Thanks to print-on-demand and ebooks, publishing a book has never been more accessible. The publishing landscape has changed over the past twenty years, and although it is relatively simple and inexpensive to self-publish, getting your book in front of potential readers is harder than ever.

In this episode I will consider the merits of traditional publishing, indie/small publishers and self publishing. I will offer advice on how to find and contact an agent, how to write an elevator pitch, a synopsis, your blurb and the importance of starting something new while you query.

My personal experience is limited to indie and self-publishing. My novel Starblood, for example was published by Stone Circle (a new press that didn’t last) and Vamptasy Publishing – both indie publishers. I have also self-published.

Both indie publishers met me face to face before taking on my books and it was only after a takeover of Vamptasy by the American indie CHBB that I joined a larger (but still indie) press.

More recently, I have submitted novels to imprints of two of the Big 5 traditional publishers. Sadly, in both cases I was unsuccessful. I will try again when my work-in-progress is completed.

It’s easier to play it safe. Personally, I’m afraid of rejection and what it might do to both my psyche and motivation. I have submitted plenty of short stories to larger publishers, some of which have been accepted and others rejected, but I find it harder to offer up something I have poured years of sweat and love into.

Traditional v Indie v Self-publishing

Traditional publishers bring with them a team of professionals to support the development of the books they invest in. With no upfront outlay the author will normally have an editor, proofreader, formatter, cover designer and marketer, all ensuring the book gets the best release possible. While an indie publisher could employ people to do each of these jobs, the cost of doing so is likely to be prohibitively high.

Cash advances are not unusual in the traditional publishing world. Advances mean that the author will earn something for their years of labour however well or badly the book sells.

Traditionally published books are more likely than their indie equivalents to be sold in major bookstores and be considered for literary prizes.

However, indie routes to publishing usually offer the author greater creative freedom. Writers with indie publishers can write about subjects the corporations wouldn’t touch. Indie authors have more say in covers, marketing and editing. Self-published authors have the final say on every decision, and indie authors are normally consulted about creative decisions that affect their work. Even literary prizes consider submissions from smaller publishers.

Kindle Direct and Draft 2 Digital allow writers to self-publish ebooks at minimal cost. Print on demand means that paperback distribution for indie authors is affordable for a wide range of projects. Crowd funding sites like Kickstarter enable some authors to have larger print runs for fully funded books, reducing the cost per copy.

The diversity of options allows for a wider range of voices to be heard. Yes, it can be difficult to stand out with so many books being published, but at least you can be published, and chances are you will receive more per copy sold than with the traditional route.

There are ruthless publishers who prey on new authors. You should never pay a publisher to accept your work. Their money should come from a share of royalties. If they don’t believe they can cover their costs and make a profit from sales of your book, they won’t add value to the product. We call publishers who charge authors upfront – or reading, editing and/or cover-designing services – vanity publishers. I would recommend that you avoid them at all costs and self-publish instead.

Writing an elevator pitch, the dreaded synopsis and (for self-publishing) the blurb

Before you write the first draft of your pitch, synopsis or blurb, ask yourself:

• What is your novel about? 
• What question is the story asking?
• What theme or universal truth is it discussing?
• Can you boil your entire story down to one sentence? 

For example: Starblood is about the destructiveness of clinging to a relationship after its expiry date. Basement Beauty is about how privilege can insulate people from understanding the harm they do. The Highgate Priestess is about trusting your own perception when others gaslight you.

What is it that makes your novel:

• Unique
• Exciting
• Fresh
• Compelling

Who is/are your main character(s) and what do they want? Try to concentrate on one to three characters so as not to get muddled.

What obstacles do your characters face?

Where does your book fit into an agent’s or publisher’s current catalogue? What books is it similar to (comps)? This will help you when contacting agents and publishers or when trying to encourage readers to take a risk and buy your book. You will have far more success pitching your book to an acquisitions editor if your title complements their current list. Genre, subject and style are all parts of this.

Think about who will want to buy and read your book. Who is the intended audience? If you have decided to self-pub. this will help you target your marketing.

Now write the first draft of your pitch/synopsis/blurb.

Once you have worked through these stages and answered the questions, it's time to write. It might be easiest if you tackle all three together. Think of the pitch, synopsis and blurb like archaeological digs. What treasures will be found?

The elevator pitch is about understanding the essence of your story and selling it in 10 to 30 words. You want someone to say: “that sounds interesting, tell me more!”

The synopsis is the entire story condensed into one or two pages, including the ending/resolution (spoilers). This is what the publisher will want to see, together with whatever length of sample they ask for.

The blurb is designed for the back cover of the book or the marketing text beside it on a sales page. The blurb should be relatively spoiler free. It should include aspects of the main conflict, but there should be no indication of how it is resolved.

Sell yourself, not just your book.

Why should an agent or publisher bet on you? Do you have previously published work? What are your sales figures? Do you have a large social following? Are you already working on a sequel or similar project? Are you truly passionate about your book?

Finding an agent or publisher

There are online lists and printed handbooks full of agents and publishers, including the authors they represent. A simple internet search for “lists of literary agents” will demonstrate this.

Contacting the agent of an author who writes in your genre – preferably an author you respect – is a good place to start.

Check online for the most current submission requirements and follow these carefully. If you upset the agent or publisher, they are unlikely to consider your submission so make sure you know exactly how they want to be contacted before you send anything.

Writing and publishing conventions can be a great place to network, and if you have your elevator pitch memorised, all the better.

Get someone to proofread your synopsis, bio and chapters before you send them. Ensure you don’t give the agent a reason to reject you before they read your novel.

The Writers and Artists Yearbook is a large volume including most of the agents and publishers looking for new work. Check websites in case submission guidelines have changed since the Yearbook’s publication.

Dealing with rejection

The best way to get over a breakup is to start a new relationship. The submission process can take years. Don’t wait for your first book to be accepted before writing your second.

And if you get rejected, don’t send the ferocious reply that's brewing in your heart. The industry is too small and interconnected to burn any bridges.

Next week

We will look at promotion. I’ll include information about release parties, paid adverts, building connections, book signings, your Facebook page, your website, anthologies, Goodreads and more. It will be my last post in this series, but if there is anything more that you would like me to cover, please let me know in the comments.

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Carmilla Voiez is a horror and fantasy author. Her novels have been published by indie publishing companies including Vamptasy Publishing, CHBB and Stone Circle Publishing and her short stories have been included in anthologies by Crystal Lake Publishing, Clash Books, Weird Punk Books, Stitched Smile, Siren Magazine, and Dragones Mecanicos. She has a first-class degree in creative writing and English language, a diploma in proofreading and editing, and is a member of the Chartered Institute of Editors and Proofreaders.