How and When to Sign a Book Deal: Advice to Authors Book 1

By Helen Cox

Have you always dreamed of getting published? Do you want to know how to land and close a traditional book deal? Have you already been offered a deal and want to make sure this is the right deal for you? Author and poet Helen Cox has signed numerous book contracts over the last ten years and has wide-ranging experience in the world of indep

• Language: English
• Publisher: Helen Cox
• Release date: Apr 23, 2020
• ISBN: 9781838022105

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How & When To

Sign a Book Deal

(Advice to Authors)

Helen Cox is a Yorkshire-born novelist and poet. After completing her MA in creative writing at the University of York St. John Helen wrote for a range of magazines and websites as well as writing news and features for TV and radio. Helen edited her own independent film magazine for five years and has penned several non-fiction books. Her first two novels were published by HarperCollins in 2016. She currently hosts The Poetrygram podcast and coordinates poetry and non-fiction courses at City Lit, London. Helen’s new series of cosy mysteries stars librarian-turned-sleuth Kitt Hartley, and is set in Yorkshire.

Advice to Authors Series

How to Become a Published Writer

How to Write Page-Turning Fiction

How to Write Sex

How & When To

Sign A Book Deal

(Advice to Authors Series Book 1)

By Helen Cox

Copyright © 2020 by Helen Cox.

ISBN Paperback:

978-1-8380221-1-2

ISBN Ebook:

978-1-8380221-0-5.

Published in the United Kingdom by Helen Cox Books.

No part of this book may be used or reproduced in any manner whatsoever without written permission except in the case of brief quotations embodied in critical articles or reviews. For further information, visit helencoxbooks.com.

Contents

How & When To Sign a Book Deal

Disclaimer

What’s Your Story?

Part 1:

How

How to Attract a Publisher

Advice to Genre Fiction Authors

Advice to Literary Authors

Advice to Non-Fiction Authors

Advice to Poets

What if I Have a Querying Fail?

Can’t My Agent Handle the Deal?

The Role of Honesty

Down to Business

Doing it Backwards

A Note About the Submissions Process

What’s in a Deal Memo?

The Works & Rights

Royalties & Advances

Preparing for an Editorial Meeting

The Traditional Author Mindset

Meeting With Your Editor

Part 2:

When

The Publishing Contract

The Realities of Traditional Publishing

The Realities of Independent Publishing

Decision Time: Major Factors

Life After a Publishing Contract

Hybrid Life

A Final Say on the ‘When’

Publishing Resources

Acknowledgments

Advice to Authors Series

Disclaimer

Please note, dearest reader, that this book is not intended as legal advice. I never graduated from the Acme School of Law, or any other esteemed legal institution. This volume is written with the intention of supporting authors who are either on the brink of a book deal or intending to enter into one in the future. There are various elements involved when striking the best book deal for you and this guide is designed to help you navigate them, alongside professional advice. Before entering any legally binding contract, please ensure you seek counsel from a lawyer or literary agent.

Signing a literary contract is an important, life-altering business decision that could affect the long-term income you reap from any assets you have created. It is a decision that rests entirely with you. The author cannot be held responsible for any adverse situations that arise during the negotiation of your book deal, or beyond. But, from what I’ve seen in movies, I can tell you that it’s not advisable to make any deals with the devil. Even if they look like Al Pacino or Liz Hurley. It didn’t work out well for Keanu Reeves or Brendan Fraser, and I get the distinct feeling it wouldn’t work out any better for you.

What’s Your Story?

What’s my story? Good question. You’re sparky and inquisitive. I like that about you.

Over the last decade I have signed book deals with both fiction and non-fiction publishers. Throughout those ten years I have had experiences within the industry that range from eye-wateringly tragic to downright inspirational. This volume is designed to steer you away from the former and propel you towards the latter by, to put it eloquently, saving you from making the same big dumb mistakes I made when I first started working with publishing houses.

Alongside my work with traditional publishing houses, I’ve also self-published various books, pamphlets and anthologies. This means I can offer you some insight into the realities of independent publishing which is just one alternative to signing with a traditional publisher.

My publishing career officially started back in 2010 when I masochistically decided to independently publish a film magazine. I edited and produced New Empress Magazine for five years (sharp learning curve, ahoy!). In that time I also self-published two non-fiction books and had my first non-fiction paperback traditionally published.

By 2016 I had secured a fiction contract with Harper Collins for two New York-set romance novels and by the end of 2018 I secured a three book deal — later extended to a six book deal — with Quercus Books.

In between writing a Yorkshire-set murder mystery series featuring a crime-solving librarian, I self-publish non-fiction books like this one. I like to pay it forward whenever I can, and producing writing guides is one of the ways I do that.

For years there was no term for an author with both traditional publishing and self-publishing experience. I heard a whisper that a group of wizened writers who formed a not-so-secret esoteric coven actually held a séance in an attempt to get in touch with Homer, believing he would have the answer. I humbly suggested that ‘Publishing Halfling’ might be a good term, but this buzz word never took off despite numerous social media campaigns. Ultimately, some anonymous industry forerunner decided one idle Thursday afternoon to call us ‘hybrid authors.’

This term is not quite as epic as Publishing Halfling in my opinion but I’ve made my peace with it.

Hybrid authors have the benefit of knowing the plus and minus factors for working in both halves of the publishing arena, and this book is designed to offer some insight into whether you’d be happier all round as an indie publisher, whether you’d prefer to sign-up with a traditional publisher or whether you’d be prudent to do a bit of both if possible.

Book deals are touted as the most desirable prize an author can win, and don’t get me wrong, I’m incredibly grateful to my publishers for the continuous work they do in ensuring my books reach the widest possible audience. But a book deal is a very strange beast. It has downy Labrador ears but teeth where you don’t expect them. It is both a deeply personal experience and a professional agreement. Consequently, signing a traditional publishing contract won’t be the right choice for everyone. In writing this book I hope to save authors, and any editors or publishing professionals they may work with, some unnecessary heartache by offering strategies you can use to make sure the deal on the table is the right one for you before you sign on the dotted line. I also offer advice in making sure the relationship between you and any publisher you choose to sign with is as fruitful and positive as possible.

Part 1:

How

How to Attract a Publisher

Anyone who has dutifully read most of the information out there about landing a publishing deal may wonder why this chapter of the book even exists. Surely, there is only one way to attract a publisher: have a really fantastic book to sell. Dammit Helen, why are you wasting our time? I hear you cry.

Although ten to fifteen years ago the advice may have focused on a gleaming manuscript in which nary a comma is out of place, the publishing industry has metamorphosed in that time from a hidden oubliette to a courtly banquet where almost anyone can find room at the table if they have a saleable product. Thus, there are many ways of making yourself a more attractive prospect to a traditional publisher if that is your heart’s desire.

The first step on the quest to a traditional book deal is to work out what kind of book you’ve written or are writing. Broadly speaking, fiction books can be separated into two main categories: literary and genre fiction. Genre fiction is anything that fits into a clear, er, well, genre such as horror, romance or science-fiction. Literary fiction often defies traditional genre categories and instead tends to focus on internal struggle, enlightenment and tragedy.

In addition to fiction genres you also have non-fiction and poetry — all of which have their own subcategories.

Nobody is going to cross your palm with gold, however, if they don’t know what goods they are buying. That means you need to be clearer than river water straight from the source about what kind of book you’re trying to get publishers, and by proxy agents, interested in. Your approach will differ somewhat depending on what kind of book you’re writing. So gather round, brave ones, and heed the wisdom of this publishing crone. I will show you some possible paths through the woods.

Advice to

Genre