I queried both agents and small press editors simultaneously with my debut novel, and received interest from 2 agents and 2 small press editors. I decided that one of the editors really "got" my book so I went with her, and it's been a wonderful experience. The agents were thoughtful and kind, but both wanted me to make (quite different!) major changes to the plot and structure that I ultimately didn't feel comfortable with. This isn't to say the editor was hands-off; I did 3 rounds of revisions with her (after multiple rounds pre-submission of course!). I share this just to say that, yes, don't overlook small presses, and perhaps look at them simultaneously with agents!
Interesting! I always discourage this, but I can see how it worked out for you if you chose the editor. The problem is that if you'd chosen the agent, and the presses both rejected you, you're closing those doors for the future/potential agent. But in your case I'm glad it worked out!
No, it is a reputable press (Monkfish Books) that follows the same standards as the Big 5 publishers: they pay the author an advance and royalties, the author pays nothing, and the book is edited/proofread/designed/distributed through all the main channels. The main difference between publishing with a smaller press and one of the Big 5 is that the advance the author receives is generally much smaller, and the marketing and publicity support from a small press is much less, too. But for me, it was worth it!
This is exactly what I did! Less than year after I signed my pub contract with a small press, I have a book in my hands. The timeline is much faster and I have been treated amazing. Highly recommend!
I enjoyed the piece and agree with your suggestion for non-fiction authors without a publicity platform, a following or an extraordinarily original and astonishingly well written book. Yes, for these, directly approaching independent presses and skipping an agent can make sense. I sometimes send aspiring writers that way. I must comment on your statement that all we agents look at prospective books and focus on those that generate £100,000 or more. I don't. I look for some books by people I admire that I believe I can sell for much more than that. The big commission from those books allows me to subsidise my time spent on books unlikely to yield much income at all. This approach allows me take on books for passion only. These rarely pay the rent. But there's a monster-sized thrill in placing them with an independent free-thinking publisher who also sees the author's gift.
I guess I should have said that an agent will be hoping to sell in the six figures. And yes, I understand many agents take on passion projects. Perhaps the larger point is that you're not going to sign something you think you can't sell. Thanks for the nuance here, though. That's what makes publishing ever-magical.
Yes! I’ve been a book editor in New York for 24 years, with experience at large houses (Condé Nast/Fairchild, McGraw-Hill, and Springer). I’m seeing this trend, and endorse this message. I would add, authors should do the work of completing a book proposal. It is an exercise in advocating for your project, analyzing and being able to articulate the market for your book, and distilling chapters down to their pivotal points. A killer synopsis (fiction or nonfiction) takes artistry. This will all benefit an author who’s pitching directly to editors. And much of the copy winds up in marketing materials, or informs the marketing plan.
In brief: An opening line that grabs and encapsulates the story’s key conflict; the precursor, prevailing conditions, or obstacle to the pivotal action; the pivotal action; the characters’ reactions or the implications of the story arc for the world at-large.
Great advice! And i've published with a university press that paid both advances and outright grants (non-recoupable signing bonuses). While not close to 6 figures, there's more money out there than some authors realize.
I queried a dozen agents, all the while feeling as if I were wearing someone else’s clothes. The authors I’ve admired most, the writers I wanted to be when I grew up as a writer, were all indie published, at least initially. I’ve changed tactics and am querying small indie publishers, and I already feel better. Who knows what will happen, but I’m on the right track. Thanks, Brooke, for these marvelous resources.
Thanks for this, Brooke. I was surprised to know Susan Kiyo Ito (an author I really admire and respect) did not have an agent until recently and this made me very curious about alternative paths to publishing. There truly are very valid reasons to not go the conventional route, and given the changing demands of the market it makes good sense to thoroughly explore all options.
Just working on my proposal now and have a very small database of agents and indie presses to approach. Creative non-fiction is never going to make me loads of money but I'm keen to get the book I've been working on for the last three years, finally, out there!! thanks for your advice, Brooke. Most helpful.
This is a great advice. I know so many writers who are still shopping for an agent or whose agent can’t sell their book. We need to think outside the Big 5. Thank you!
Thank you! This is very timely. I'm about to embark on my querying journey. I will try to find an agent, but It's always a good idea to have a backup plan!
As a happy and successful self-published author, I wish I had heard this advice years ago! After querying 200 agents (basically everyone remotely appropriate) I came to self-publishing feeling defeated. Instead of viewing it as the viable path that it is, I thought I was a failure. My advice to everyone querying is the same as Brooke’s: learn about other paths while you are in the query trenches.
Once I had a book that was selling well, I considered querying again but realized I was doing great on my own. I love being in control of my work and the promotion of my work. Not every traditional author becomes a best seller. Not every indie sells thousands of books. There are many paths to publication and indie is going strong!
I queried both agents and small press editors simultaneously with my debut novel, and received interest from 2 agents and 2 small press editors. I decided that one of the editors really "got" my book so I went with her, and it's been a wonderful experience. The agents were thoughtful and kind, but both wanted me to make (quite different!) major changes to the plot and structure that I ultimately didn't feel comfortable with. This isn't to say the editor was hands-off; I did 3 rounds of revisions with her (after multiple rounds pre-submission of course!). I share this just to say that, yes, don't overlook small presses, and perhaps look at them simultaneously with agents!
Interesting! I always discourage this, but I can see how it worked out for you if you chose the editor. The problem is that if you'd chosen the agent, and the presses both rejected you, you're closing those doors for the future/potential agent. But in your case I'm glad it worked out!
Thank you for letting me know this is possible, Kristen!
I figure it's in keeping with what Brooke is talking about generally here--there are many paths available!
Was this a Press where you had to pay them up front for their services? I see many that use that business model.
Just noting that these publishing companies are called hybrids, for when you go casting about for one. And please check out the IBPA's hybrid criteria checklist when you do: https://www.ibpa-online.org/general/custom.asp?page=hybridpublisher Good luck!
No, it is a reputable press (Monkfish Books) that follows the same standards as the Big 5 publishers: they pay the author an advance and royalties, the author pays nothing, and the book is edited/proofread/designed/distributed through all the main channels. The main difference between publishing with a smaller press and one of the Big 5 is that the advance the author receives is generally much smaller, and the marketing and publicity support from a small press is much less, too. But for me, it was worth it!
This is exactly what I did! Less than year after I signed my pub contract with a small press, I have a book in my hands. The timeline is much faster and I have been treated amazing. Highly recommend!
Congratulations!
I enjoyed the piece and agree with your suggestion for non-fiction authors without a publicity platform, a following or an extraordinarily original and astonishingly well written book. Yes, for these, directly approaching independent presses and skipping an agent can make sense. I sometimes send aspiring writers that way. I must comment on your statement that all we agents look at prospective books and focus on those that generate £100,000 or more. I don't. I look for some books by people I admire that I believe I can sell for much more than that. The big commission from those books allows me to subsidise my time spent on books unlikely to yield much income at all. This approach allows me take on books for passion only. These rarely pay the rent. But there's a monster-sized thrill in placing them with an independent free-thinking publisher who also sees the author's gift.
I guess I should have said that an agent will be hoping to sell in the six figures. And yes, I understand many agents take on passion projects. Perhaps the larger point is that you're not going to sign something you think you can't sell. Thanks for the nuance here, though. That's what makes publishing ever-magical.
Yes! I’ve been a book editor in New York for 24 years, with experience at large houses (Condé Nast/Fairchild, McGraw-Hill, and Springer). I’m seeing this trend, and endorse this message. I would add, authors should do the work of completing a book proposal. It is an exercise in advocating for your project, analyzing and being able to articulate the market for your book, and distilling chapters down to their pivotal points. A killer synopsis (fiction or nonfiction) takes artistry. This will all benefit an author who’s pitching directly to editors. And much of the copy winds up in marketing materials, or informs the marketing plan.
Thanks for weighing in with your expertise here!
I'd love to know more about what a killer synopsis for memoir contains. Can anyone point me to some guidelines/examples? Thank you so much!
In brief: An opening line that grabs and encapsulates the story’s key conflict; the precursor, prevailing conditions, or obstacle to the pivotal action; the pivotal action; the characters’ reactions or the implications of the story arc for the world at-large.
Great advice! And i've published with a university press that paid both advances and outright grants (non-recoupable signing bonuses). While not close to 6 figures, there's more money out there than some authors realize.
Great point, Patricia! And agreed!
I queried a dozen agents, all the while feeling as if I were wearing someone else’s clothes. The authors I’ve admired most, the writers I wanted to be when I grew up as a writer, were all indie published, at least initially. I’ve changed tactics and am querying small indie publishers, and I already feel better. Who knows what will happen, but I’m on the right track. Thanks, Brooke, for these marvelous resources.
Yes, you got this, Jillian. I think the indie press path is so right for you.
Thanks, Brooke. Having you in my corner feels like rocket fuel❤️
Always!!
Thanks for this, Brooke. I was surprised to know Susan Kiyo Ito (an author I really admire and respect) did not have an agent until recently and this made me very curious about alternative paths to publishing. There truly are very valid reasons to not go the conventional route, and given the changing demands of the market it makes good sense to thoroughly explore all options.
As her publicist, this makes my heart sing ❤️
Just working on my proposal now and have a very small database of agents and indie presses to approach. Creative non-fiction is never going to make me loads of money but I'm keen to get the book I've been working on for the last three years, finally, out there!! thanks for your advice, Brooke. Most helpful.
Great advice, Brooke, as always. Thanks especially for the list of resources at the end. You are so generous!
Excellent advice.
You are such a knowledgeable, sane voice in this crazy world. We appreciate everything you share.
This is a great advice. I know so many writers who are still shopping for an agent or whose agent can’t sell their book. We need to think outside the Big 5. Thank you!
Good advice!
Thank you! This is very timely. I'm about to embark on my querying journey. I will try to find an agent, but It's always a good idea to have a backup plan!
Always!
Decent advice. Sharing your writing is a full-time position
As a happy and successful self-published author, I wish I had heard this advice years ago! After querying 200 agents (basically everyone remotely appropriate) I came to self-publishing feeling defeated. Instead of viewing it as the viable path that it is, I thought I was a failure. My advice to everyone querying is the same as Brooke’s: learn about other paths while you are in the query trenches.
Once I had a book that was selling well, I considered querying again but realized I was doing great on my own. I love being in control of my work and the promotion of my work. Not every traditional author becomes a best seller. Not every indie sells thousands of books. There are many paths to publication and indie is going strong!
Indie is going strong!!! Yes, and thanks for sharing your experience.