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Your first job as a storyteller is a simple one, and a crucial one. You have to get your passengers into your train – your readers into your story. Only then can you hope to transport them. And that crucial first step doesn’t have much to do with characters or story or anything else. What matters first is this: your fictional world has to seem real. It has to grip the reader as intensely as real life – more intensely, even. Writing descriptions that seem vivid, with the use of evocative language, is therefore essential. The buildings, cities, places, rooms, trees, weather of your fictional world have to be convincing there. They have to have an emphatic, solid, believable presence. A big ask, right? But it gets harder than that. Because at the same time, people don’t want huge wodges of descriptive writing. They want to engage with characters and story, because that’s the reason they picked up your book in the first place. So your challenge becomes convincing readers that your world is real . . . but using only the lightest of touches to achieve that goal. Not so easy, huh? Start Early Set the scene early on – then nudge. It may sound obvious but plenty of writers launch out into a scene without giving us any descriptive material to place and anchor the action. Sure, a page or so into the scene, they may start to add details to it – but by that point it’s too late. They’ve already lost the reader. If the scene feels placeless at the start – like actors speaking in some blank, white room – you won’t be able to wrestle that sense of place back later. So start early. That means telling the reader where they are in a paragraph (or so), close to the start of any new scene. That early paragraph needs to have enough detail that if you are creating a coffee shop, for example, it doesn’t just feel like A Generic Coffee Shop. It should feel like its own thing. One you could actually walk into. Something with its own mood and colour. One vivid descriptive detail will do more work for you than three worthy but colourless sentences. And once, early in your scene, you’ve created your location, don’t forget about it. Just nudge a little as you proceed. So you could have your characters talking – then they’re interrupted by a waitress. Then they talk (or argue, or fight, or kiss) some more, and then you drop in some other detail which reminds the reader, “Yep, here we still are, in this coffee shop.” That’s a simple technique, bit it works every time. One paragraph early on, then nudge, nudge, nudge. As the roughest of rough guides, those nudges need to happen at least once a page – so about every 300 words. If it’s natural to do so more often, that’s totally fine. Be Specific Details matter! They build a sense of place like nothing else. Gabriel García Márquez, opening One Hundred Years of Solitude, introduces his village like this: Macondo was a village of twenty adobe houses, built on the bank of a river of clear water that ran along a bed of polished stones, which were white and enormous, like prehistoric eggs. Boom! We’re there. In his world. In his village. Already excited to see what lies ahead. And yes, he’s started early (Chapter 1, Page 1, Line 1). But it’s more than that, isn’t it? He could have written something like this: Macondo was a village of about twenty houses, built on a riverbank. I hope it’s obvious that that sentence hardly transports us anywhere. It’s too bland. Too unfocused. Too generic. There are literally thousands of villages in the world which would fit that description. In short, what makes Marquez’s description so vivid is its use of telling detail. They’re not just houses, they’re adobe houses. The river doesn’t just flow over stones, its flows over polished stones that are white and enormous, like (wow!) prehistoric eggs. The sentence works so well because Marquez has: Created something totally non-generic Via the use of highly specific detail, and Uses surprising / exotic language to make those details blaze in our imagination. That basic template is one you can use again and again. It never stales. It lies at the heart of all good descriptive writing. So here, for example, is a more ‘boring’ space . . . but still one redolent with vividness and atmosphere thanks to the powerful use of atmospheric specificity. In Margaret Atwood’s The Handmaid’s Tale, Offred introduces her room with details that not only grab us but hint at something dark: A chair, a table, a lamp. Above, on the white ceiling, a relief ornament in the shape of a wreath and in the centre of it a blank space, plastered over, like the place in a face where the eye has been taken out. There must have been a chandelier once. They’ve removed anything you could tie a rope to. Those clipped words transport us straight to Offred’s enclosed, and terrifying, space. We’re also told just enough to give us an image of that place, enough to heighten tension, enough to tease curiosity. This is just a description of a room – but we already feel powerfully impelled to read on. Be Selective With Your Descriptive Details Be selective – don’t overwhelm. It might be tempting to share every detail with us on surroundings. Don’t. Even with a setting like Hogwarts – a place readers really do want to know all the hidden details of – J.K. Rowling doesn’t share how many revolving staircases it has, how many treasures in the Room of Requirement, how many trees in the Forbidden Forest. That’s not the point. (And it would write off a little of Hogwarts’ magic and mystery.) If you’re describing a bar, don’t write: The bar was approximately twenty-eight feet long, by perhaps half of that wide. A long mahogany bar took up about one quarter of the floor space, while eight tables each with 4 wooden chairs occupied the remaining area. There were a number of tall bar stools arranged to accommodate any drinker who didn’t want to be seated at one of the tables. The ceiling height was pleasantly commodious. That’s accurate, yes. It’s informative, yes. But it’s bland as heck. The reader doesn’t want information. They want atmosphere. They want vivid language. They want mood. Here’s an alternative way to describe a bar – the Korova Milk Bar in A Clockwork Orange. This description delivers a sense of intimacy and darkness in a few words: The mesto [place] was near empty … it looked strange, too, having been painted with all red mooing cows … I took the large moloko plus to one of the little cubies that were all round … there being like curtains to shut them off from the main mesto, and there I sat down in the plushy chair and sipped and sipped We’re told what we need to know, thrown into that murky Korova atmosphere and Burgess moves the action on. All we really have in terms of detail are those mooing red cows, some cubies (curtain booths?), and a plushy chair. There’s lots more author Anthony Burgess could tell us about that place. But he doesn’t. He gives us the right details, not all the details. And if that’s not enough for you, then try reading this. Write For All The Senses You have a nose? So use it. Visuals are important, but don’t neglect the other senses. Offering a full range of sensory information will enhance your descriptive writing. Herman Melville, say, describes to us the chowder for the ship’s crew in Moby Dick: ‘small juicy clams, scarcely bigger than hazel nuts, mixed with pounded ship biscuits and salted pork cut up into little flakes.’ Such descriptions are deft, specific, and brilliantly atmospheric. Where else but on board a nineteenth century American whaler would you get such a meal? By picking out those details, Melville makes his setting feel vibrantly alive. Here’s another example. Joanne Harris’ opening of Chocolat plays to readers’ senses, as we’re immersed straightaway in the world of her book through scent, sound and sight: We came on the wind of the carnival. A warm wind for February, laden with the hot greasy scents of frying pancakes and sausage and powdery-sweet waffles cooked on the hotplate right there by the roadside, with the confetti sleeting down collars and cuffs and rolling in the gutters. These non-visual references matter so much because sight alone can feel a little distant, a little empty. By forcing the reader’s taste buds to image Melville’s clams or Harris’s pancakes – or making the reader feel that warm February wind, the confetti ‘sleeting’ down collars – it’s almost as though the writers are hauling the readers’ entire body into their scenes. That’s good stuff: do likewise. (And one easy test: take one of your scenes and highlight anything that references a non-visual sense. If you find some good references, then great: you’re doing fine. If not, your highlighter pen remains unused, you probably want to edit that scene!) Get Place And Action Working Together That’s where the magic happens! Use the atmospheric properties of a place to add to other properties of the scene. That doesn’t mean you should always play things the obvious way: no need for cliché;. You can have declarations of love happen in idyllic meadows, as in Twilight by Stephenie Meyer, but why not at a bus stop in the rain? Shouted over the barriers at a train station? Your character also brings one kind of mood to the scene, and the action that unfolds will bring other sensations. Lynda La Plante’s crime novel Above Suspicion makes a home setting frightening after it becomes obvious a stranger has been in protagonist DS Anna Travis’ flat, and she’s just been assigned to help solve her first murder case. So the place is influenced by action, once Anna notices: Reaching for the bedside lamp, she stopped and withdrew her hand. The photograph of her father had been turned out to face the room. She touched it every night before she went to sleep. It was always facing towards her, towards the bed, not away from it. … In the darkness, what had felt safe before now felt frightening: the way the dressing-table mirror reflected the street-light through the curtains and the sight of the wardrobe door left slightly ajar. Here a comfy, nondescript flat becomes a frightening place, just because of what else is going on. Go for unfamiliar angles that add drama and excitement to your work. Descriptions As Active Characters You know the way that a place can turn on you? So (for example) a place that seems safe can suddenly reveal some other side, seem menacing, then almost try to harm the character. That’s an incredibly powerful way to build descriptive writing into your text – because it feels mobile, alive and with a flicker of risk. You can use plotting techniques to help structure the way a reader interacts with a place: starting with a sense of the status quo, then some inciting incident that shifts that early stability, and so on. The inciting incident can be tiny – discovering that a photo frame has been moved, for example. Having your characters voice their perceptions of a place in dialogue also adds to its dramatic impact, because now the reader sees place both through the eyes of a narrator and through the eyes of the characters themselves. Good, huh? Do you need more help?Did you know we have an entire video course on How To Write? That course has had awesome client reviews, but it’s kinda expensive to buy . . . so don’t buy it! We’ve made that course available, in full, to members of Jericho Writers. Our members don’t just get that course, they also get: An incredible course on Getting Published A brilliant course on Self-Publishing A ton of filmed masterclasses Access to AgentMatch, the world’s best literary agent search tool A brilliant and supportive writers community Chances to pitch your work in front of literary agents, live online every month And more We’ve made the offer as rich as we know how to – and made it incredibly affordable too. You can find out more about our club here. Remember: we were founded by writers for writers – and we created this club for you. Do find out more... and we’d absolutely love it if you chose to join us. Use Unfamiliar Locations And smart research ALWAYS helps. Using unfamiliar settings adds real mood and atmosphere. Stephenie Meyer, when writing Twilight, decided she needed a rainy place near a forest to fit key plot elements. Like protagonist Bella, she was raised in Arizona, but explained the process of setting Twilight in an unfamiliar setting on her blog: For my setting, I knew I needed someplace ridiculously rainy. I turned to Google, as I do for all my research needs, and looked for the place with the most rainfall in the U.S. This turned out to be the Olympic Peninsula in Washington State. I pulled up maps of the area and studied them, looking for something small, out of the way, surrounded by forest. … In researching Forks, I discovered the La Push Reservation, home to the Quileute Tribe. The Quileute story is fascinating, and a few fictional members of the tribe quickly became intrinsic to my story. As her success has shown, it’s possible to write successfully about a place you don’t know, but you must make it your business to know as much as you can about it. (Or if you’re writing a fantasy or sci-fi novel, plan your world down to its most intricate details.) And to be clear: you’re doing the research, not because you want that research to limit you. (Oh, I can’t write that, because Wikipedia tells me that the river isn’t as long / the forest isn’t as thick / or whatever else.) On the contrary: You are doing the research, because that research may inspire and stimulate a set of ideas you might not have ecountered otherwise. The key thing is to do your research to nail specifics, especially if they are unfamiliar, foreign, exotic. Just read how Tokyo is described in Ryu Murakami’s thriller In the Miso Soup: It was still early in the evening when we emerged onto a street in Tsukiji, near the fish market. … Wooden bait-and-tackle shops with disintegrating roofs and broken signs stood next to shiny new convenience stores, and futuristic highrise apartment complexes rose skyward on either side of narrow, retro streets lined with wholesalers of dried fish. There’s authenticity, grit to this description of Tokyo, as opposed to using ‘stock’ descriptions that could apply to many modern cities. Note this same thing with foods: in Japan, your protagonist could well be eating miso soup, as per Ryu Murakami. Or say if your story was set in Hong Kong, you might write in a dai pai dong (a sort of Chinese street kitchen), something very specific to that city if you’re describing a street there. Alternatively, if you are setting something in the past, get your sense of place right by doing your research right, too. In historical novel Girl with a Pearl Earring by Tracy Chevalier, set in Holland in 1664, maid Griet narrates how artist Johannes Vermeer prepares her for her secret portrait, musing, to her horror, that ‘virtuous women did not open their mouths in paintings’. That last is just a tiny detail, but Griet’s tears show us how mortified she is. Modern readers won’t (necessarily) think about seventeenth-century connotations like this, so if you’re writing a scene set in a very different era or culture to what you know, research so you’re creating a true sense of place. Use Place To Create Foreshadowing A brilliant technique – we love it! Descriptions of place are never neutral. Good writers will, in overt or gently subtle ways, introduce a place-as-character. If that character is dangerous, for example, then simply describing a place adds a layer of foreboding, foreshadowing, to the entire book. Just read how J.R.R. Tolkien describes the Morannon in The Two Towers: ‘high mounds of crushed and powdered rock, great cones of earth fire-blasted and poison-stained … like an obscene graveyard.’ It’s obvious from this description trouble lies ahead for Frodo Baggins and Sam Gamgee. But even if you’re not writing this sort of fantasy, character psychology and plot (as we saw above) can also render seemingly harmless places suspect, too. A boring apartment in Above Suspicion becomes scary when it seems someone’s been inside. In the same sense, we thrill to the sense of a place with excitement and promise, too, like when Harry makes his first trip to Diagon Alley (in Harry Potter and the Philosopher’s Stone) to shop for Hogwarts equipment with Hagrid. There were shops selling robes, shops selling telescopes and strange silver instruments Harry had never seen before, windows stacked with barrels of bat spleens and eels’ eyes, tottering piles of spell books, quills, and rolls of parchment, potion bottles, globes of the moon. … They bought Harry’s school books in a shop called Flourish and Blotts where the shelves were stacked to the ceiling with books as large as paving stones bound in leather; books the size of postage stamps in covers of silk. Just weave place and action together like this to create atmosphere, excitement, tension, foreboding. Think About Your Words – Nouns And Adjectives Specific is good. Unexpected is great! One final thought. When you’ve written a piece, go back and check nouns. A bad description will typically use boring nouns (or things) in settings, i.e. a table, chair, window, floor, bar, stool, etc. If you try to fluff up that by throwing in adjectives (i.e. a grimy table, gleaming window, wooden floor), the chances are you’ll either have (i) made the description even more boring, or (ii) made it odd. Of course, this works for that first passage we looked over from Margaret Atwood. We sense Offred counting the few things she has in the little room she calls hers, the window and chair, etc., in terse phrasing. We sense her tension, her dissociation, and we feel trapped with her. All the same, play with nouns, with taking your readers to new surroundings. Give them a Moloko. Play with surroundings, how you can make them different, how you can render the ordinary extraordinary. With the right nouns in place, you’ll need fewer adjectives to jazz things up – and when you do use them, they’ll feel right, not over the top. Happy writing!

So, you’re well on your way to completing your book on travel, and have a cracking book proposal that you can’t wait to share with agents. Well, we’re here to help!  WANT TO JUMP STRAIGHT TO THE AGENT LIST? CLICK HERE  Travel Non-Fiction Travel writing is not as simple as it sounds, and far more varied than you may think. You can have travel memoirs, travel guides, and everything in between. Whether your book is narrative and personal, or fact-driven, it’s important that it appeals to readers and is an interesting read.  What makes your personal memoir interesting to the average reader? What makes you qualified to write a food-driven travel guide? Do you want your books to inspire people to travel, or just be a light Sunday read? These are the questions you should ask yourself and be ready to answer in your book proposal when querying agents.   Some well-known travel books include Eat, Pray, Love (which was even adapted to film), A Cook’s Tour: In Search of the Perfect Meal, Into the Wild, Under the Tuscan Sun. Look at what makes each of these books successful, and find where your own book fits in the market.   AgentMatch And How To Use It There are plenty of travel book-loving agents, but you won\'t want to approach them all. The best way to develop and refine your own shortlist of UK agents for travel non-fiction is to visit AgentMatch, our literary agent database, and use the search tools on the left to make your selection.  With AgentMatch you can select by genre (e.g. travel non-fiction), country, the agent’s level of experience, their appetite for new clients, and much more. You can even save your search results and come back to them, allowing you to work through them one by one, at your own pace. Each profile has been researched thoroughly including what agents like to read in their spare time, information on their most recent deals, manuscript wishlists, submission requirements, and exclusive interviews.  You can sign-up for a 7-day free trial which will give you a good feel for the data and functionality. Or join us as a premium member and get unlimited access to AgentMatch.  UK Agents For Travel Non-Fiction To get you started we’ve selected a list of 20 UK agents looking for travel non-fiction:  [am_show_agents id=14] More Resources   We’re here to help you at every step in your writing and querying process. Check out our favourite blogs that can assist you in putting together your query letter and synopsis, and if you want valuable, personal feedback on your writing you can book a fifteen-minute One-to-One with an agent of your choice. Premium members can also get a free query letter review from our lovely Writers Support team!     Happy searching, and good luck on your querying journey!   

Have you just finished your novel and are ready to begin your search for an agent? Well, we’re here to help!  WANT TO JUMP STRAIGHT TO THE AGENT LIST? CLICK HERE  Romance Fiction Romantic fiction is one of the most popular of all genres, usually following the romantic relationship between two or more people, and often having a happy or satisfying ending.   There are many different types of romance fiction that just happen to share this umbrella term but can be very different in how they are presented. While you can get contemporary romance novels where the entire focus of the novel is on the relationships presented within, there are often crossovers with other genres. These can include historical romance, and paranormal or fantasy romance. This means that each genre is equally important in the novel, creating a unique story.  Finding the right agent is a long process but at the heart of it you need an agent who is not only qualified to work with your book, but also loves the genre/s you’re writing in.  So if you have written a historical romance with fantasy elements, for example, you should look for an agent that expresses an interest in both genres, not just an agent looking for romance novels. This may seem like a daunting task but that’s where AgentMatch can help.   AgentMatch And How To Use It There are plenty of romance-loving agents, but you won\'t want to approach them all. The best way to develop and refine your own shortlist of US agents for romance novels is to visit AgentMatch, our literary agent database, and use the search tools on the left to make your selection.  With AgentMatch you can select by genre (e.g. romance), country, the agent’s level of experience, their appetite for new clients, and much more. You can even save your search results and come back to them, allowing you to work through them one by one, at your own pace. Each profile has been researched thoroughly including what agents like to read in their spare time, information on their most recent deals, manuscript wishlists, submission requirements, and exclusive interviews.  You can sign-up for a 7-day free trial which will give you a good feel for the data and functionality. Or join us as a premium member and get unlimited access to AgentMatch.  US Agents For Romance To get you started we’ve selected a list of 20 US agents looking for romance novels:  [am_show_agents id=7] More Resources   We’re here to help you at every step in your writing and querying process. Check out our favourite blogs that can assist you in putting together your query letter and synopsis, and if you want valuable, personal feedback on your writing you can book a fifteen-minute One-to-One with an agent of your choice. Premium members can also get a free query letter review from our lovely Writers Support team!     Happy searching, and good luck on your querying journey!   

Guest author and blogger Mandy Berriman shares with us how she hooked her literary agent and the importance of never giving up. I went to a family wedding earlier this year. At our places at dinner, we each had a name card with a quote on the back. Mine read: I have one talent; I never give up. We laughed at the aptness, but it was also a well-timed personal reminder to me. Keep going, you’re almost there, don’t give up. And on I went with the current rewrite, kicking the doubt demons into the dust along the way. I think it is possible that in the history of Jericho Writers (The Writers’ Workshop), I hold the longest record for not giving up: eleven years, two months and 26 days, to be precise. I was one of their earliest clients with my nine chapters of an unfinished ghost novel for children. It was the first piece of fiction I’d written since leaving school and although I had experienced a huge buzz writing it, I’d taken a year and a half to get to Chapter 9 and then stalled. Was it any good? Did I even know what I was doing? Could I actually write a whole novel? After uttering once too often, ‘but how do I know if I can actually do this?’, my husband found The Writers’ Workshop and told me to go and find out. A few weeks later, I had a report back from Harry. The gist: yes, you can do this, and here are all the things you need to learn about writing. That was June 2005, and I haven’t stopped learning since – Arvon, reciprocal critiquing arrangements, constructive feedback from agents, self-editing, six Festivals of Writing, mentoring from outstanding Debi Alper, and always the ongoing support and encouragement from the team here. I spent many years on that original novel (writing, finishing, rewriting, editing, finishing again, rewriting, editing, finishing again), and I came very close with a number of agents, including one who read, offered feedback, and re-read several times over a period of three or four years, and my opening chapter was shortlisted at 2012’s Festival of Writing, but I never quite jumped the agent hurdle. I decided to put the novel in the drawer and move on. I’d been writing and rewriting it for nine years and was desperate for a change. I started a second children’s novel and rediscovered that buzz of fresh, no-idea-where-it’s-going writing. But fitting it in around two children and an increasingly demanding job meant progress was slow and I struggled with motivation. I dabbled in other bits and pieces, never settling on anything, but I started to write short stories and flash fiction in different styles and voices, and quite a step away from the children’s fiction where I felt comfortable. In 2013, several things happened to dramatically change my direction and fire my motivation. Firstly, I moved jobs to one that was far more creative, allowing me to focus on my passion for music and step back from time-consuming paperwork. Secondly, my youngest son started preschool freeing up a precious few daytime hours in which to write. Thirdly, and probably most importantly, Stories for Homes happened. Debi and her friend, Sally Swingewood, decided they wanted to create an anthology of short stories and poems on a theme of ‘home’ to raise money for Shelter. Debi asked for submissions of stories, techy help, proofreading and so on. I was determined to make progress on my children’s novel and I had no story ideas, so I replied to say that I would help where I could but doubted it would be in story form. However, just before the story deadline, I read Claire King’s The Night Rainbow, a wonderful, inspiring novel written from the POV of a five-year-old girl. (Read it!) Its themes are not about homelessness, but it sparked a thought – what does homelessness look like, feel like, smell like to a young child? And there was Jesika with her hands on her hips and that look she gets on her face when an adult is being really silly, wondering out loud why it took me for ages to notice her. I wrote and edited Jesika’s story in a week and sent it to Debi and Sally just in time for the deadline. They loved it. They made it the first story in the book. The book was filled with sixty or so other fantastic stories and poems and the book went on sale and raised over £2,000 for Shelter. (It’s still on sale, still raising money for Shelter.) I was very proud to be a small part of the overall project and when the excitement died down, I returned to the children’s novel. Except Jesika had other ideas. She wouldn’t leave me alone. I realised that one short story was not going to satisfy her. I’ve spent the last three years writing, rewriting and editing Jesika’s novel. In that time, Debi has continued to mentor me and I’ve been to four Festivals, each time taking a little bit of Jesika’s story with me for my one-to-ones. In 2013, all three agents told me they loved the voice, and they’d love to see more. (I wasn’t finished, so made a note of their names). In 2014, I saw two more agents who loved the voice, but weren’t convinced I could sustain it (and I still hadn’t finished it, so I couldn’t prove them wrong). However, that year I also went to a workshop run by Shelley Harris and because of a piece of writing I scribbled for one of her tasks, she introduced me to her agent, Jo Unwin, and we talked about the novel and she gave me encouragement to continue. In early 2015, I finished the first draft and started rewriting. In 2015, I submitted to Jo as one of my one-to-ones. She loved it and wanted to see more, and then after the festival, one of the agents I saw in 2013 asked to see the first chapter. She also loved it and wanted to see more, but the rewrite wasn’t finished. It took me a year to finish – during an emotionally challenging year and with enormous help from Debi’s editorial genius – and just before the 2016 festival, I was ready to submit again. I had two agent one-to-ones arranged and I emailed Jo Unwin and the other agent to ask if they wanted to see it, too. I assumed that nothing much would happen for a few months, and then I’d look at any feedback I got from the agents and talk to Debi about further rewrites. What did happen was I ended up with four agents reading the full manuscript, two making me an offer of representation, one taking me out for lunch and me having a choice to make – all in the space of three and a half weeks! I’m delighted to say (and still pinching myself when I say it) that I chose Jo Unwin. I know that this is one more hurdle in a series of hurdles and who knows what comes next, but I’m very excited to have arrived at a place I’ve been working towards for so long and so grateful for the day my husband handed me The Writers’ Workshop info and told me to get on with it. I stepped through a door that day that led me to so many fantastic opportunities, wonderful people and great friends – and I am the writer I am today because of them. Back in 2007, Harry posted about me on a now-dead blog to congratulate me on that initial success of finding an agent who believed enough in my first novel to offer feedback and ask to read it again. He acknowledged there were no guarantees that it would lead to representation but he said, ‘I bet Mandy makes it though. And I bet she sells well when she does. Certainly hope so.’ I printed that blog off and pinned it up to remind me to keep going, and I did keep going. Thank you, Harry. And thank you to everyone else along the way who believed I could do this. Lastly, incredibly, one of the many agents who rejected my children’s novel five years ago is the agent I’m now signed with as my book heads to publication with Doubleday. My advice: be rejected, crawl away and weep in a corner, look at feedback, eat chocolate, learn, re-read feedback, swear, try new things, get involved with other writers, allow your writing to be critiqued, learn more, delete, rewrite, edit, throw the whole lot in the bin for a day – but never give up!

Have you just finished your novel and are ready to begin your search for an agent? Well, we’re here to help!  WANT TO JUMP STRAIGHT TO THE AGENT LIST? CLICK HERE  Crime, Thriller, And Action Crime and thriller is one of the most enduringly popular genres of all time, from Agatha Christie and Sir Arthur Conan Doyle, to Gillian Flynn, Stephen King, and our very own Harry Bingham. Readers have always loved reading about crime and mystery, whether it’s more psychological and full of suspense, a police procedural drama, or full of gore and death.   These stories have always captivated us as readers and remain one of the most popular genres. Because of this, it’s important to make sure your book is unique and stands out. Crossover novels can be incredibly successful, whether you’re adding historical or speculative elements to your story, and this can help in creating that USP (Unique Selling Point) when approaching agents.   All you need to do is make sure you have a polished manuscript and a standout submission pack. After that, you’re ready to start doing your agent research and creating a shortlist. And that’s where we come in.  AgentMatch And How To Use It There are plenty of crime novel-loving agents, but you won\'t want to approach them all. The best way to develop and refine your own shortlist of US agents for crime and thrillers is to visit AgentMatch, our literary agent database, and use the search tools on the left to make your selection.  With AgentMatch you can select by genre (e.g. crime, thriller, and action), country, the agent’s level of experience, their appetite for new clients, and much more. You can even save your search results and come back to them, allowing you to work through them one by one, at your own pace. Each profile has been researched thoroughly including what agents like to read in their spare time, information on their most recent deals, manuscript wishlists, submission requirements, and exclusive interviews.  You can sign-up for a 7-day free trial which will give you a good feel for the data and functionality. Or join us as a premium member and get unlimited access to AgentMatch.  US Agents For Crime, Thriller, and Action  To get you started we’ve selected a list of 20 US agents looking for crime and thrillers:  [am_show_agents id=19] More Resources   We’re here to help you at every step in your writing and querying process. Check out our favourite blogs that can assist you in putting together your query letter and synopsis, and if you want valuable, personal feedback on your writing you can book a fifteen-minute One-to-One with an agent of your choice. Premium members can also get a free query letter review from our lovely Writers Support team!    Happy searching, and good luck on your querying journey!   

The ultimate guide for serious self-publishers, with everything you need to know about kindle publishing and how to sell e-books on Amazon. This is a jumbo post, because it tells you everything you need to do and how to do it. If you only need to research a specific topic, then use the index on the right hand side. Otherwise, jump right in – and let’s get you self-publishing successfully via KDP, Amazon\'s self-publishing platform. Self-Publishing – How To Make a Living An Overview Of Effective Self-Publishing Step 1: Write A Good Book Step 2: Create A Strong Cover Step 3: Prepare Your ‘Look Inside’ Material Step 4: Prepare Your End Material Step 5: Format Your E-book Step 6: Build Your Print Book (If You Want To) Step 7: Build Your Website Step 8: Create Your Readers’ Magnet Step 9: Mailing Lists And Other Technicalities Step 10: Social Media: Why You Can (Mostly) Ignore This Step 11: How to Choose Categories (BISAC Codes) On Amazon Step 12: How To Choose Keywords On Amazon Step 13: How To Price Your E-Book On Amazon Step 14: How To Launch Your Free Book Step 15: How To Launch Your Paid Book Step 16: The Long Term: Where Do You Go From Here? Self-publishing: How To Make A Living Via Amazon’s Kindle KDP The good news: self-publishing is easy these days. If you have a book and a cover, then uploading it is: Free. You pay nothing to Amazon, though there will be some costs involved in preparing properly. Fast. Allow 12-24 hours for the book to go live worldwide. Awesome. KDP can make your work made available to a worldwide audience. That’s something that even the largest traditional publishers can’t offer, unless they have acquired worldwide rights. That’s the great side of self-publishing, but there are challenges, too, of which the biggest is simply this: Invisibility. Amazon has 3.4 million titles in ‘literature and fiction’. 3.6 million history titles. Half a million comics and graphic novels. And of course, the flood grows ever bigger. Half a million new titles became available on the Kindle store in the last 90 days alone. Your title might be great, but bury it amongst 499,999 competing titles and it’s still likely to vanish. In short, self-publishing on Amazon is awesome and scary in about equal measure. This post will tell you how to publish your work on Amazon in a way that is low-cost (not zero cost), professional, and effective. Just how effective it is will depend on you, your books, your genre, and how much work you put in. But it is, these days, perfectly realistic to aim at earning a decent living wage from Amazon KDP publishing (possibly supplemented by publishing on Apple, Google, Kobo, etc). And just to be clear, although a good chunk of my author earnings come from traditional publishing, the money I earn from self-publishing my work in North America alone is excellent. In 2017, I earned $100,000 from just six e-books. And as you build your range of titles, your readership, your email list and your marketing skills, your income should follow suit. Yes, it’s hard work. Yes, it involves a little upfront cost. Yes, it depends on some clever tricks of marketing and presentation, but it works. It worked for me. It can work for you. The same basic principles underlie the success of thousands of other indie authors. And I’m going to share everything. This post is basically the ultimate guide to self-publishing your book on the Amazon Kindle store and I’ll update if things need to be tweaked or changed. Since the post is super long, I recommend that you bookmark it and use the Table of Contents up top to navigate. Tweet it, share it, link to it from your website, if it’s all helpful. To business. An Overview Of The Self-Publishing Process Effective self-publishing on Amazon requires: Strong underlying material. In other words, your book needs to be good. If it’s not, no amount of clever marketing will save it. A properly presented e-book. What I mean by this is that the cover needs to be strong. The material at the front of your e-book (the ‘Look Inside’ portion) needs to tempt the reader to complete their purchase. The material at the back of the e-book needs to clinch the deal. It needs to turn a one-off reader into a permanent, committed fan. (Not sure which ebook format to use? Then check out this article). A properly constructed author platform. That means a website, a reader’s magnet and a properly set-up mailing list. If that sounds scary or technical, don’t worry. There’s nothing hard here and I explain it all, anyway. Sensible pricing. No one will buy your book if it’s too expensive. You won’t make any money if it’s too cheap. Well-chosen metadata. Another scary term for something that’s basically simple. Because a lot of purchases on Amazon come via different types of search, you need to make sure that your book will pop up in the right places, not the wrong ones. And it’s all easy. Proper book promotion. So far, everything in this process is about getting ready for publication. Actually launching your book comes right at the end of the process. And, once you’ve built any kind of track record, you do that launch via your mailing list. You basically tell these guys (your committed fans) that you have a new book for sale. They rush out and buy it. Amazon notices that there’s a huge sales surge in this cool new book, so their search engine starts showing it to more and more people. So now you have totally new readers buying your book and as they enter your world, they start signing up for your mailing list, so your fan base grows and your next book goes even better. All that works well once you’ve got started, but how do you get started in the first place? Well, there are tricks there too and we’ll cover them. In short, the basic marketing process on Amazon is (A) prepare properly, (B) build a mailing list, (C) sell your work to that mailing list, (D) acquire additional sales from brand new readers who arrive at your work thanks to the visibility acquired via those mailing list sales, then (E) rinse and repeat, ad infinitum. Once you’ve mastered the basic essence of this underlying technique, you’ll want to add in the following methods too. (I’ve put the easiest techniques first, the harder ones later. Don’t work this list in the wrong order!) Book promotion sites Cross promotions with other authors Amazon Advertising Bookbub advertising Facebook advertising Of these methods, Facebook is probably the most powerful and scalable … but it’s also the most complicated and the easiest place to lose money. Most indie authors want to add Facebook advertising right away. That’s a mistake you pay for – with dollar bills magicked out of your pocket and into Mark Zuckerberg’s Fund For More Digital Wickedness. And though this post is long, don’t panic. Yes, there is set-up time and cost involved in getting started, but the basics of marketing are really quite easy thereafter. In July 2015 I launched a book in the US where my complete marketing plan consisted of: One email to my mailing list. Nothing else. (My wife had her second set of twins that year and we were … busy.) I didn’t tweet, post on Facebook, blog or send out review copies or anything else. You want to know how much money I made? I earned $30,000 from that one email and, since then, things have only got better. I’m going to show you how to do all of that, so buckle up as we hit the detail. Step 1. Write A Good Book People always laugh when I say that, “Write a good book,” but it’s the only absolute essential of the whole marketing process. It’s also the area where writers most tend to rush things. (Simple starter guide on writing a book here.) Again and again, we see writers struggling to achieve sales on Amazon. They talk with intensity about their metadata, their Facebook campaigns, their experiments with permafree and a million other things but when I look at their books, they’re too often just not good enough. And if your product isn’t a hundred percent, your sales will only ever be mediocre. Remember that if you’re writing thrillers, you are selling head-to-head against Lee Child and John Grisham. If you’re writing YA fiction, you are selling head-to-head against Stephenie Meyer and Veronica Roth. Getting nice comments from your beta-readers is not enough, because – scary truth – everyone gets nice comments from their beta-readers, so do things properly. Hone your craft, say with a writing course. Get detailed feedback from professional, third-party editors like ours. Put your work in the way of people who are skilled at finding flaws, not too quickly generous with praise. There are a lot of different editorial services out there; from manuscript assessments to developmental editing. We obviously think ours are pretty good, but do check out what different types of editing have to offer. Some of them are damn expensive and best avoided. There’s one school of thought, which is that you may as well get your work out there. Make some sales, acquire some readers, and learn on the job. Well, maybe, but I think that’s the wrong attitude. I think the writers who succeed are the ones who want to put the best possible product out there always, every time. And indeed, in self-publishing, there’s a strong argument which says that book #1 in your series should be the best one you write. That’s the portal into your series. That’s the one which hooks fans and compels them to read on. If you write a dud Book #4, your core readers will forgive you and buy Book #5 anyway. If you write a dud Book #1, you won’t have any readers for anything else you write. Another way to look at the same thing: Great marketing + a lousy product = a lifetime of struggleSo-so marketing + a brilliant product = easy sales A great book is the foundation for everything else. So get it right. Build those foundations strong. They’re going to support your entire career. Step 2. Create A Strong Cover The cover is second in importance only to the book itself. If the cover doesn’t immediately appeal to your core reader, then that reader won’t even arrive on your first page to read a single word. You must get the cover right. Nothing less than perfect is enough. That means your cover needs to: Look good in thumbnail. The book must work at small scale. Designers always like showing you the hi-res version of their image, which is fine, it needs to look nice at scale, too. Still, your very first task is to shrink that right down and see if it works when tiny. Look good when compared with competing titles. I always copy that thumbnail sized image onto a screengrab of an Amazon search page, full of books written by my own direct competition. Then I ask: does my image look competitive on that page? If not, try again. Inform the reader instantly what kind of book it is. A YA dystopian cover should announce its YA dystopia instantly. A rom-com cover should be instantly interpretable as such. Yes, that means that those covers tend towards clichés, but in this case, that’s good. The first task of a cover is to say, “I am a book of this genre”, where said genre is a rom-com, or thriller, or romance, or whatever else you’re selling. Convey a mood or feeling. Readers typically buy books because of a hook and a feeling, e.g.: ‘It’s this book about an ordinary girl and vampire who fall for each other.’ That’s a hook plus a feeling, giving a reason to buy. A book cover can’t really convey the hook (that’s the job of your blurb), but it can and must convey the feeling. Those Twilight covers conveyed a general sense of dark, forbidden sexiness. That was all they needed to do, and they did it superbly. Generate questions, don’t close them off. Covers that answer questions don’t tempt readers in. Covers that prompt questions invite further exploration. Stephenie Meyer’s Twilight cover is a good example. Why that girl? That apple? That black background? You instantly want to know more. If the cover had been pretty-girl-plus-hunky-vampire gazing adoringly into each other’s eyes, it would have sold some copies, but never have been the global hit it became. Similarly, your approach to your subject matters needs to be oblique and suggestive, not right on the nose. Use good quality images. That’s sort of obvious, but it’s common to see self-published books where the images look like (and almost certainly are) stock images from some free or low-cost image library. And they don’t look bad, exactly, they just look like stock images. They have a seen-it-before quality, death to your project of attracting a reader’s eye. If you need to pay money for a top-dollar image, then pay that money. Use good quality typography. Again obvious, but getting the typography (font styles, etc.) on a book is harder than it sounds. If a draft cover feels a tiny bit ‘off’ when you see it, then it is wrong. That feeling never lies. So once you know what you want to achieve, how do you achieve it? It’s strangely hard. You’d think getting a strong book cover was a reasonably mechanical process. You write a design brief. You hand it to a competent person. Boof, you get back a design that’s going to be anywhere from good to excellent. And, in my experience, it’s not really like that. I’ve had poor to mediocre covers from best-of-breed traditional publishers. I’ve had mediocre book covers from talented, award-winning freelancers. I’ve used competition type websites with results that were okay, but not utterly satisfactory. And, yes, I’ve also got some book covers that I’m totally happy with. So my recipe for success is as follows: Fire your Uncle Bob. Unless your friend, relative, etc., is a professional designer, that person is not right for you. And yes, you may save some money. But NASA would probably save some money by patching their rockets together from stuff found in a junkyard. There’s a reason they don’t do it. Use pros. You can go to competition type websites, of which 99Designs is the most prominent example. (Personally, I think you have to pay a lot of $$$ to get a good outcome from this, however.) You can go to outsourcing type sites like Fiverr or Upwork. You can search libraries of premade book covers for sale (for example, The Book Cover Designer. You can just Google around (search “book cover designers”) and look at different offerings. Or, simply design your own ebook cover. There are pros and cons to every avenue and in the end, there’s no one-size-fits-all solution. You may blunder around a bit until you find the right solution for you, but that’s fine. This is a creative process and you may need to experiment before you get it right. Spend money. Just to be clear: the phrase “blunder around a bit” can mean “spend some money getting projects started with designers who looked really great (and are great, actually), just you didn’t like their initial designs and twigged things weren’t going to work out.” Don’t end up settling for almost-good, because you couldn’t bear to write off the $150 that you had to spend. Either invest again with the same designer to get something you’re happy with or close off that avenue and start again. Remember that your first cover will almost certainly be by far your most expensive. Once you’ve settled the look (the kind of image, the mood, the typography, etc.), the next batch of covers will be easy-peasy. Only work with people where you’re happy saying ‘no, not yet’. This is a crucial one. You must be happy with your cover. That means continuing to look at images, to work away at typographical niggles, until you’re genuinely delighted. If your designer charges you $90 an hour beyond a certain level of changes, or if your (talented, but not infinitely patient) Uncle Bob is just going to start rolling his eyes, then those people may not be right. You must feel okay with demanding perfection. And yes, that may mean being pushier than you normally like to be, but it also means working with someone where you can feel safe to be pushier. If you’re unsure, look up more tips on how to commission ebook cover designs here. Now we turn to the book itself. Step 3. Create Your Ebook: ‘Look Inside’ What is the front material there to do? For ebooks, there is only one answer: the front material is there to convert ‘Look Inside’ browsers to people who buy your book. It’s effectively a front door that has to look welcoming if you want to tempt readers inside. If your front-end material does not directly contribute to that goal, then it needs to go elsewhere. Yes, you may want to find room for your thanks, your copyright notices and all the rest. Those things don’t make people buy your book, though, so bury them at the back. The front of your e-book probably only needs: The cover – because you need it, and readers expect and want it. A title page – ditto. Formal proofs – that means any plugs from fellow authors, from newspaper reviews, or anything which tells readers, ‘Yes, serious, professional readers have read this book and rated it highly’. At the start of your career, you may struggle with those formal proofs, but that’s fine. All new authors are in the same position. Do what you can, but don’t fret too much. Social proofs – in other words, any comments from readers that tell people, ‘Yep, people like you have read and enjoyed this book.’ Social proof is quite possibly just as important, maybe more important, than any number of great notices in the New York Times Review of Books, and even as a newbie, you can accumulate social proofs. So go do it. And put those proofs up front where casual browsers can find them. Constant reminders about what your book is and what it offers. Remember that people who click on the ‘Look Inside’ feature may well only be browsing in quite a casual way. They’ll have sort of took in your cover design, sort of read your book description. Just as bookstore browsers flip books over to look at them in quite a casual way, though, so it is with people browsing on Amazon. You need to assume that these browsers haven’t intently studied anything. They are only two or three clicks away from buying something quite else. Hammer home your message, by carefully choosing formal and social proofs and other related text. My own ‘Look Inside’ text will try to remind readers that, “This is an exciting crime thriller featuring a really interesting female detective.” That proposition won’t appeal to all readers, but it should appeal to the kind of readers my book is aimed it. So make it clear. Keep it uppermost in the browser’s mind. Offer a freebie. I’m going to talk more about readers’ magnets and email lists in a later section of this post, so for now, just notice that I recommend you offer a freebie, a story available for readers to download for free, up at the front of your e-book. We’ll talk more about what and why soon. And plenty of text! The shorter your other front material, the more room you have to give readers what they really want, which is a taste of your book itself. Make sure that your first chapter is strong, and let readers get there fast! Step 4. Create Your Ebook: End Material If the front material in your e-book is there to persuade the browser to buy, the end material has a rather more complex set of functions. It should: Get your readers to buy another book from you. Get your readers to give you their email address. Build a real human bond between you and your reader. Encourage readers to write reviews. Make the extent and structure of your book series and other works really clear. The thinking here is simple. A reader has just finished your book. We have to assume they enjoyed it (if they didn’t, no marketing genius in the world will entice further sales.) So what next? Now is the moment to reach out and build a lasting bond between you and the reader. E-books that just finish without doing that are kind of like the door in the image: they kick you out onto the street, leaving a slightly disappointed feeling behind. E-books that look after the reader are far likelier to create a pool of keen buyers, who’ll come back to your work again and again and again. So how to achieve those happy results? Answer: Write an author’s note that feels personal. Make sure it’s full of your voice and personality, and directly thanks (perhaps even compliments) your readers. Invite participation Notably by encouraging readers to give you their email address in exchange for a free story from you. More on this shortly (and it’s key, you can’t miss this step). Be smart about offering those buy links. Remember that Apple won’t accept books with Amazon links in, so you can either (A) work exclusively with Amazon (probably the best bet for newcomers to indie-dom), (B) have a mobi (Kindle) file that is different from your epub (Apple, Google, Kobo, and everyone else) file, or (C) create a landing page like this to let readers choose their own store. Remember that e-readers are probably reading in an online environment where they can take instant action, meaning print books are a terrible model for how to put together your end-material. Web design is a better model. You want easy-to-access links in places where your readers may want to take actions enabled by those links. In other words, don’t just talk about other books in your series, make it simple for readers to buy those books on Amazon, Google, Kobo, wherever. Making it easy will make a huge difference to your conversions and that means making a difference to your pocket. Step 5. Format Your Ebook Don’t feel too fussed by this. Writing a great book, preparing inviting front material, developing material at the back of the book that seals the deal with the reader, those things matter. The rest is a technical exercise that you can either do yourself or outsource. It’s not expensive and easily done. So first, make sure that your Word file is in good shape to be converted. We’ve lots more advice if you need on how to format your ebook. (This section assumes that your MS is basically textual. If you are creating a design-led book that involves a lot of images, then Visme offers a great, simple, e-book creator. Did I mention that it’s free? Well, yes, it’s free.) Then, iff you’re working exclusively with Amazon (which, as I say, I recommend when starting out), then you can just upload your Word document to Amazon. It’ll make the conversion for you. And boom, that’s it. If you are distributing to all the e-stores, you’ll need an epub file, not just a mobi one. You can create that file yourself via simple online tools, Scrivener being one option (you pay for this, but it has loads of other features and loads of writers swear by it). Calibre is another. Apple users love Vellum. Some e-book distributors, for example Draft2Digital, offer free online tools that are very simple to use and come with no strings attached. Whatever route you take, just make sure that you preview the ebook before going live with it. All the those conversion tools offer previews, and just go through, checking every page. This is your product we’re talking about. Checking matters! Step 6. Want A Print Book? Then Sort That, Too. Most self-publishers will sell work in e-form, not book-form. My own e-sales are probably about fifteen times greater than hard-copy sales. (With my traditionally published work, the balance is much more even, or even leans more to print.) What’s more, print books are harder, more expensive to put together. You have much less control over the selling price. A lot of the promotional techniques that work brilliantly for ebooks don’t work as well for print. And so on. I say that to be honest, not to put you off. I sell several thousand self-published print books each year. I make a little over $3 per sale, so I end up with a satisfying amount in my pocket because of those sales. And I do nothing at all to promote those books. Nothing. All I do is promote my e-books actively and intelligently via the Kindle Store and elsewhere, and that visibility brings my work to the attention of some readers who think. ‘Hey, this looks good, but I’d rather have it in hard copy.’ And it’s easy enough to add a print element on to your offering. KDP offers a print option too. You’ll need a back jacket and spine design, as well as your front cover (but those things are easy, once you have the front sorted). The additional cost involved is minimal. You’ll also need interior formatting, to be sure your book looks lovely when laid out on the page. Don’t try to do that yourself – it’s harder than you think. Your best bet is an outfit, BB eBooks, which is based in Thailand and combines excellent experience and quality with Thai pricing. Once you have your cover and your text, you just upload them via KDP. Bingo. Worried about an ISBN? Don’t be. Ebooks don’t need one and most top-performing indies don’t bother with them at all. In terms of your print books, your print partner will sort out an ISBN for you. So, for example, if you create print books via Amazon KDP (your best starting option), Amazon will simply take care of it for you. Easy! Just remember, e-sales are likely to predominate by a large margin, and your print sales will only start to take off if your e-sales do. National or international distribution via bookshops is basically a fantasy, unless you have a traditional publisher to take care of that for you. Step 7. Build Your Website You know you need a website, but why? What do you want it to do for you? There are lots of flaky, fuzzy answers floating around the internet, and they’re almost all wrong. Some people will tell you: ‘Oh, it’s a key part of your brand. You need to build a platform.’ Really? Why? Most readers will surely just be happy with (a) the book, and (b) Amazon. Why do they need anything else? Or: ‘You need to make yourself discoverable by search engines.’ This is rubbish. Or it is if you’re writing fiction. Google-search and similar just doesn’t matter to most novelists. How could it? Here’s the one thing you need to know about your author website. Your website is there to collect reader’s email addresses. That is its purpose. That is why you have it. If it does that and almost nothing else, you’re doing fine. (Or, full disclosure, that’s true if you’re a novelist. If you’re writing non-fiction, then the truth may be a bit more complicated.) Yes, you will probably want a page for each one of your books. Yes, you probably want some kind of bio. Yes, you probably want a contact page. If you like writing blogs, you probably want a ‘news’ or ‘blog’ type page as well. Still, I can’t even remember the last time I posted on my author blog. I don’t make sales from my book-specific pages (I make them on Amazon.) The contact function is nice because it means readers can get in touch with me, but if I disabled the page, the world wouldn’t collapse and my sales would remain untouched. Your website is there to collect reader’s email addresses – and how does it do that? Well, the primary chain is simple. It’s this: You have a link in your e-book that says, “I’ve got a free story for you, please come and get it”. That links passes the reader to a page on your website that handles that story-for-email exchange. The reader gets your free story. You get a way to contact them in the future. That’s a fair exchange: you are, in a way, giving the reader something of more value than the thing they’re giving you. And it’s an honest one. You will make it clear that yes, you will retain that reader’s email address and sometimes make use of it, though only for matters directly related to your books. The way you structure that basic exchange is critical. Tiny differences in set-up will make a few percentage point impacts on your conversion rates, and, when cumulated, those little impacts can make a huge difference to the success of your campaign. Your ebooks need to take people to a page on your website that maxes the number of people downloading your story. Here is an example of a good page from my own website (and see what happens when you click the buttons – functionality matters). Key design points to consider are: Eliminate all in-site navigation. This page exists on my website and has completely normal navigation tools up at the top, excepting this page. On this page, I want people to click those buttons. I don’t want them to be distracted by any other good stuff I have on the site. This page has to say, “Either download the story, or close this page: there is nothing else to do, read, see here.” Have incredibly obvious calls to action. Giant orange buttons on a monochrome background works for me. Don’t ask for an email address straight away. It’s better to make it a two-stage process: (A) let the reader give you an order: “give me my freebie”, then (B) obey the command. And it just so happens that obeying that command involves collecting an email address. Around two thirds of visitors to my website end up leaving me their email address. They’re readers who have liked my work enough to buy it in the past, and to collect the free story I’ve offered. Those are the people who are likeliest to buy my work again in the future, and now I have a way to get in touch with them direct. Since you’re building a website, too, you may as well do the obvious bits right. Its branding should be synced with your books’ branding. The site should communicate what you are all about as an author as swiftly as your book covers do. Your site should be mobile responsive, so that it looks as good on a phone as it does on a PC or tablet. And so on. There are other bits and pieces to get right, but any half-way competent designer should do them fine. A few rules to follow are these: Pay that little bit extra for your own domain name. So pay for JaneSmith.com or JaneSmithAuthor.com. Yes, janesmith.wordpress.com is cheaper, but you’ll regret it in the long rum. Use WordPress. Wix and Squarespace and their like are cheaper in the short run, but they have vastly less power than WordPress. So again: think long term, not short term. WordPress needs a theme – a stylistic chassis, in effect – to hold your site together. I strongly recommend Parallax for Writers, because it’s great, it’s designed for you, and it’s crazy cheap. Learn a little bit of basic tech. You don’t have to be a tech wizard – I’m not – but if you know nothing, you’ll always have to go through someone else to make minor site tweaks which means that, after a bit, you won’t even bother. Your website doesn’t make you money directly, but it’s the launch pad – the blast station – for everything that follows. So build it good, and get ready for launch . . . Step 8. Create Your Readers’ Magnet OK, now listen up, because this stuff matters. We’re talking reader magnets. A reader’s magnet is a free story you give to your readers in exchange for their email address. You advertise the freebie in the front and back of your ebook to maximise the number of people who take you up on that incentive. You will then use the email list you build to bond with readers, launch books, boost promotions and, in general, to send you off, giggling, to the bank driving your own gold-plated Cadillac with a trunk stuffed with high denomination bills. To secure these outcomes, your reader magnet needs to be good. So be sure your story lives (broadly speaking) in the same fictional world as your for-sale novels. You can’t use a horror-fiction magnet as a lure for your fluffy romance readers, or vice versa. Be sure that your magnet is well-presented and has a lovely book cover. Obviously, you’re going to scatter plenty of links in your ebook (the front and back of it, not the actual text), so readers can’t miss the fact you have something free to offer. I also recommend you make at least some of those links visual (i.e. you use a book cover or similar) to invite the eye. Text links are great, and you should use those, but visual plus text beats text alone. That story you offer does not need to be a full-length novel. Anything from 5 to 15,000 words is fine. Just make sure it’s a satisfying piece of quality writing. Don’t cheat your reader. And that’s it. One story (a magnet) to attract readers and collect email addresses. That already sounds good, but in fact, as we’ll see, it’s going to form the absolute heart of your promotion strategy. Step 9. Mailing Lists And Other Technicalities Now we’ve got links in our e-books to take readers to your website, where the story-for-email exchange is made, but how does the actual plumbing of all that work? The answer is that you will need two tools. The first is Mailchimp (or any other mailing list provider.) They will store your email list, send mass emails, eliminate duplicates, handle the unsubscribe process, and plenty more. Some people find Mailchimp hard to use and prefer Mailerlite. If you are ambitious and tech-confident, you might want to use the more powerful Convertkit. The second is Bookfunnel, an outfit that makes the delivery of your free ebook (your reader’s magnet) unbelievably simple – both for you and for your reader. Both services are paid, but the money isn’t crazy. You’ll pay $100 a year for Bookfunnel, and Mailchimp is free until you hit 2,000 mailing list subscribers, and $20-30 monthly thereafter. Bookfunnel is so simple to use, you won’t need any help setting it up. In fact, I would be insulting you if I told you how to use Bookfunnel, so I won’t. (Phew. We’re still friends.) Integrating Mailchimp with your website could require help, depending how much you hate fooling around with that kind of thing, but don’t cut corners. Creating a smooth path for your readers is key. They need to: See a link in your ebook. Click over to a (navigation-free) landing page on your website. Hand over an email (to your Mailchimp mailing list). Be delivered a book via Bookfunnel. That’s all easy. If you need help with web bits, then get this. Again: all this set-up stuff can seem boring, but so is climbing up a long flight of steps. You’ve got to put the effort in, if you want the reward at the end. Rushing to publish too soon is the absolutely class, #1, gold-plated mistake that most indies make. Put in the effort, then enjoy the rewards. There’s a lot to take in, right? There is, yes. Self-publishing is more complicated than regular publishing, especially at the start. (Later on, it can actually seem simpler in many ways, especially if you hate giving up control.) But still: a lot to take in. A lot to do. And there’s this horrible (but accurate) sense that getting the detail right really matters. That’s kind of yikes!, right? Well, yes and no. Because the thing is we created an entire step-by-step video course that’s intended to be everything you need to know about getting set up as a self-publisher. That course is super-premium, which is a fancy way of saying (a) really high quality, and (b) scarily expensive. So don’t buy the course! That’s right: don’t buy it. It’s a great course, but it’s expensive, and you’re on budget, so – don’t buy it. After all, why buy, when you could rent? For a crazy-cheap (and cancel-any-time) monthly fee, you can become a member of Jericho Writers – a club designed for writers just like you. Quite simply, we aim to give members as much as we possibly can. An insane amount of value for as little as we can possibly charge. Think of us as a kind of Netflix for writers. So members get unlimited access to our self-publishing course. And unlimited access to a whole heap of filmed masterclasses, including some brilliant ones on self-publishing. And filmed interviews with authors and agents and publishers. And an incredibly supportive community. And live webinars from top experts on all the topics that matter most to you. Why so much? And why so much for so little? Well, that’s easy. We’re writers too, and we built our club for writers like you, writers like us. You can find out more about joining us here. We really hope you do. Step 10. Social Media: Why You Can (Mostly) Ignore This A lot of writers worry that self-publishing is going to be all about bigging yourself up on social media. Endless tweets, endless bragging Facebook posts. And it’s not. It’s not. Those things don’t work. They’re a waste of time. They’re horrible to do. I do have a Twitter account and an author page on Facebook, but I don’t get book sales via either route. (I have a Twitter account mostly because that makes it easy for Twitterholics to contact me if they want. Some of those contacts have proved of real value. I also have an author page on Facebook because a traditionally publisher once told me I had to have one. I got one, and neither they nor I ever used it.) Nor do you need to blog. Although I do blog here, I hardly ever blog about author things on my own website. And if I do, that’s because I feel like doing it. Actual book sales deriving from those blogs are trivial. There will be categories of author where social media does really matter. If you’re a fashion blogger wanting to sell books, you’ll need an Instagram following, and so on. It’s also true that social media can be a great way to network with fellow authors and influential bloggers in your niche. Those relationships are worth fostering but they’re not, directly, to do with selling books at all. For most of us, the big news is this: If you hate social media and want nothing to do with it, you can still sell books very effectively on Amazon. If you don’t want to blog routinely or do the work involved in building a large following, that’s fine, too. It doesn’t matter. To be clear, there are exceptions. In particular, if you build a strong audience on Facebook, you will make your FB advertising life a lot, lot easier.  If you’re interested in doing that, the rules are: Stay narrowly focused on your audience and their interests. Don’t ever stray from that core. Quality posts and interactions beat quantity. Post good stuff when you have something good to say. Be recognisable. When people scroll down their feeds you want them to know it’s your content straight away. Instasize is a great app for editing your images and keeping them on brand. If/when you have a decent FB following, you should pay to boost your launch post / promo posts. You can also think about advertising to your FB audience to support your email and boosted post campaigns. These are later stage tactics, though, and you can safely ignore these for now. If you’re nervous of getting involved in all that stuff, though, don’t be. Just forget about. You don’t need it. (For now.) Step 11. How To Choose Categories (Bisac Codes) On Amazon When a bookshop shelves your book, they need to choose where to shelve it. With romance? With crime? With general fiction? With health and beauty? Or what? It’s the same with Amazon, except that Amazon has far more categories. When you upload your book to Amazon (which is easy, and has become easier) you will see a little box prompting, and you need to choose categories highly relevant to your book. It’s important to understand the reason for this. You’re not choosing categories because you want to help Amazon with its filing. You are choosing categories in order to sell more books. Amazon has an overall bestseller list, of course, but it also has a massive range of sub-bestseller lists – for things like “Fiction > Crime” or “Fiction > Mystery & Detective > International Mystery & Crime”. Readers like perusing those lists, and Amazon likes to direct them there. If you can get on your chosen lists, your book will get more eyeballs, and all the clever stuff we’ve already put in place will convert those browsers into buyers. You need to choose categories by thinking of bestseller lists you’d most like to be on, and which you have a realistic chance of appearing on. That’s the whole deal right there. That’s (almost) all you need to know about choosing categories. For newer authors, it’s better to target rather more niche lists – in my case, “International Mystery & Crime” is more niche than “Fiction & Crime”. It won’t get as many viewers, but my chances of sitting close to the top of the list and staying there for a time outweighs that issue. Also – pro tip here – if you are picking a sub-category (eg: international mystery & crime), you are automatically entered in the relevant parent category (in this case, mystery & detective). So don’t waste your second category choice by entering the parent category as well as the child. Until you have a little experience of your book, your genre, your sales, you are largely guessing as to which lists to target. But at least you know what you’re doing here. If you are already published, then check out your Also Boughts to understand what kind of readers you have – what other books they like. You can use Goodreads or other online book recommendation tools to achieve the same kind of thing. Two last things on this topic: Amazon now uses the term ‘categories’ for this selection process. It used to talk about BISAC codes, a hoary old library classification system. You may come across both terms being used, but don’t worry about it. They’re the same thing. You need to read this section, on categories, in conjunction with the one that follows, on keywords. It’s when you put those two things together that the magic happens. Step 12. How To Choose Keywords On Amazon When you come to upload your book, Amazon will ask you to give it seven keywords that describe your book. (As you’ll see, some of those keywords can be two or three word phrases. That’s fine, but the term keyword is still used.) So far, so easy. Whilst categories have only one role (they let you choose what bestseller lists to target), Amazon keywords have two roles to play, and they both matter. Those keywords let you: Choose what sub-bestseller lists to target. Choose what thematic searches to target. Take the first of those things. When you look at the overall Amazon bestseller list, you’ll see that there are 330,000 or so mystery and detective books available for sale. If you’ve targeted that list, you might be a little nervous. You think your book is good, but do you really want to fight off 329,999 other bad-asses? What you need to do is break that group of 330,000 titles down into manageable sub-units, and if you click on the relevant broad category, you’ll see Amazon has given you a host of more manageable sub-units or mini-bestseller lists. Under ‘Moods & Themes’, for instance, I’m given various boxes to check under words like ‘Action-packed’, ‘Horror’, ‘Racy’, ‘Noir’, and more words to define the feel of my book. Under ‘Characters’, I’m given ‘Female Protagonists’, ‘British Detectives’, and so on. And something magical happens. Counting the number of books allocated to Amazon categories I want, the book count – i.e. your competition – goes down. More than half your competition disappears, just because authors and publishers haven’t chosen keywords that pin down good books into relevant sub-categories. (Recent changes have removed those numbers from the Amazon site, so you can’t now check what I’m saying. It’s still true, however!) Now you’re not going to get caught in that disappearing act, because you’re going to do this: Pick your broad category, Go to the relevant Amazon bestseller list Finding out which sub-categories might be relevant to your work. (You are looking at the left hand sidebar for this.) Pick out all the sub-categories which might apply to your work Use those sub-category titles as your keywords Obviously, it’s important that you don’t cheat at this, or your readers will feel cheated, too. So if your book isn’t racy, don’t use that keyword just because you feel you could clamber onto that list. If you see a sub-category where your readers are likely to gather, then jump on it. That’s it. Oh and the best way to find bestseller lists is just to enter ‘Books’ or ‘Kindle Store’ in the dropdown box on the Amazon search bar, and then, leaving the search bar blank, hit enter. Since the search bar is blank, Amazon knows you want to look for books but doesn’t know which books you want, so it just takes you to its default book navigation page. You want to explore the left-hand sidebar. That little baby is your friend. A useful pro tip here is that you can use multi-word phrases as your keywords, and every word counts. So for example, my sub-categories include options like Dark, Disturbing, Noir. My books tick all those boxes, so I could use three keywords to scoop up those terms … or, much better, I could have “Dark Disturbing Noir” as one keyword, and keep my powder dry. Keywords are best used in this sub-category extension way, but remember that people use Amazon’s search engine in multiple different ways. So people can find books in at least four ways: Author name (“Harry Bingham) Book title (“Talking to the Dead”) Series name (“Fiona Griffiths series”) General search (eg: “Murder mystery novels”) Now although it seems obvious you want to scoop up general search enquiries, it’s very doubtful that you’ll actually get a ton of sales from that route. Yes, “Gripping thriller” might seem like a great keyword, but if there’s any traffic on that term, it’s most unlikely that you’ll appear anywhere near the top of an Amazon search page. And if there’s no great traffic on the term, you won’t get any sales anyway. So don’t spend too much time on your general search terms, but for what it’s worth, here are the guidelines: Make a list of possible keywords – at least 12-15 if you want to do this properly. Start to type the first few characters into Amazon’s search bar Take a look at the autocomplete suggestions, and adjust your terms if Amazon is nudging you towards a slightly different version of your search term. Then actually look at the page of results that comes up. Check out the bestseller rank of the lowest ranked book. If that book is #5000 on the overall bestseller lists, it’s a pretty safe bet that your work will never meaningfully appear for that search term. If the lowest ranked book is #50,000, then you have a decent chance of appearing on that list, at least during launch/promo periods. If the lowest ranked book is #500,000 or below, then you can pretty much bet that there’s not enough traffic on this search term for you to care much about it anyway. To sum up this section: Choose categories according to what overall bestseller list you want to appear on. (Important) Choose keywords first according to what sub-bestseller lists you want to appear on. (Important) Choose keywords next according to what you think your readers will be searching for. (Not important) The whole exercise might take an hour or two, but can generate steady sales for years to come. Step 13. How To Price Your E-book On Amazon Pricing is scary, but also easy. The data you need: Free e-books get more downloads than paid ones. 77% of readers who download free work also buy paid work. Amazon offers two royalty bands of 70% and 35%. You get the 70% royalty if you price inside $2.99 – $9.99. Anywhere else, you get 35% royalty. Indie authors tend to price work (excluding free and promotional material) in the $2.99 – $4.99 range. It’s the same broadly for Amazon Publishing. That fact is relevant, because no one is going to be smarter than Amazon at interpreting data from pricing experiments. If $5.99 is their ceiling (and it is), then it should be yours. And that, really is all you need to know. Your price envelope is basically $0.00 to $4.99. (Some niches may vary, though, so always check against your own genre.) Now, pretty obviously, we don’t love $0.00 sales as much as we love $4.99 sales, but we’re going to use the cheap or free pricing, in a kind of Amazon ju-jitsu, to maximise our $4.99 sales. Free books get you readers. They build your fanbase. They make no money. $0.99 books get you lots of readers (but fewer than free). They make a bit of money, but not much. Sell a $0.99 e-book and you make $0.35. Sell a $2.99 e-book (at that higher 70% royalty rate) and you make $2.09, so you have to sell 6 times as many of the cheaper books to make as much. $1.99 books are kind of pointless. They’re too expensive to attract freebie readers, and they’re too cheap to get the 70% royalty. Just don’t price at that price point. You make money by pricing between $2.99 and $4.99. That’s where the money is. Where exactly you pitch your wares depends on all kinds of things. Do you want to aggressively grow your business in the longer term (while sacrificing some short-term revenues)? Then price at $2.99. Do you want to harvest your existing success? Then price at $4.99. Are your readers generally younger, or poorer? Then price low. Are your book buyers generally more affluent? Then price a little higher. Can’t decide? Then price at $3.99 which is an excellent compromise. Now we need to do two things. We need to get readers into our sales funnel – into our series – at the kind of price that won’t put anyone off (ie: $0.00 or $0.99), then use the love and commitment we’ve generated with our amazing writing to sell lots more books at $4.99. In short: You need to offer a free or highly discounted ($0.99) book to get readers into your universe. Without an existing fanbase, you have few other routes to this happy outcome. You need to have full price ($2.99 to $4.99) work that puts some money in your pocket. Those of you competent at mathematics will notice that I’m telling you to write two books to sell one. And yes, I am saying that. Except that, as you write more over time, that one free book will start leading readers into a larger pool of paid work. So you’ll be using one free book to sell two, then three, then four, then ten full-price ones. Also, those of you supremely gifted at mathematics will also have noticed that I’ve told you that: You have to give away a reader’s magnet, a roughly 10,000-word short story, for example, in order to collect emails. You need to write two books and one lengthy short story or novella to sell one book. Really? Well, yes, really. You are selling a series, not selling a book. If you understand that fully, your selling efforts will be vastly more successful over the long run. Step 14. How To Launch Your Free E-book I hope I’ve persuaded you that it’s worth giving away a book for free. Your purpose is to attract the greater downloads, to acquire fans. And it’s to get the email addresses of those fans so that you can contact them when you have a new book to share. There are four broad methods for doing this. Old articles never leave the internet, so you’ll see old advice that appears authoritative, but things change and change fast. Some of those older methods just look limp or expensive or awkward compared with more recent ones, so do read all of this section before you make your pick. So. Method 1: Just Give Your Book Away For Free Everywhere What you’re going to do here is upload your book on Amazon (at $2.99, or whatever), then upload it to Google, and Apple, and Kobo, and everywhere else, too. It’s too annoying to do that second part yourself, so you get an outfit like Smashwords or Draft2Digital to do it for you. They’ll charge a kind of agency fee on any revenues you make, but pay it. It’s money well-spent. Then, via your distributor, you simply make the Apple-Google-Kobo price $0.00. That’s easy-peasy. You just do it. Amazon doesn’t like free. (It’s a shop and it likes selling things.) Look at your book page, though, and scroll down to the Product Details section. You should see at the bottom there a little rubric (with contact links) that looks like this: “Would you like to tell us about a lower price? If you are a seller for this product, would you like to suggest updates to the product page?” Well, yes, you would like to tell Amazon about a lower price, so tell them. Report that lower price using the automated tool. I also recommend contacting Amazon more directly via the contact page on the KDP site. Say something like this: “I’m a serious and long-term author, looking to build fans for my work or series. I’ve made this book available for free through other stores, including Apple, Kobo, Google etc. I would really like it if you would consider making the book free on your store as well. And, to be clear, my long-term aim is to sell a lot of work, at full price, through your store. I very much appreciate your help.” They won’t guarantee to help. It’s not automatic. Their response is variable in terms of outcomes and timings, but you’re probably fine. Fingers crossed. The results can be very good. I did a freebie in January 2016 using roughly this method. I notched up about 10,000 downloads in the first week, through Amazon alone. Other e-stores were additional. Some further downloads followed (though at a much lower rate). And of course, my mailing list took a terrific jump upwards and I got plenty of emails and reviews from readers telling me that they loved that first book so much, they wanted to jump right into the rest of the (paid) series. Method 2: Give Your Book Away On Amazon Only (For A Limited Period) If you agree to work exclusively with Amazon – by enrolling in KDP Select – you will enjoy the ability to schedule Kindle Countdown promotions, which give you the opportunity to price your book cheaply, or for free, for 7 days in every 90 day period. Amazon will promote those deals itself and, if you go for the $0.99 option, you’ll still be on a 70% royalty (rather than the normal 35%). If you are exclusive to Amazon, and I think the default choice for new authors is probably to go exclusive as you learn the ropes, then you should use these opportunities fully. (I wouldn’t ever discount for seven continuous days, however. You’ll find that any sales surge quickly tamps down. You’re better off doing one three day and one four day promotion spaced about 1.5 months apart.) To be clear, though, these short one-off promotions are not really the same as the ‘perma-free’ option we’re mostly talking about. If you want a ‘perma-free’ book, you are probably making that one not Amazon-exclusive, pricing it free elsewhere, then coming back to Amazon as per Method 1 above. Method 3: Give Your Stuff Away Via Facebook Ads This approach had a real surge in popularity recently, but it’s a strange one, I think. With other approaches in this section, you pay nothing (or little) to give your work away for free. With the Facebook approach, you pay real money to acquire each new reader. You literally place ads on Facebook that say (in effect) “Hey, come and get your free book (but you’ll need to give me your email address to get it.)” And as a method of getting readers, it works, but that new reader of yours might be a flake. They might or might not read your free giveaway. They might or might not go on to buy other books in your paid series. The arithmetic looks like this: Unit revenue from your free giveaway: $0.00 Unit cost of acquiring those readers: $0.50 (or something like that) Your profit per reader: -$0.50 That arithmetic does not look attractive to me, but it is possible to make things work, if: You’re very good at managing your Facebook ads, so you target the right readers and keep your costs per click down very low. You’re very good at coaxing giveaway-readers into your paid-readership. That normally involves further little free gifts and a strong series of automated emails aimed at shifting kinda-interested readers into committed ones. You’ve a long tail of paid work to sell because, of course, the more you have to sell, the higher the expected long-term revenue that will be generated by each new reader. The people who succeed with Facebook ads do tend to have a lot of work to sell and they work hard and intelligently at managing their ad campaigns – which is all fine. All the same, do you want to be an ad manager or a writer? If (like me) you think the business of managing a Facebook ad portfolio could quickly become wearisome, there are probably better ways to do this. The one real exception I can think of applies to new writers who do have some cash to spare who just want to get on and do it. Instead of following my (very organic) sales method, where each new book just expands the mailing list and readership ready for the next one, you could just invest (say) $3,000 in basically buying 6,000 reader emails. Just be aware that paid-for emails will have a lower conversion rate than freebie ones. I assume about 1/3. Method 4: Use Book Promo Sites To Shift Your Work The best method, however, is to use book promotion sites to get your work out into new hands. There are two big ways to do this. One is via book discount sites. These sites have built large reader databases and they email their readers, saying, in effect, “Hey, these great books are on promotion.” You can build surges of attention to your work – and these tools can work very well indeed. The info you need about these sites can be found via Nicholas Erik here. Use those tools! Especially for newer indies, they are an indispensible way to get the word out. An excellent additional support is Prolific Works (formerly Instafreebie.) Those guys have good email lists themselves, but they also have great tools for collaborating with other author and cross-promoting work there. And I’m not going to tell you how to use that site here, because I’ve already told you in detail in this blog post right here. One indie author, J.N. Chaney, who has used both Facebook ads and Prolific/Instafreebie reports these results: “I just scaled back my Facebook Lead Ads. I still use them, but I’m now seeing better results with a lower price tag using Instafreebie. … My Facebook budget for that ad was $23 per day yielding an average of 49 subscribers per day at an average CPL [Cost Per Lead] of $.51. … Instafreebie is $20 per month yielding an average of … 84 subscribers per day at a CPL of $.0076. Not even joking. (It could have been 129 per day had I figured out that I need to require an email address to download.)” I also moved on from Facebook. I use Instafreebie myself, and it’s worked very well for me. Yeah, there’s a lot to think about isn’t there? So think about joining Jericho Writers and getting a TON of really classy learning materials that take you step by step through the whole process. I’m not going to give you a heavy sell. I’m just going to say that we built our Jericho Writers club for people like you, and you should think about joining us. You can find out all the details here, and we’d absolutely love it if you went ahead and joined us. Step 15. How To Launch Your Paid Book On Amazon KDP We’re there. We’ve done all our prep work. We have written a great book. Commissioned a great cover. Got great front and end material. We’ve written our reader’s magnet. We’ve got our website and other bits of plumbing in place. We’ve sorted out our metadata (our BISAC categories and keywords). We’ve figured out our pricing. We’ve got some initial names on our mailing list, probably because we’ve made use of Instafreebie or other tools to distribute free samplers of our work. And now we want to launch our first proper paid-for book on Amazon. We don’t just want readers. We want money. Good. (We need to live.) Now here’s a simple launch strategy for you to follow: Upload your book to Amazon, Apple, Google, and everywhere else. Send an email to your mailing list to tell them your book is now available for sale. That’s it. Have a drink, go for a long walk, take a nap. You’re probably thinking, you have got to be kidding, there must be more to it than that. Must there? On the one hand, yes, there are advanced strategies out there – and they make sense – but mostly, no. Follow this and you’ll do just fine, so long as your books are good. You can’t sell bad books. And the ultimate reason for the success of this strategy has to do with Amazon’s sales rank algorithm. That algorithm is crucial, but it involves just a tiny bit of arithmetic, so bear with me. Every book (indeed, every product) on Amazon’s system has a score which is made up of how many units you sold today, plus half the units you sold yesterday, plus a quarter of the units you sold the day before that, plus an eighth of the units you sold before that, and so on. A score is calculated for every book on the system. Those scores are placed in order. And, bingo, what you’ve got is Amazon’s sales rank. That piece of information is astoundingly important. Why? It tells you that short term movements in sales are intensely influential in determining overall rank. Let’s say you want to hit #100 in the Amazon.com Kindle bestseller lists. Good target, right? Well, you have broadly two ways to get there: You can sell (roughly) 500 e-books every day for a month, or you can sell (roughly) 1000 e-books in a single day. The first of those things is very hard to achieve. How, after all, would you even do it? Maybe a massive (and expensive) Facebook ads campaign could do it, but you’d end up spending a lot more than you were earning back. The second of those things, the big, one-off pulse in sales, is easy to achieve. And you already know how to do it. You just contact your mailing list and tell them, ‘Hey guys, I’ve got a new book out!’ They like your stuff now, so phrase it well, and they’ll look to buy your book. (On my last launch, 30% of my mailing list bought my book within eight hours of me sending the email.) And bingo! That’s your sales surge right there. The sales surge powers you right up the Amazon sales charts. All the good stuff you did with categories and keywords means your book will get to be visible right where it needs to be: in the exact places that your potential readers are browsing. All the good stuff you did with covers and your Look Inside section means those browsers will convert into readers. And those guys are new readers. They aren’t buying your book because they were on your mailing list. They’re buying your book because they were casually browsing, but you managed to ensure that your book was under their noses when they were doing so. You’ve just expanded your readership. And that’s good. But it gets better. Because all the lovely stuff you did with the end material of your book means that your new one-time readers will soon turn into your committed fans. They’ll join your mailing list and expand your reach for the next time you play this game. And that is the whole secret of successful self-publishing on Amazon. You turn that wheel and keep it turning, with book launch after book launch. If your work is strong enough to keep your readers reading, your sales will only increase from cycle to cycle. Step 16. The Long Term: Where DO You Go From Here? This (uber-massive) post has revealed the basic art of self-publishing success – but, believe it or not, it’s still something of a starter guide, a basic template. As you get your self-publishing career properly started, you’ll soon start to think about some broader questions, for example: How often am I going to publish a new book? Me, personally, I’m very old school. I write one book a year and can’t see myself going much faster than that. Loads of indie-publishers will aim to write and publish a book every three months. If anything, the trend is for writers to try and bring that down to one every two months. The more you write then (probably) the more money you’ll make, but you’re not just in this game for the money. You want a nice life, and you want to be artistically proud of your books, so where do those things settle for you? Are your current writing rhythms capable of change or are you happy where you are? What do I do between launches? The mailing list-driven, sales-spike approach works well to promote your book on launch and you’ll enjoy a lovely month or two of elevated sales as that book floats gently down the rankings. That still leaves plenty of months where your book sales spitter-spatter along at the rate of a few books per title per day. How do you gee things up there? Well, as I say, there are five basic add-on techniques that you will start to use as you build out your series. They are: Price promotions, combined with Kindle Countdown deals (if you’re Amazon exclusive) and juiced up with the support of one or more book promotion sites. (Info here.) You should look to build this technique into your selling process as soon as you feel ready. Amazon Advertising. A cranky system has become less cranky and more powerful. You can place Amazon ads on Amazon itself, so you are buying the attention of book browsers direct in-store. That’s great, but (a) Amazon ads are now quite expensive if you don’t have plenty of books in your series, and (b) they are desperately hard to scale. You should find it relatively easy to make some money each month via Amazon Ads, but a lot of money? I don’t think anyone anywhere manages that. Cross-promos with other authors. Find those authors via Prolific Works or Bokfunnel. Team up with them. Cross promote each other’s work. Make money. This is also easy and a strong way to make sales and build your email list. (Pro tip: don’t team up with anyone who’s not in your genre. You want to keep your email list full of core readers, otherwise you’ll confuse Amazon’s marketing robots.) Bookbub ads. A very powerful tool once you get it working for you. Read Dave Gaughran’s book. Subscribe to his newsletter. Do as he says. Facebook ads. Extremely powerful, especially if you have strong website traffic or a busy Facebook page. FB’s ad system is complex however, and it’s easy to lose money. Use this as the final element in your marketing system, not the first. Are you going to be Amazon-only? Or sell your work everywhere? You can go either way on this or, indeed, vary your approach. The Amazon-only approach has some advantages in that: (A) it’s easy to manage, (B) you enjoy sales via KDP Select that would otherwise be closed to you, and (C) Amazon is so dominant that you’re accessing most of the market anyway. And against that? Well, there are other retailers and they’re keen to make sure that they don’t totally lose out on the indie-publishing boom. Some prominent indie authors get a full 50% of their writing income from the non-Amazon stores, which they’ll achieve using techniques additional to the ones described in this post. With those other retailers, you don’t win via an approach of fire-and-forget, and where you stand on this decision is up to you. There are prominent voices on both sides of the fence. I strongly urge newer indies to go Amazon exclusive at the start. Once you’ve got a few books out and are hitting, say, $10,000 in annual revenues, you have a decision to make. Till then, stick with Uncle Jeff Bezos. And don’t worry. Copyright remains with you no matter what. If you ever want to remove your books from Amazon, you’ll still own the copyright to do with as you please. How do you strike a balance between writing and managing your business? Personally, I don’t do much business management at all. Most of my mailing list growth is organic: people like my books and sign up. I make enough money with my current approach and I just don’t particularly want to spend my time fiddling around with Facebook ads and the like. You may feel differently. You’ll have to figure out the balance that’s right for you. You might want to outsource some tasks to third parties. You might want to do it all yourself. A classic small businessperson’s dilemma. Do I need a literary agent? Once upon a time, that would have seemed like a strange question. You’re an indie author, right? You’ve turned your back on that whole traditional superstructure – except things do change. If you do well in English language markets, literary agents have a role to play in selling those additional rights. Foreign language sales. Film and TV. Audio. Or maybe you want to go for the full traditional publication with some portion of your portfolio? Or in one specific national market, such as the UK? If you’re not thinking about these things yet, you will probably want to do so in time. And that’s it – the ultimate (starter) guide to self-publishing on Amazon. It’s not comprehensive. There’s more to tell – but, this being a starter guide, you have what you need right here on how to self-publish with Amazon. (And if you found it all helpful, do click to tweet: The Ultimate Guide to Self Publishing on Amazon. (We hope!) https://ctt.ec/T8x6a+). If there are techniques working for you we haven’t covered, which you think others should really be adopting, drop us a line. We’d love to hear. As ever, best of luck, and happy writing!

Are you writing a book? Maybe you’re starting out for the first time? Twenty years ago, I was in your exact position. My wife was seriously unwell. I’d quit work to look after her. And yes, a lot of my time was spent caring for her… but that still left a whole lot of hours in the day. I didn’t want to just do nothing with that time. And I’d always wanted to write a book. (I’ve still got a little home-movie film clip of me, age 9, being asked what I wanted to be when I was grown up. I answered, “I want to be an author.”) So, sitting at home, and often quite literally at my wife’s bedside, I opened my laptop and started to write. That book grew into a 190,000-word monster. I was engrossed by the damn thing too. Worked really hard. Was a perfectionist about every detail. I got an agent and I got a six-figure book deal with HarperCollins, one of the world’s largest publishers. And the book went on to become a bestseller that sold in a load of foreign territories too. And best of all? I got a career I loved. I’ve been in print continuously ever since, bringing out about a book a year in that time, and I’ve basically loved every second of it. (Oh, and my wife? Yeah, she’s got a long term condition that will never leave her, but she’s about a million times better than she was back in those days. It’s been an up-down ride, but we’ve been a lot more lucky than not.) A Super-Simple Step-By-Step Guide For New Writers But you’re not reading this because you want to know about me. You want to know how to start writing a book. You’ve got a big empty screen to deal with. A headful of ideas, a desire to write… but no structure for putting those ideas into practice. You want to know: what next? Well, that’s a good question. (One I didn’t think about too hard about when I started out, but then again I did end up deleting a 60,000-word chunk of my first draft because it was just no damn good.) So what do you need to do next? The book writing process can be incredibly daunting, so we\'ve made it simpler for you. If you want to start writing a book, take the following steps, in the following order… Write A Book In 10 Steps Take one fabulous idea Build a blistering plot Add unforgettable characters Give your characters inner life Add drama by showing it unfolding on the page Write with clarity, economy and precision Writing for children? Same rules apply! Be disciplined Revise your draft Get feedback 1. Take One Fabulous Idea If you want to know how to write a novel, there is only one sensible place to start, and that’s not with the first line as you might think, but with the very idea of your book – the thing you want to write about. This is one part of the writing process which you can\'t avoid. Which is great, as for lots of people it\'s the most fun part. Concept matters massively. It’s almost impossible to overstate its importance. Stephenie Meyer writes competent prose, but it’s her concept that turned Twilight into a cultural phenomenon. Dan Brown, Stieg Larsson, and Stephen King are similar. They’re decent writers blessed with stunning ideas. Agents know this, and – no matter what your genre – a strong premise is essential to selling a book. Given any two broadly similar manuscripts, agents will almost always pick the one with the strongest central concept. How, then, do you get your amazing book ideas? The answer is that you probably already have them. Your killer idea may be germinating in your head right now. It may arise from a passion of yours; it may come out of a book you love. It’s not about the seed of the idea. It’s how you develop it that counts. The key here is: (A) picking material that excites you, (B) picking enough material (so you want several ideas for possible settings, several ideas for possible heroes, several ideas for basic challenge/premise, etc. You want to be able to make choices from a place of abundance.) (C) – and this is the genius bit – you need to start combining those ingredients in a way that ensures you have at least one rogue ingredient, one unexpected flavour in your concoction. So let’s say that you just wanted to write a 1940s, film-noir style, private-eye detective story – an homage to Raymond Chandler and that great generation of writers. If you just replicated all those ingredients, you’d have an unsaleable book. Why? Because they’re too familiar. If people want those things, they’d just buy Chandler’s own work or others of that era. So throw in – a ghost. A German secret agent. Or set the story in a black community in Alabama. Or… whatever. Just make sure there’s one discordant ingredient to make readers sit up and take notice. Need more help? Then go watch this 10-minute video I put together that walks you through this exact part of the writing process. Expert tip: It also helps to know really early on what kind of word count you should be looking at. The gold-standard way to figure this out is to get hold of five or six recently published novels in your exact area. Then count the words on a typical page and multiply up to get an approximate total. If that sounds like too much work, then just use our handy guide. The gold-standard approach is better though! 2. Build A Blistering Plot The next essential for any novelist is a story that simply forces the reader to keep turning pages. Fortunately, there are definite rules about how to achieve this. Here are the rules you need to know: Work With A Very Small Number Of Protagonists  These are the main characters in your story. The ones who propel the action and whose stories the readers invest in. You probably only have one protagonist, and that’s fine. If you have two or three, that’s fine too. More than that? Not for a first book, please! They’ll make your job too hard. Unsettle The Status Quo Very Early On You could possibly do this from the first page, but certainly within the first chapter. The incident that gets the story rolling is called the Inciting Incident, and it’s the catalyst for everything that follows. Read more about how to make your Inciting Incident work really well here. Give Your Protagonist A Major Life Challenge  Do this very early on in the book and don’t resolve things till the very end. The reader basically read the book to see whether your protagonist gets the thing they’re seeking. Does the gal get the guy? Does James Bond save the world? Increase Jeopardy Though it\'s important to do this over the course of the book, it doesn’t have to be an even progression, by any means. But by the final quarter or third of your novel, your protagonist needs to feel that everything hinges on the outcome of what follows. End Your Book With A Crisis And Resolution So the crisis part is when everything seems lost. But then your hero or heroine summons up one last effort and saves the day in the end. In general, in most novels, the crisis wants to seem really bad, and the resolution wants to seem really triumphant. It’s achieving the swing from maximum light to maximum dark that will really give the reader a sense of a satisfying book. (More on plot structure here.) Delete Unessential Chapters And finally, one more crucial tip: if a chapter doesn’t advance the story in a specific way, you must delete that chapter. How come? Because all the reader really wants is to know whether your protagonist achieves the thing they’re seeking. If that basic balance between protagonist and goal doesn’t alter in the course of a chapter, you’ve given your reader no reason to read it. So axe unnecessary backstory. Ignore minor characters. Care about your protagonist with a passion. Sounds simple? Well, the principles aren’t that hard to understand, although executing the advice can be a wee bit trickier. Expert tip: Use the “snowflake method” to build your structure. The heart of this concept is the idea that you should start with an incredibly bare-bones summary of your narrative – one sentence is fine. Then you add something about character. Then you build that sentence out into a paragraph. And so on. It’s a great way of allowing your plot to emerge somewhat naturally. More help on that technique here – but don’t ask my why it’s called the snowflake method. It’s nothing like a snowflake. 3. Add Unforgettable Characters Long after a reader has forgotten details of a plot, the chances are they’ll remember the character who impelled it. The two things you absolutely must bear in mind when constructing your characters are: Make sure that the character and the story bounce off one another in interesting ways. If, to take a stupid example, your character has a fear of spiders, the chances are that your story needs to force your character to confront those fears. You must bring your character into their zone of greatest discomfort. Make sure you really, really know your character. It’s so often little things, and subtleties that make characters seem human (e.g. Amy has a passion for Manhattan in winter; she collects a shell from every beach she’s ever visited.) If you want to check if you know your character well enough, we suggest you use our ultimate character builder. Oh yes, and one great tip (albeit one that won’t work for every novel) is this: if in doubt, add juice to your character. Here’s an example of what I mean: Stieg Larsson could have just written a book about a genius computer hacker. But he didn’t. He could have written a book about a genius computer hacker with Aspergers. But he didn’t. He could have written a book about a genius computer hacker with Aspergers and a hostile attitude towards society. But he didn’t. He could have written a book about a genius computer hacker with Aspergers, a hostile attitude towards society, and who was also a rape victim. But he didn’t. He also tossed in a complex parental background, bisexuality, a motorbike, years spent in the Swedish care system, and an aptitude for violence. It was the intoxicating brew of all those elements combined that created one of the world’s most successful recent fictional creations. Short moral: if in doubt, do more. Expert tip: Our character development page has got a free downloadable character profile questionnaire that asks you 200+ questions about your character. Those questions basically challenge you to know your character better than you know your best friend. It’ll only take you an hour or two to complete the worksheet – and your character knowledge will be propelled to a whole new dimension of awesome. Honestly? It might be the single most useful hour you can spend right now. Uh, unless you are on a burning ship in a storm. In which case, reading this paragraph is not a good use of your time. 4. Give Your Characters Inner Life One of the commonest problems we see is when a character does and says all the right stuff, but the reader never really knows what they think or feel. If you don’t create that insight into the character’s inner world, the book will fail to engage your reader, because that insight is the reason why people read. After all, if you just want to watch explosions, you’ll go to a Bond or Bourne movie. If you want to feel what it’s like to be James Bond or Jason Bourne, you have no alternative but to read Ian Fleming’s or Robert Ludlum’s original novels. This character insight is one of the simplest things for a novelist to do. You just need to remember that your protagonist has a rich inner world, and then you need to tell us about it. So we want to know about: What the character thinks What their emotions are What they remember What their physical sensations are And so on It’s OK to use fairly bland language at times (“she was hungry”, “she felt tired”), but you’ll only start to get real depth into your characters if you get individual and specific too. See for example how much richer this passage feels, and how full of its character it seems to be: Seeing the meat, she felt a sudden revulsion. The last time she’d seen mutton roasting like this on an open fire, it had been when [blah, blah – something to do with the character’s past]. As the memories came back, her throat tightened and her stomach was clenched as though ready to vomit. Because the character has thoughts, feeling, memories and physical sensations all combining here, the moment is richly endowed with personality. A simple “She felt revolted” wouldn’t have had anything like the same impact. Expert tip: Once you’ve written 20-30,000 words or so, it’s worth pausing to check that your characters seem alive on the page. So just print off four or five random pages from your manuscript and circle any statements that indicate your character’s inner life (physical sensations, memories, thoughts, feelings, and so on.) If you find nothing at all, you have written a book about a robot and you may need to rethink. If you do find indicators of inner life, but they’re all bland and unengaging (“I was hungry”, “I remembered a barn like that when I was a kid.”), you may want to juice up your character. If you find a rich inner life, then you’re doing great. Just keep at it. 5. Add Drama Your job as a novelist is to show action unfolding on the page. Readers don’t just want a third-hand report of what has just happened. That means you need to tell things moment-by-moment, as if you were witnessing the event. Consider the difference between this: Ulfor saw the descending sword in a blur of silver. He twisted to escape, but the swordsman above, a swarthy troll with yellow teeth, was too fast, and swung hard. (This form of narration is “showing”.) And this: Ulfor was badly injured in a swordfight. (This form of narration is known as “telling”.) The first snippet sounds like an actual story. The second sounds like a news report. Obviously, you will need to use the second mode of storytelling from time to time. Telling can be a simple way to convey facts and speed things up, but for the most part, your tale needs to consist of scenes of dramatic action, glued together with bits of sparse narration. If in doubt, look up our free tips on the ‘show, don’t tell’ rule. Expert tip: One of the real drivers of drama on the page – and one of the real pleasures of fiction – is intense, alive, surprising dialogue. Writing dialogue competently is pretty easy – you can probably do it already. But writing really great dialogue (think Elmore Leonard, for example) is not so simple. That said there are rules you can follow which just make your writing better. For more advice on all this, just check out our page on dialogue. 6. Write Well It sounds obvious, but it’s no good having a glowing idea and a fabulous plot if you can’t write. Your book is made up of sentences, after all, and if those sentences don’t convey your meaning succinctly and clearly, your book just won’t work. Almost everyone has the capacity to write well. You just need to focus on the challenge. So think about the three building blocks of good writing: A. Clarity You need to express your meaning clearly. Of course, YOU know what you’re meaning to say, but would a reader understand as clearly? One good way to check yourself here is to read your own work aloud. If you stumble when reading, that’s a big clue that readers will stumble too. B. Economy Never use ten words when eight would do. That means checking every sentence to see if a word or two could be lost. It means checking every paragraph for sentences that you don’t need. Every page for surplus paragraphs. If that sounds pedantic, just think about this. If you tried to sell a 100,000 book that had 20,000 surplus words in it, you shouldn’t be surprised if agents rejected it, because it was just too boring and too baggy. But that’s the exact same difference as a 10-word sentence and an 8-word one. In a word: pedantry matters. It’s your friend! C. Precision Be as precise as possible. This normally means you need to see the scene in your head before you can describe it clearly to a reader. So it’s easy to write “a bird flew around the tree”, but that’s dull and imprecise. Just think how much better this is: “A pair of swallows flew, chirrupping, around the old apple tree.” The difference in the two sentences is basically one of precise seeing, and precise description. Need more help? Then you’ll find this article really useful! If you can manage those three things – and you can; it’s just a question of making the effort – then you can write well enough to write a novel. That’s nice to know, huh? Expert tip: Descriptive writing sounds like it ought to be boring, right? Everyone knows what a coffee shop looks like, so isn’t it just wasting words to tell the reader? Except that’s not how it works. The reason why writing descriptions matters so much is that the reader has to feel utterly present in your fictional world. It has to feel more real than the world of boring old reality. That’s where great descriptive writing comes into its own. If you can – economically, vividly – set a scene, then all your character interactions and plot twists will come into their own. They’ll feel more dramatic, more alive. And again: there are simple repeatable techniques for strong descriptive writing. Read more about them right here. 7. What If I’m Writing For Children? Same rules apply, no matter the age or genre you’re writing for, but we’ve put together a collection of our best tips for children’s authors, including help on how to get a literary agent who’s right for you and your work. Whatever else, write clearly and economically. If your style isn’t immediate and precise, children won’t have the patience to keep up with you. If a chapter doesn’t drive the story forwards, you’ll lose them. If in doubt, keep it simple. Write vivid characters to an inventive plot. Write with humour and a bit of mischief. But really: if you’re writing for kids, then follow ALL the rules in this blog post, but do the whole thing on a smaller scale. The only really crucial issue that distinguishes children’s fiction from adult work is word count. You just have to know the right kind of length for the specific market you are writing for. That means: Figure out what age range you are aiming at Figure out what kind of books you are writing (books about unicorns for 6-7 year olds? Adventure stories for young teens? Contemporary issue-driven books for mid-teens?) Get hold of some books in the right niche Take a typical page in those books Count the words Multiply the number of words by the number of pages. Done! Oh, and don’t rely on internet searches to give you the right answer. Because there is so much age-dependent variability in kids fiction, crisscrossed by a good bit of format and genre variability, the only safe route to follow is the one we’ve just given. Expert tip: The most common mistake made by aspiring children’s authors has to do with writing down to children. And that’s wrong. Children don’t want to be lectured or patronised. They want their world to be taken as seriously by you as they take it themselves. One of the reasons Roald Dahl was so successful was that he wrote about stuff that adults (in the real world, outside fiction) would have disapproved of. A giant who spoke funny? Adult twits who behaved badly? A lethally dangerous chocolate factory? Dahl’s willingness to be subversive put him clearly on the side of kids, not adults. Authors such as Suzanne Collins, Veronica Roth, JK Rowling, and Stephenie Meyer all use the same basic trick. Copy them! 8. Set Up Some Good Writing Disciplines The first rule of writing is this: Good writers write. They don’t want to write. They don’t think about writing. They don’t write a blog post about writing. They write. Sure you can do those other things too, but they’re not what counts. What counts is bum-on-seat hours and that document word count ticking ever upwards. Now the truth is that different writers approach their work differently. There’s no one set of rules that works for everyone. But here are some rules that may work for you. If they do, great. If they don’t, adapt them as you need. Either way, if the rules help you write, great. If they don’t, discard them. So. The rules: Set Up Your Writing Space So It Appeals Lose the distractions. Make sure you have a computer, pens, and notebooks that you like using. Get a comfortable chair. You\'re going to be in your dedicated writing space a lot, so it\'s important to find somewhere you can relax. (Just don\'t get so relaxed that you end up spending hours of the time that you allocated to your writing sessions surfing the internet or cuddling your cat.) Eliminate Distractions Got a TV in your writing room? Then lose the TV. Or change rooms. Get rid of the distractions that most bother you. Determine When And How Often You Will Write If you have a busy life, it’s OK if that’s a bit ramshackle (“Tuesday morning, alternate Wednesdays, and Saturday if I get a chance.”) But the minimum here is that you set a weekly allowance of hours for your writing sessions, and stick to it come hell or high water. Pair your writing schedule with: Set A Weekly Target Word Count Hit your word count target every week, no excuses. In terms of specifics, it doesn\'t matter how many words you write. Whether you reach a word count of 2,000 each day or 300, what\'s key is being consistent. Once you\'ve started writing and have tangible evidence of your hard work, it\'s likely that carving out some writing time and reaching your target will get easier. Make Some Kind Of Outcome Commitment For example: When I have finished this book, I will get an external professional editor to give me comments. Or: I will share this with my book group. You just need to have in mind that this book will be read. That knowledge keeps you honest! Commit To A Deadline Don’t make that too tough on yourself, but do make it real. Almost anyone should be able to manage 2,000 words a week, even with a busy life. And most adult novels are 70-100,000 words long, so in less than a year, you have yourself a book, my friend. With practice, you’ll get faster. Work To An Outline I said you needed to sketch your plot, right? (You can get that plotting worksheet by navigating to the top of the sidebar on this page.) Use that outline as your story-compass. If you need to tweak it as you go, that’s fine – but no radical changes, please! Always Prioritise The Reader’s Perspective Don’t write to please yourself. Write to please the reader. If you need to imagine an actual Ideal Reader, then do so. Write for them. Don’t Worry If Your First Draft Is Lousy It’s meant to be! That’s what first drafts are for. Jane Smiley said, “All first drafts are perfect, because all they have to do is exist.” Same goes for you, buddy. Take Breaks If you’re a fidgety writer (as I am), you’ll want to take a lot of breaks. If you concentrate fiercely for twenty minutes and take a break for five or ten, that’s fine. Just keep going that way. This is your writing time, and it\'s important that you set it out in a way which works for you. Warm Up Each Day I always edit my work of the day before as a way to warm myself up for the chapter I’m about to begin. If you like to warm up differently, then go for it. Just remember you may not be able to just start writing fresh text at 9.01 am precisely. Most of us need to warm the engine a little first. Even if all you do for the first ten minutes is get settled into your dedicated writing space and re-read yesterday\'s work, that\'s a great start. And that’s it. Do those things, and you should be fine. 9. Revise Your First Draft Nearly all first drafts will have problems, some of them profound. That’s okay. A first draft is just your opportunity to get stuck in on the real business: which is refining and perfecting the story you’ve just told yourself. That means checking your story, checking your characters, checking your writing style. Then, doing all those things again. You’ll find new issues, new niggles every time you go back to your work (at least to start with), and every time you fix those things, your book will get better. It’s a repetitive process, but one you should come to enjoy. Don’t get alarmed by the repetitions: think of this rewriting task as climbing a spiral staircase. Yes, you are going round in circles, but you are rising higher all the time. We’ve seen hundreds of new manuscripts every year, and we’re pretty good at recognising common problems. We’ve even got a checklist of recurring issues we find. Most are fixable, so you don’t need to worry too much if some of those apply to you. The thing is simply to figure out what the issue is, then sit down to address it. Remember that all successful novelists started the same way as you did: with a lousy manuscript. Expert tip: Editing your own work can be a challenging and somewhat mysterious process. So we’ve removed the mystery. We’ve put some actual edits to an actual book (by me, as it happens) up on the blog, so you can see how the self-editing process works for an experienced pro author. You can find more about all that over here. While you’re at it, you may want to take a look at the various different types of editing that are available. But don’t jump into paid editing until a very late stage. For now, self-editing will improve your manuscript and build your skills. 10. Make Friends, Get Feedback Writing a book is hard work. It’s lonely. Those around you are seldom equipped to offer expert feedback and advice – and, of course, this is a difficult road. Most first novels do not get published. So please don’t try to go it alone. Here are some things you can and probably should do: Join A Writing Group Or Online Writing Community It\'s really helpful to be able to interact with people who are on a similar path to you, and understand what writing is like. There are many communities to choose from. Like ours! See our expert tip below. Go Public With Some Of Your Writing Goals/Achievements That could just mean updating your Facebook page or talking with your friends at the office. The main thing is to avoid your book feeling like a dark secret you’re not able to share. Get Friendly Peer Feedback When your book is finished and roughly edited, it can be useful to seek supportive feedback, of the “Wow, you can really do this!” variety. You’ll need to get tougher in due course, but that early support can work wonders. Build Your Skills That could mean taking a creative writing course, or working with a mentor or a book editor, or attending an event. Whatever you choose to do, you will improve as a writer and writing & editing your next book will come easier than it did this first time round. Get Professional Feedback  Once you’ve done as much self-editing as you can manage, getting some professional feedback is the ideal next step. There is absolutely no better way to improve a manuscript than to get a rigorous set of comments from an experienced third-party editor. We offer a host of top-quality editorial services via our outstanding book editors. There\'s no better way to improve your manuscript. Remember, you don’t have to do all of this at once. This is a marathon, not a sprint. So go easy with yourself when setting out your goals. Under-commit and over-deliver, right? Expert tip: Meet friends in a free and knowledgeable community of writers. I blog there every week and thousands of writers like you meet to share peer-to-peer critiques, gossip, advice and support. And also – friendship. Passion makes friends like nothing else and our community is all about passion. Sign up is totally free. And fast. And easy. Just go here and do what you gotta do. Bonus Tip: Get A Literary Agent Literary agents only take about one book in a thousand, so before you take this final step, we do suggest that you’ve completed numbers 1 to 9 properly. You should also take a look at our advice on manuscript presentation to make sure you’re really prepared for the next stage. That said, if your novel is good enough, you will find it easy enough to secure representation. Just follow these steps. A) Select Your Target Agents We have a complete list of literary agents and you can filter all data by genre, agent experience and more. It’s the most complete source of its kind. B) Choose About 8-12 Names You’re looking for agents keen to take on new writers. If they happen to represent authors you love, so much the better. (More advice on how to start your agent search.) C) Write A Fabulous Covering Letter This can be a little daunting. But once you\'re familiar with the process, it will feel less overwhelming. Try using this advice and sample letter. D) Write A Good, Clear Synopsis Synopsis writing is a process that terrifies most writers, but this is easier than you might think. Just follow these tips. E) Get Your Stuff Out There And there you have it: 10 steps to help you start writing that novel. This may seem like a long, daunting process, but you want to write a book, and now you know where to start. So let\'s celebrate that for now! Happy writing, good luck. And keep going!

So, you’re well on your way to completing your book on a popular science topic, and have a cracking book proposal that you can’t wait to share with agents. Well, we’re here to help!  WANT TO JUMP STRAIGHT TO THE AGENT LIST? CLICK HERE  Popular Science Popular science as a genre is the exploration of scientific topics in an accessible way for the average reader. The work should be interesting and understandable to a non-expert, and focus on topics that will be of interest to the general public.  Popular science topics can include space, nature, biology and the human body, climate change, mental health (which can here have the crossover with psychology), time, data, and many more. These are topics that grasp the interest of the average reader, discussing the history of the universe, or genetics, or the history of the human race, in a way that is accessible to anyone who picks up the book. They remain a popular genre, particularly those books that follow on with current scientific discoveries and trends.  Authors of popular science and psychology are more popular than ever. Stephen Hawking, Oliver Sacks and Michio Kaku, to name a few.  AgentMatch And How To Use It There are plenty of science-loving agents, but you won\'t want to approach them all. The best way to develop and refine your own shortlist of US agents for popular science is to visit AgentMatch, our literary agent database, and use the search tools on the left to make your selection.  With AgentMatch you can select by genre (e.g. science), country, the agent’s level of experience, their appetite for new clients, and much more. You can even save your search results and come back to them, allowing you to work through them one by one, at your own pace. Each profile has been researched thoroughly including what agents like to read in their spare time, information on their most recent deals, manuscript wishlists, submission requirements, and exclusive interviews.  You can sign-up for a 7-day free trial which will give you a good feel for the data and functionality. Or join us as a premium member and get unlimited access to AgentMatch.  US Agents For Popular Science  To get you started we’ve selected a list of 20 US agents looking for popular science:  [am_show_agents id=11] More Resources   We’re here to help you at every step in your writing and querying process. Check out our favourite blogs that can assist you in putting together your query letter and synopsis, and if you want valuable, personal feedback on your writing you can book a fifteen-minute One-to-One with an agent of your choice. Premium members can also get a free query letter review from our lovely Writers Support team!    Happy searching, and good luck on your querying journey!