route!”

Usually, this advice comes from people who don’t have traditional publishing experience.

There are also people who provide more informed input:

• “If you want to go the traditional publishing route, you should get an agent.”
• “If your book is nonfiction, you’re going to need an impressive platform.”
• “Before you explore publishing options, be clear on what you want to accomplish with your book. That might determine what makes the most sense.”

The painful truth about traditional publishing or self-publishing

What I rarely see among responses and didn’t find in other articles about this is a sometimes painful truth: Today’s typical author-to-be won’t be offered a traditional publishing contract.

via GIPHY

For most, self-publishing in some form is the only option.

I’m reluctant to share this reality because I feel like I’m bursting bubble after bubble after bubble.

And yet, here I am, writing about it.

I feel like I have to address it because nobody else has.

Publishers and contracts

There’s really no traditional vs. self-publishing debate. You can’t sign a contract with a traditional publisher that you aren’t offered.

In reality, publishers are increasingly selective about who they offer those coveted contracts to.

This is the case even for established professional writers with marketable book ideas. Many writers who might have gotten a contract 15 years ago are now turning to self-publishing, and not necessarily because they want to. It’s often because they have no choice.

There are a number of reasons why experienced fiction and nonfiction writers find it harder to snag traditional publishing deals today. The reasons are less important than the harsh reality that it’s not as simple as “Should I go with a traditional publisher or self-publish?”

Industry changes have created more publishing options

There’s good news, though. There are more publishing models today than ever before. And that’s where authors have real choices.

Book publishing insider Jane Friedman has recently updated her “2023-2024 Key Book Publishing Paths” infographic that clearly explains current publishing models. Studying this carefully should help you see what might work best for your writing project and budget.

Using this chart to get smart about the book publishing industry and where your book fits into it will better prepare you to ask for advice in online groups. And, when you do turn to a group for publishing input, give members specifics about you and your project that will help them provide informed guidance.

Here’s the type of information we need when you’re asking about which publishing model to use:

• Whether your book fiction or nonfiction
• The subject and category or genre
• How much writing experience you have
• Why you are the best person to write this book
• For nonfiction in particular, information about your platform (that audience waiting to buy the book because of who you are or your reputation)

Be careful about who you listen to

via GIPHY

You also want to be smart about who you select as your publishing advisors in online groups and elsewhere. The fact that we don’t know what we’re talking about doesn’t stop some of us from speaking with great authority.

And those who know the least often have the loudest voices.

As a result, authors with a shot at a traditional publishing contract don’t try to get one, while those who aren’t good candidates waste time pursuing that unlikely option.

Be sure to check the profiles behind those offering advice, too. They often offer clues to credibility.

In addition, you can usually discount comments that are barely even a sentence – “Don’t bother.” – or emotional – “Only an idiot would go with a big publisher!” Focus instead on responses that are thoughtful and specific.

Write a great book

No matter which publishing model makes the most sense for your situation, never forget that you must write a great book. You’ll need to demonstrate that you can do that to get a publishing contract, but it’s also important when self-publishing. The reason is simple: Readers want good books.

Mediocre books rarely soar unless someone is gaming the system. And sure, a so-so book can become a momentary best-seller in a small niche Amazon category, but that doesn’t mean it reached a lot of people or became beloved or even recommended.

Whether you’ve received a traditional publishing contract, opted for a hybrid approach, or have put together your own self-publishing team, it’s all about the book. The shortest route to publishing success is to write a high-quality book that people want to read.

Did you pursue a traditional publishing contract? Did you get one? Tell us about your experience in a comment!

(Editor’s note: This article was first published in September 2018. It has been updated and expanded.)

I’ve seen a lot of those types of observations in online book marketing groups recently. More often than not, they’re commenting on facts that I take for granted to the point where it doesn’t even occur to me that you might not know that.

That’s partly because I’ve been connected to book publishing for a looooong time — my first tour around what is now Book Expo America happened in the 1980s, and my first book was published by Kensington in 1995.

So many of today’s authors are new to book publishing, though — and they’re new to both traditional publishing and self publishing. There’s a lot they don’t know yet, but there’s also a lot the veterans don’t realize, too, because the industry is constantly evolving now.

Over the past few weeks, I’ve paid more attention to “I didn’t know that!” observations that have surprised me because I thought everybody knew that.

Of course they don’t! How could they?

With that in mind, here are five things you want to know now. They’re things I thought you knew, but I’ve discovered you probably don’t.

1. A traditional book publishing contract isn’t an option for most authors-to-be.

It is harder and harder for a professional writer, even, to get a publishing contract for a great idea. In the past, if you were a solid writer with an interesting idea, you had a shot at getting a deal that would pay an advance against royalties with a publisher that assumed all publishing costs.

That has changed. Now, that solid professional writer needs a platform — a built-in audience waiting to buy the book — in addition to a great idea and might even have to collaborate with a content expert.

So . . . if you are completely new to the writing world and your question is “Should I try to get a publisher or should I self publish?,” the answer is probably, “Self publish.”

2. Readers don’t care when your book was published.

Fiction readers want a good story that’s well-written. It doesn’t matter if it came out three months or three years ago. They just want to be entertained.

Nonfiction readers want useful, relevant information they can trust. The publication date for nonfiction matters only when the industry has changed enough that a book written five years ago, for example, is out of date.

Obviously, a book about a technology topic has a shorter shelf life than the biography of a historical figure, but readers don’t lose interest in that tech book in three months.

You should be promoting your book as long as it’s available for purchase.

3. Even authors with traditional publishing contracts have to promote their books.

The most common author comment related to this is, “I thought my publisher was going to do more to support my book.”

I don’t know who’s responsible for managing author expectations about what publishers will and won’t do to promote any author’s book. Maybe it’s the agent. Or the editor. Or the in-house publicist.

In any case, even if you’ve received an advance to write a book, you’re expected to contribute to the marketing. That’s why the marketing section of a proposal is so important.

4. If your book looks and reads like a traditionally published book, nobody will know it’s self-published.

If you’re self publishing, you have two goals:

1. To write a book that is so good that readers recommend it to others.
2. To package that excellent content so that it looks just like any other book in its genre in a bricks and mortar bookstore.

The reasons for this are probably obvious, but here’s one you might overlook: Many media outlets say they only review traditionally published books. That’s because those books have been vetted. An editor has acquired the book and worked with the writer and a team of publishing pros to improve and polish it.

As a result, the book reviewer working for a magazine or newspaper knows that he’ll be reading a book that has been through a quality control process. It’s a safe bet that it’s decent.

Self-published books don’t come with quality assurances. But, if you use the same processes and resources as the big-time publishers, nobody will know that it’s self-published.

Pro tip: Create a publishing company and get your book’s ISBN through that company so it’s listed as the publisher. Be creative enough with your publishing company name that it’s not obvious that you’re the publisher.

5. People will disappoint you.

Here’s the deal: Not everybody in your world wants to read what you write.

That’s hard to accept, I know. But it’s a fact. And the sooner you accept that, the sooner you’ll be able to put your energy into finding and reaching the people who really will want to read your book.

Oh, sure, let your friends and family know you’ve just published a book. Enlist their help getting the word out. But don’t expect all of them — or even most of them — to buy and read your book, because they won’t.

It’s not personal. It’s just that people have different tastes. You might not like the types of books I write; I might not like the types of books you write. It has nothing to do with either one of us as a person or our relationship.

It’s just that we’re all different. So manage your expectations and you’ll be a happier author.

What have you learned about book publishing or marketing that you wish you had learned a lot sooner?