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You’re an Australian writer with a great idea for a nonfiction book. Are you sure? Perhaps you should check with Google.

We can thank Internet research for many things, but every innovative technology leaves unintended consequences in its wake. Google has given us much — bringing information of all kinds instantly to our desktops and mobile devices — but it has also taken away.

In book publishing, it has taken away entire categories of books.

Self-help. Astrology. Cookbooks and how-to books of many kinds have shrunk in number or simply disappeared, like the Amazon rainforest, never to return.

Many travel books, for example, once upon a time a golden genre of publishing, have been sideswiped by the fact-based research, user recommendations and patron reviews now freely available online. And when you can get the information you need for free, would you purchase a book with similar information, especially when the details might be out of date before the ink is dry on the printed pages? I know I wouldn’t.

Okay, you may not personally be mourning the loss of self-help and astrology books. But if you’re writing nonfiction and hoping to interest an Australian publisher, you need to be aware of the implications of the changed publishing landscape for your project.

But first, a question: What kind of nonfiction book are you writing?
You need to be clear about whether you’re writing prescriptive or narrative nonfiction.

Prescriptive nonfiction is fact-based and information-rich, often written by a known expert in a particular field sharing his or her expertise. Current examples: Michelle Bridges’ Superfoods Cookbook; Mark Nixon’s photographs of well-worn teddy bears, Much Loved; Quiet, psychologist Susan Cain’s defence of introverts in our extroverted culture.

Narrative nonfiction tells a story that is based on fact, whether personal or historical. The writer’s voice on the page and storytelling ability is what counts. Current or recent examples: The Happiest Refugee by Anh Do, Anna Funder’s Stasiland, Cheryl Strayed’s Wild.

My tips for querying an agent or publisher with a prescriptive nonfiction project
It is imperative that as a prospective nonfiction author claiming expertise in a given field, you must demonstrate a need or a community of interest that a Google search alone cannot satisfy. Here are some questions to consider before contacting an agent or a publisher, who will most certainly ask them:

  • Have you published articles and essays on your subject? If not, why not?
  • Do you regularly speak in public about your experiences or expertise?
  • What kind of traffic and engagement with readers does your website have?
  • What do you mean, you don’t have a website?
  • If I’m persuaded by your expertise, then what books on the subject already exist? Almost every subject has already been covered, so you need to be aware of what’s out there, even if it’s more than ten years old. 
  • How is yours different?

My tips for those writing narrative nonfiction
I receive many queries from people writing memoir of one kind or another. Aside from most manuscripts being terribly undercooked, the main problems I encounter are that the subject has been done to death, or that the writer has forgotten to tell a story. A reader will only stay with a book-length work if you tell a story or offer a compelling through-line that engages the reader throughout.

Because of the primacy of story to their effectiveness, narrative non-fiction and memoir remain appealing to publishers, as I’ve written elsewhere on this blog. In order to increase your attractiveness, I recommend these tests of whether you are ready to submit your manuscript to a publisher or agent:

  • Do you have a complete manuscript?*
  • Can you answer the question, Why did you write this book?
  • Are you able to describe the arc or journey of your manuscript in one or two sentences? This is a lot harder than it sounds. If you’re not able to do it, don’t fret – it just means that your manuscript is not ready for submission. Return to the dot point above this one.
  • Who are your ideal readers, and what else have they read that makes you think your book will appeal to them?

I have written these thoughts down in the hope they are helpful to budding nonfiction writers. I am keen to help more of you into print and to find publishers. Despite occasional press to the contrary, Australian publishers really are hungry for great stories, well told, whether fiction or nonfiction. And they are hungry because readers are famished too.

*There seems an opportunity gap here to advise writers who have an idea and a partial manuscript under way. I’m interested to see if anyone reading this is interested in an email-exchange or talking to me for 15 minutes to get my take on your idea and proposed approach. Please either leave me a comment below or email me at info at virginialloyd.com. I have no idea whether this is something that will appeal, so please let me know!

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Whether you self-publish or have a book coming out through a traditional publisher, there’s no getting around the fact that you need to let people know it exists in order for them to read it.

Lately I’ve received numerous queries from disappointed writers who have self-published only to discover that despite having built it, so to speak, few readers have come to admire their work, let alone make a purchase.

On the traditional side of things, book publishers have finite resources for marketing their new titles, so even having a book deal is not enough to guarantee you the sort of attention your book presumably deserves.

I don’t know too many authors who write books and hope that nobody hears about them or reads them.

So what do you need to do? Promote your work. Yes, you. Even you, up the back there, hiding under your manuscript.

Yikes. If the word promotion doesn’t strike ambivalence into your writerly heart, then you must be a self-help guru who has arrived on the wrong website.

Fear not! Practical solutions galore below …

My client Kirsten Krauth (below) has written up an excellent guide for the novice writer-promoter that she’s kindly allowed me to reproduce here. Kirsten is the author of the widely and fabulously well reviewed debut novel just_a_girl (UWA Press 2013), and of the monthly online Friday Night Fictions event for debut fiction writers. This article was originally delivered as a talk at the NSW Writers’ Centre and which also appeared on the Obsession With Books blog for Young  Adult fiction.

What to Expect When You’re Prospecting

My first novel, just_a_girl, was released in June 2013 by UWA Publishing. It took about seven years to write, on and off. It took about five years to find a publisher, on and off. For most of that time I was consumed with the end goal in mind. What was the end goal? To get a book published. To see my words wrapped up in a cover. To hold this precious object in my hand, put it on the pile next to my bed.

Many writers have made the link between launching a book into the world and having a baby. I heard a quote which said that releasing your novel into the world is like watching your baby crawl across an eight-lane freeway.

If you’ve had a baby, you’ll know that, try as you might, you can’t really think beyond labour. You have nine months to prepare, but still, you can’t imagine what it’s going to be like. There’s always the fear — of labour, of the unknown — that gets in the way. But once you go through the birth, you realise, you need to reinvent yourself, that actually the labour is just the starting point, and you have a whole new set of things to learn and challenges to adapt to.

When you prepare for your book to be published, it seems to work much the same way. The focus is on structural edits, getting the words right, negotiating the cover, but your brain seems to stop at the launch point. Really, you think, my work here is done. Let others take it from my hands, review it, read it.

But it doesn’t seem to work like that. Finding readers is not as easy as you might imagine. Even if you have a big-name publisher behind you, I’ve heard a number of writers say that in the current climate, the publisher may not have the resources or the motivation to push your book. The worst possibility of all is releasing your book to … resounding SILENCE. And this does happen.

I expected that, in the months leading up to my book’s release, the publisher was doing a lot of work behind the scenes (and they were), that the newspapers and bloggers would receive their review copies really early and be hard at work, that after the book launch, I’d be immediately sitting there fielding reviews and interviews in the first month. But that didn’t happen for me. My local bookstore took three weeks to get the stock in, due to a distributor problem. I sat there waiting and wondering. I waited a month before reviews started to happen. I waited two months before a large article in a major newspaper.

I moved to Castlemaine a few years back. It’s a goldmining town in rural Victoria. I see the process of releasing your book as something like panning for gold. In this case, the gold isn’t fame and fortune. I never really expected that. The gold is your readers and bloggers who like the book and pass it on. If you write fiction that’s contemporary and crosses genres (mine is an adult novel but branches into YA themes), it takes a slow build and word of mouth. But it seems, there’s a lot of sifting required to find out who these people are. Marketing isn’t easy. If you have a low budget, there’s no option but to be creative.

I think my creative spirit remains galvanised if I keep coming up with ideas for just_a_girl. So here are some tips on how to begin the sifting process…

just_a_girl_kirsten_krauth_cover
Start a blog when you start writing the book

I started my blog, Wild Colonial Girl, just before I got a contract with UWA Publishing, but it would have been great to do it a lot earlier. I didn’t set it up as an author website to promote the book. I started it as a website to catch my thoughts and fears and joys about moving from Sydney to Castlemaine: the tree change experience. I began writing on anything I felt passionate about: film, writing, other books, learning to be a mother. I interviewed other writers who were mothers, like Anna Funder and Kirsten Tranter, to get some insight into how they managed it all. Gradually, and it wasn’t overnight, I began to get a following. Over time, I got readers who would comment regularly. It was an exciting experience to get that instant feedback from people, to carry on a conversation about ideas. I still get a thrill every time I hit the ‘publish’ button.

Of course, the blog has now become an avenue through which I promote the book. But I do that somewhat reluctantly. I try to use an angle that I feel comfortable with. For example, I have always had a fear of public speaking. Yes. But I used the blog to talk about that, to explore how when you become a published writer, the focus shifts and you suddenly find yourself called on as a speaker too, to track the personal challenges in that journey. My character, 14 year old Layla, has a fear of public speaking too so I could bounce off the similarities between us.

Start following other people’s blogs. If people comment on yours, go and comment on theirs. Many book bloggers are passionate. They will help promote your work. It doesn’t matter if they are friends. Ask people you know to write about the book, do interviews. Take up every opportunity if a blogger offers to feature you on their blog. My publisher told me that the longer your book gets mentioned on blogs, the more ammunition the book sales team has to keep it positioned well in book stores. That’s something I didn’t realise. Keep the momentum going any way you can.

 

Promote your blog on Facebook

Work between the various social media to promote your blog. I set up a page on Facebook called Wild Colonial Girl. My twitter name is @wldcolonialgirl. I wanted to create a persona that people would remember. It linked in well with the idea of just_a_girl too. A girl pushing the boundaries, so to speak. For my Wild Colonial Girl page, I decided to have an experiment with Facebook advertising. I took a little ad out to ‘Like’ my FB page to see what would happen. Thirty bucks was my outlay. The number of likes for my page went from 30 to over 1,000 very quickly.

Now, let’s be cautious here. Many of my likes were obviously from people who never visited the page, let alone the blog. I became very popular with men from the Middle East who obviously liked the twin concepts of Wild and Girl but didn’t read any of the often feminist material on the site. But, I added the FB widget to my site, and damn it, the little pics of 1,000 followers looked quite good in my sidebar.

 

Use Goodreads as much as you can

The sifting process is made much easier if you already know where in the creek to find little nuggets. Goodreads is a wonderful marketplace because the audience there are already readers. Many people — who can even begin to understand them? — don’t like reading or don’t read at all. On Goodreads, in general, people are passionate about books. It’s truly a refining process here. Begin before your book is out. Make lots of friends. Talk about books with other people. Review books. Follow reviewers you like. Make sure your blog is on Goodreads. This is easy – as Goodreads will automatically pull your blog posts into it.

Join author groups of people you love. For example, I love the Japanese writer Murakami. I joined a discussion group about him. My book is heavily influenced by him, to the point where the Japanese character Tadashi is seen reading one of his books, The Wind-Up Bird Chronicle, on the train. I mentioned this in the discussion group. I got a lot of feedback saying people were interested in checking just_a_girl out.

When your book is out, set up an author page on Goodreads and do a competition and giveaway for your book. I did this and my book went from having about 20 people wanting to read it, to about 600. Again, whether this has translated into people actually buying it, is not clear. But your book is being noticed. And the perception is that people want to read it.

 

Make your book launch a bit different

I’ve been to hundreds of book launches over the years. They are usually exactly the same. Cheap wine and bad nibblies are set up on a table. Someone gets up to introduce the book, the author does a reading, everyone lines up to get the book signed (you hope). Why not challenge this set up a bit. Make your launch memorable. Fit it to the content of your book. Get some dynamic people to launch it. If you have a friend with a camera, make sure you video the launches. Emily Maguire launched my book in Sydney and her speech was sensational – it’s up on YouTube now.

For my Castlemaine launch, we had a ball. I got a local punk band to sing No Doubt’s just_a_girl, a song the book revolves around, plus a few covers of Pink and other grrls with attitude. The kids in the crowd started off a moshpit.

 

If you can’t find a reader community, build your own

Many of the most successful writers working in social media have a loyal community wrapped around them. I’m thinking of Allison Tait and Walter Mason in particular. After my book was out a few months, I came across a writer posting on Facebook saying that she felt absolutely despondent now her book was out, and did anyone else feel this way. She got an avalanche of sympathy and tales from writers, mostly debut authors. Of course, they were meant to be blogging about how exciting it was to have a book published, and felt guilty about their negative feelings, but they were comfortable venting in this other space. They had released their books to the loud silence I warned you about earlier.

So I had one of those ‘wake up at 5am working on a solution’ moments. What if I set up a monthly club on my blog where the aim was to promote the work of debut writers and short story writers working in fiction, people who were essentially in the same boat as me? What if I opened it up to include all genres and those who were self-published or working only in ebooks?

But if I was going to do this, I needed to set up some groundrules. My conditions were: the writers involved needed to subscribe to my blog, they needed to promise to promote the blog when their book was featured via social media, and they needed to start commenting on each others’ work and hopefully review it in some way. Of course, I would list my debut novel — so in a roundabout way, setting up this community would be a means of promoting my blog and my writing too. It worked a treat. I got some new followers, some people passionate about helping others, and I enjoyed seeing what new writing was out there. I also got the feelgood factor. The word people kept emailing me with was ‘hope’ – it gave writers a sense of hope that people would be reading their work…

So if there are any debut novelists or short story writers out there, it’s called Friday Night Fictions and comes out the last Friday night of the month. Contact me and I’ll add your work.

 

Keep on fossicking…

Unlike paperbacks, ebooks can have a long and lingering life online. I think most publishers tend to overlook them or ignore the possibilities completely. My next plan is to see how I can zero in and find an audience for the ebook of just_a_girl. I don’t feel like I’ve quite found the nuggety bits there yet.

A number of people have asked me whether I want to continue on with the book’s characters in the future or leave them behind. I decided to set up a page for Layla on Pinterest, to see how she could shape herself off the page. At the moment it’s mainly quotes from the book, but I’d like to extend this into a new narrative based around the visual rather than text, from Layla’s perspective. People have started sharing the pins, mainly the sexy ones at the moment. It’s one of those things that needs time. I’ll find it one day.

I also want to have a video campaign of some sort. My husband works in film production. We both find most book trailers pretty cringeworthy. I want to film something that really works on its own as visually engaging, while also being linked to the book.

I have a writers’ group in Castlemaine. When we talk about social media, I admit, sometimes we roll our eyes and get this fatigued look on our faces. Because all of it, the guest blogs, the comments on other people’s writing, the email interviews, takes time and dedication, time taken away from the next writing project. And some people aren’t interested in being entrepreneurs, they just want to be writers, for the creative buck to stop there. I understand that, but I don’t want to sit in silence and wait for readers who never show up.

I’d suggest making a plan. When your first book comes out, leave two to three months free of other commitments, if you can. Open yourself up to new possibilities. Dedicate time to thinking up new ways to promote your work. Think of it as a new creative space. Use your local communities, both online and on home soil. The more you sift, the more you’ll find.

Thanks again to Kirsten for sharing her experiences and practical tips. Do you have any suggestions of your own, comments or questions? Please add them in the comments below. I’d love to hear what you think.
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This past weekend the Australian Financial Review Magazine ran Andrew Cornell’s ‘Brave new world of book publishing’. It’s essential reading for any serious writer aspiring to publication in Australia.

I would have loved to reproduce the text here in full, but the AFR’s online permissions-calculator told me I’d be up for more than $700.

Cornell breaks down the component parts of the Australian book industry, which, for those who’ve been hibernating for a few years, is undergoing multiple transformations. It’s one of the most lucid summaries I’ve read of the ways in which technology and corporatisation have affected the mechanics of how books are acquired and distributed in this country.

Through interviews with Hannah Kent (Burial Rites) and Christos Tsiolkas (Barracuda, The Slap) the article also describes the increased promotional demands on authors, the cult of writerly ‘celebrity’, and the mixed blessings of the new publishing landscape for Australian authors in particular.

Sharp as ever, Tsolkias makes what for me is the main point:

There is a danger for Australian writing in that some of our best writers are never going to have that big blockbuster the international market needs. Today you have to prove yourself in the market but the market is not the only determinant of value.

 

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I just wanted to say hello 2014 and confirm that I’m back on deck, at my desk.

After visiting family in Sydney I returned to a chilly NYC and my usual mix of corporate and creative client work. This month I attended a Digital Book World conference workshop on ebook publishing for nontraditional publishers, in order to better advise companies on best practice use of ebooks for marketing and branding activities; and worked with a client on editorial revisions to her wonderful novel. In between that it’s contracts, pending queries, and — ahem — carving out time to come back to my own work in progress.

In 2014 I am looking forward to:

  • The following books by my clients being published:

Game, Set, Cash! by Brad Hutchins (Black Inc)

The new novel from Fiona Higgins, author of The Mothers’ Group (Allen & Unwin), title to be revealed later

Lesbian For A Year by Brooke Hemphill (Affirm Press)

… and potentially two others, which for reasons beyond their authors’ control might slip into 2015.

  • Finding publishers for other client manuscripts, currently in various stages of development
  • One or two collaborative writing projects, about which I must remain tight-lipped.

So don’t be shy: tell me in the comments what you want to know about attracting an agent, grants for writers, and getting published in Australia, so I can respond in posts here. As part of getting spoiled on my birthday, I received a spiffy new office chair, so I am disinclined to leave it.

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Today I’m heading off to Sydney for a happy reunion with friends and family, which is why this blog will be quiet until the new year. My dear old dad turns 80 very soon so there’s a party for him in addition to the usual Christmas and new year festivities.

There have been some interesting discussions lately on some publishing-business topics in my Twitter and Facebook circles, which I will develop in new posts here in 2014.

In the meantime, thanks for visiting, reading and commenting on this site. I really would love to know your writing and publishing questions, so please drop me a line in the comments or via email. I’ll respond in early January. Have a wonderful holiday season and good health in the year ahead.

–Virginia

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BRAD HUTCHINS 07

Reviewing my client list the other day, I was struck by the fact that they are really a fine looking bunch of writers. When I get around to updating my website, I must add photos. The chap on the left, for example, is Brad Hutchins, whose memoir Game, Set, Cash! will be published in 2014 by Black Inc.

Given that I typically find my clients on the quality of their query letters and manuscripts, without clapping eyes on anything but their prose, it’s a serendipitous result.

But enough of that. Some exciting things have happened for my lovely clients in November, such as:

  • Lily Brett’s novel Lola Bensky (of which I was the editor, not the agent) has been nominated for the prestigious IMPAC Dublin award. She’ll be appearing on Wednesday at the Museum of Jewish Heritage in Battery Park City.
  • Author of the bestselling The Mothers’ Group, Fiona Higgins, showed me her freshly baked novel and I can’t say much right now except IT’S FANTASTIC and will be published in September 2014.
  • Cartoonist Nate Neal is a guest of the inaugural Short Run Festival in Seattle, talking about his ‘silent comics’.
  • Naomi Cook has started blogging for leading health website  Health Engine. It was her popular Nurse Naomi blog that drew the attention of Australia’s #1 Health Directory as rated by Neilsen.
  • Kirsten Krauth’s debut novel just_a_girl got this thoughtful review by Angela Meyer to add to a heap of great reviews for the work, which I’m now shopping to US editors.
  • Jenny Ackland has submitted a very exciting new manuscript which is both literary and gripping — basically your Holy Grail for literary fiction publishers, who are skittish as cats these days.
  • And as of the last days of the month I’ve found a publisher for a fascinating work of nonfiction/biography which I won’t disclose until the ink’s dry on the contract. But the story of its path to publication is worth waiting for, and I couldn’t be happier for the author.

So why bother listing all of this? I want you to know that publishers DO want to publish great stories, well told. It’s just a lot harder to do than many unpublished writers think. I hate saying no to so many queries, but the truth is that most of them are not nearly ready to go out into the world. Even when the manuscripts are of a high quality, there’s still more editorial development work to be done, whether it’s with me or with the publisher, or most often, both.

Here’s my question for you: What sorts of things do you want to know about how the book publishing industry works?  I have the most experience in Australia — as an in-house editor, published author, and literary agent — but I’ll answer a genuine question from anywhere.

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(Prospect Park, Brooklyn)

October is probably my favourite month of the year in New York. The leaves are falling, one suddenly needs to put on a jacket again after months of perspiring, and it’s the hectic social season of the travelling Australian  — specifically, the travelling Australian who works in publishing and migrates to the northern hemisphere to participate in a range of activities that surround the annual Frankfurt Book Fair irrespective of an actual trip to Frankfurt.

I stayed put and enjoyed a few refreshments courtesy of an $AUD expense account, which is about 10 per cent more valuable than it was this time last year. In between social engagements I did manage to keep track of what my clients are up to, and by the looks of things it was a busy month for many. Some highlights:

An added late-October personal bonus was waking up to find myself listed as a ‘Top 10 Oz-Lit Tweep’ — a person who Tweets — by novelist and fellow-Tweep Annabel Smith, who lists us, complete with reasons, here. Her novel Whisky Charlie Foxtrot has been shortlisted for the award of Most Underrated Book Of The Year and will be announced in a couple of weeks. Thank you Annabel, and good luck!

 

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Below I’m cross-posting I Got A Book Deal, my client Brooke Hemphill’s account of how she came to land a deal with Melbourne-based Affirm Press, which will be publishing her book in late 2014. As her agent I will annotate Brooke’s post (the indented text) with some of my own observations (flush left).

I Got A Book Deal
This week something pretty crazy happened. I got a book deal.

I’ve been working on a manuscript for a year or more and despite people telling me I should do something with it, I did nothing. Partly it was because I was afraid and also, I wasn’t entirely sure what I had written was any good. But I got my arse into gear and bashed out a little more than 10,000 words, put together a chapter breakdown and a synopsis.

If you’re someone who is already published as a journalist or if you’re a commentator/subject expert of some kind, it can sometimes be sufficient to approach an agent with a nonfiction book proposal consisting of a chapter outline and project summary. If you can come up with 40-50 pages about your proposed topic without too much trouble, you might just have an outline for a potential book. (This approach does not work for fiction.)

But then what was I supposed to do? I contacted a published author who had been on my case to write the book for a while and asked him how to proceed. He had the great idea that I should write a feature  for Encore, the magazine I edit, about people in the media, marketing and entertainment industries who write books. And so I did. I Googled literary agents and found the website of Virginia Lloyd. Another agent had recently started to follow me on Twitter. I reached out to them and I spoke to three different authors about their experiences writing. You can read the feature here.

I’ve got to hand it to Brooke — in terms of approaches to finding a literary agent, this one was innovative and fail-safe. Even if she hadn’t particularly liked me or the other agent she interviewed, she would have a story for her magazine. Of course at the time I had no idea that she was ‘interviewing’ me for the potential role of Brooke’s future agent. I didn’t know she was writing a manuscript.

It was a sobering chat. I was told there wasn’t much money to be made in books and that the only reason you write them is to further your career or because you have something you desperately have to write about. While I wasn’t totally deterred, I sat on my work for a little while longer.

Perhaps the above paragraph is overly harsh, but first books often receive relatively low advances. The mainstream media report only the exceptions to this rule (The Rosie Project and Burial Rites are two recent fiction examples), which distorts the expectations of many aspiring authors.

A week before I was to jet off for a holiday in New York, I emailed Virginia to say I’d love to meet her while I was in the big apple where she is based. I also asked if she’d be willing to read my manuscript. She said yes but explained she was off to Melbourne and Sydney for a few days to meet with publishers and therefore might not get to it right away. A few days later, she sent me an email asking me to call her. Virginia had read my work and mentioned the book during her meetings with publishers and several were interested to see it. I was shocked and excited.

I should say at this point that I’m not always so quick off the mark. In this case, however, the timing of Brooke’s approach coincided with meetings I’d scheduled in Melbourne and Sydney with several decision-makers in the publishing industry. On reading Brooke’s partial manuscript I saw immediately the commercial potential in her subject (revealed below) and her credibility in publishers’ eyes (journalist = should be able to deliver manuscript to deadline), which made it easy for me to bring her up in casual conversations about current client projects. I was thrilled with the level of publisher interest and communicated that to Brooke straight away so we could set about developing the first 50 pages of manuscript and submitting a polished chapter outline.

We met up in New York and after a couple of glasses of wine, Virginia pulled out my pages and we went over her notes. What I had written of the book needed another draft and her notes were invaluable. I got stuck into making changes while staying in Venice Beach in California and had the second draft back to Virginia when I got home from my trip.

This was about the quickest turnaround of revised pages I’ve had by any author client. When Brooke and I met in New York, we talked about her overall goal in writing the manuscript, as well as drilling down into the detail of chapters, paragraphs and sentences. Fortunately author and agent were in broad agreement about the sort of revision needed. The knowledge of existing publisher interest was a strong tail wind for both of us.

Once the partial manuscript and complete chapter outline were ready, I composed my pitch on Brooke’s behalf and sent it to the shortlist of publishers who had asked to see it a month earlier.

This week, the offers came in. There were a couple of offers and we chose the one that felt like the best fit. I’m going to meet with the publishers next week in Melbourne. I’ll let you know more about that soon.

So what is the book? The working title is Lesbian For a Year and, as the title suggests, it charts my year with the ladies.

As the working title suggests, this is a very brave book for Brooke to write, even though her spirited and humorous tone on the page will make it very appealing to potential readers. I have some things to say about publisher responses to this book, which I will leave for a future post. In the meantime, I am delighted to have achieved a deal for my client with an enthusiastic publisher whose marketing and publicity plans for the book make me confident that  Lesbian For a Year has as good a chance as possible at being heard above the white noise of our 21st century lives.

 

 

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