Are you ready to take that next step in your writing life? Are you ready to make sure 2017 is the year your book is getting published? Then you’re in the right spot.  Today Clark and Peter discuss what you should consider when submitting to agents and publishers, what the current publishing trends are, and how to leverage professional ethics to get a foot in the door.

Please click here and sign up for the full webinar Get Published in 2017  


Clark: Welcome to book editor show, today we’re going to help you accomplish your goal of getting published in 2017, and if you are ready to move forward with your professional editing stop by, we can help in every stage of your work from pre-production, developmental editing, copy editing, to proofreading, stop by today and let us know how we can help you build a better book. I’m Clark Chamberlain and in a world where humble men and women and children are driven to the breaking point by the bitter frost of winter’s night only one man has the audacity to stand against the onslaught. Only one man has the capacity to stand against the endless snow, only one man has the proper opacity to be seen through the white out, that legendary man is my friend and co-host Peter Turley. Peter, how’s it going today?

Peter: I’m particularly opaque today.

Clark: Yes, you are.

Peter: Definitely not transparent.

Clark: Not today, most the time you’re so transparent with us though, everything you do.

Peter: I’m really good. I’ve just came back from a couple of days Christmas vacation, which
has been really nice, bit of a city break, which is always good, replenish the well, as they say. Other than that brief intermission, the comma in my Christmas sentence, it’s been pretty manic. What about yourself?

Clark: The same, you know, Christmas just came all at once it felt like… We got over, I don’t
know my calculations to get the inches, but we got over sixteen inches of snow, so a foot and a half almost of snow here on Christmas day. And I went out and tried to shovel the driveway and threw my back out, so I spent the rest of Christmas and a few days following just laid up in bed and couldn’t even move. So, that was fun, I like being old.

Peter: An elderly Christmas.

Clark: An elderly Christmas. An elderly Christmas carol. I do want to mention again that we are moving to the Speaker platform at the end of January. This should be a simple process, but if you stop getting the show dear listener, automatically downloaded, it could be an RSS feed issue, or Peter and I have just gone off the grid. One of the two, it could be either.

Peter: It is possible. We could be in our underground bunker, hiding from editorial problems.

Clark: Sometimes I’d like to hide from editorial problems.

Peter: They’ll find you though.

Clark: They do. They find you every single time. You can’t get away ever. I’m excited to do this show, because I think last week we talked a little bit about getting your life in the direction that you want it to go, and this is a seminar I’ll be teaching at the local college here in about three weeks, about getting published in 2017. So, I wanted to bring that material here and be able to share it with you, everybody who is listening. Actually, before we even get started, you should go to and click and register for our free Get Published in 2017 webinar. Of course, what we’re going to talk about here, you’re going to get started and be on the right path. But with that webinar you’re going to get more in depth information and just really be able to figure out what it is that you want to do, and what you’re going to have to set in place to make this goal happen.

Peter: Yes, because we’re all about goals now aren’t we? I mean, after last year and that awesome challenge and the upcoming one, now is the time to be setting them. We always like to be the ones to help you to do it.

Clark: That’s right, we do. I was looking back. A lot of gratitude at the end of this year. I mentioned that last time, because I really felt like 2016 was our year. It was kind of our breakout year of really starting to move forward and I want to help as many people do that for their 2017. If they could have 2017 be their year, where they get to start doing the life that they really have always wanted. So, I’m excited. It will be fun.

Peter: Yes, definitely. And I think 2016 hasn’t been the greatest year to many people, so I think it’s a collective mindset that we’re moving into 2017 with let’s do something with this.

Clark: Yes. Let’s take that energy, whether it’s a lot of negative energy in your life or whatever
it was. Take it, change it. Understand you control yourself and no one else can do it for you. We can help. We can help, we can show you the way. But you’ve got to pick it up and carry it for yourself. So, that’s how it is. But it’s awesome.

Peter: What’s the saying? I can only show you the door, but you must walk through it.

Clark: That’s right. That is right.

Peter: That’s Matrix, right?

Clark: Uh-huh.

Peter: Can’t beat a matrix quote.

Clark: No.

Peter: Good Matrix quote.

Clark: Could be.

Peter: Could be. Yes. Don’t quote me misquoting.

Clark: We need more Matrix quotes. It was probably more like a religious quote that was out there that then got attributed to Neo because he is basically the Christ figure in the
Matrix. It’s all a hero’s journey.

Peter: Yes. There’s nothing new under the sun, right?

Clark: Nope, not one thing. But maybe you’re going to learn some new stuff today on getting published. Because a lot of people want to do that. There’s a whole bunch of different ways that you can do it these days. I love how self publishing has changed a lot of things. And I think there’s over three thousand small press in the United States alone, that you could work with to get your work published. And of course, there’s the big traditionals that are still out there. So there’s a lot of different things. And we want to talk about that today. Let me ask you a question, Peter.

Peter: Go.

Clark: So if you were on the subway or in a cab, at a pub, whatever and met an agent, could you….?

Peter: So we’re not talking like Matrix anymore?

Clark: No.

Peter: So not like Agent Smith.

Clark: No, not Agent Smith.

Peter: Because I would freak out. [laugh]

Clark: I would like to see you get away. But not Agent Smith. Let’s talk about a literary Agent Smith.

Peter: OK.

Clark: So literary Agent Smith is there. And he’s like “are you the one?” Can you give him the story? Can you tell him what your story is in that little tiny moment of time. That you can encapsulate it and they can understand it.

Peter: Yes, this has happened. Not an Agent Smith. But previously I’ve been sort of working on something and someone sort of said “oh, okay. So, go on, hit me, one sentence.” And you’re like “whoa, I am not prepared.” And I learned in a script writing class in particular just the importance of pictures and log lines and not only for sort of making sure that the story works, which I think is really useful. If you can condense it down to something like that then you know you’ve got the fundamental pieces to construct a story. But also to sell it, eventually, because the last thing you want is some huge, long letter where you’re kind of like and then this happens, and then that, but trust me, this bit’s really good, with a little explanation for everything that happens.

Clark: It’s really complex. But if I could just tell you, and I could walk you through this, it’s going to take about an hour. I know you’re…

Peter: It’ll all make sense at the end.

Clark: Yes. It’s funny though how many times that that’s where people are at with their writing. And this is like you said, just so fundamental to get this down. Because when you can start to really understand that, then you can start to figure out how to sell it, how to market it to an agent, how to market it to the right publishing company, how to put that in the right places. Just like you were saying, Peter, coming up with, they call it a log line. It’s a one sentence, easy, going back to what I always talk about, the three P’s: it’s a person, in a place, with a problem. It’s just that easy, you know. Like, Hank Hudson must fight against a dark Egyptian monster in order to save his family in the 1930s. It’s that easy. When you can start thinking about it in these kinds of terms, then you can really understand that story so when you have that opportunity, you’re not going to mess it up.

Peter: Yes, you’ve got your kind of protagonist, the goal, and what’s potentially going to stop them from achieving it right there in a really nice, neat package. But there’s an art to that. There is a craft to coming up with a good log line. I think it itself needs practice.

Clark: Yes, it absolutely does. We’re going to talk about this in a second, getting a chance to talk with agents. But yes, when you have this opportunity you definitely want to not squander it. Getting the opportunity to work with your writing companions, whatever you do, like in writer’s group or online like, “hey, let me pitch this to you, see how this sounds. What could I tweak on this to make it a little stronger?” If you can start from that small idea though, that’ll get you started. Then you’ll want to be able to come up with a good synopsis, one to probably not more than ten pages. I mean, if you’re doing a really huge, epic fantasy you might go out to ten pages for a synopsis, and a synopsis is a total breakdown of the story, what’s happening. So that someone says “hey, I want to see the synopsis, I want to see what the book’s really about.” It’s not teasing them and not sharing the end. It’s sharing and the whole thing, just in small, bite-sized pieces.

Peter: Yes. And some agents will ask for a synopsis, and I always find that that feels really weird because you almost don’t want to give the secrets away.

Clark: Right.

Peter: In a synopsis you’ve kind of got to walk them through step by step what’s going to happen in the story so they can think about whether that works or not, but you’re like I can’t, I don’t want to give it all away, I don’t want to spoil the surprise.

Clark: Right. Yes, you want them to have that feeling of wonder, like when they open it up, “oh my goodness.”

Peter: Yes, it suddenly becomes methodical and takes all of the creativity out of it, and the magic. You’re like no, this isn’t what it’s about.

Clark: And it’s like for instance, Hank Hudson. When I started selling Hank Hudson at shows, I had to come up with a pitch. A little longer than a log line, it was a brief, sort of synopsis to hook people into the story and make them want to buy it, and it just wasn’t working. It wasn’t working because I wasn’t willing to give up the part that was going to make it work. Once I started, once I changed it up and talked about how he’s been accidentally turning himself invisible, which you don’t learn until the first act is complete, you don’t learn that until then, but once I added that into it people just, they understood it. They saw it differently. They got it excited about it. They could see all the wonder that was there and what could happen as you’re going along. So yes, you’ve got to practice these things, you’ve got to see what that spark is, really that one line, that one thing, because that’s what it is going to come down to that. And the reason why people don’t see him is because he’s been accidentally turning himself invisible for most of his life. Then I pause and that sinks in, and you can see when they get that, when they get that story. That’s what you want to practice on so you can have a chance to be able to share that with other people. That’s why it’s so important to be able to know what your story actually is, and you can break it down into these little blocks.

Peter: Yes, because it’s all really about moving people from one step to the next, isn’t it? From the front cover of the title, getting them to flip it around and take a look at the back where there might be some kind of pitch or blurb of what the story’s about to then maybe just checking out that first page, that first sentence. Then moving them from one sentence to the next all the way through. So the pitch — this one sentence log line — is almost as important as every other sentence in the book.

Clark: It absolutely is. I like how you’re saying that, you bring them along step by step by step all the way through it till you get to the end. And then once they’ve got to the end, then they become your salesman.

Peter: You go, ha ha, I got your money.

Clark: I got your money and your gun, no. I got more money, though, because then they’re going to go out and talk about your book, and pitch other people on it. Just take them all the way through that, and it can be a lot of fun.

So let’s talk about the industry right now. There’s a lot of change that’s happened over the last several years with, of course things like Kindle Direct publishing, and Nook, and Kobo, and Sony was there for a little while, but now they’re gone. But all of these platforms where you could, and you can…. You could go right now and setup a Kindle Direct publishing account. Doesn’t cost you a dollar, doesn’t cost you a dime, whatever. And you can set that up and publish a book, load up your book, your manuscript on there, and it’ll be out to the world in 12 hours. And that’s huge, that’s huge. Of course, it comes with a lot of great Spider Man quotes of-

Peter: Yes.

Clark: Great power comes great responsibility. Something you got to think about, whether it’s ready to publish yet or not.

Peter: Yes, I think… I don’t know, I mean, I’m sure there are people that maybe thought, I don’t know whether I was one of them, maybe I was, but oh, Kindle’s not going to be that big and it’s not going to be a book killer. But they’re still selling better than ever. It’s just been Christmas, so I’m sure everyone knows someone that just received a Kindle. It’s changing the market, and it’s good to take that into account.

Clark: Yes it is, and it’s a very legitimate way to go if that’s the direction you want to head.
Just scratching the surface, because, I mean, there’s a lot of stuff in depth that we want to go into on the webinar. So think of it this way. You’ve got three places right now. You’ve got the traditional, which is going to require you to have an agent, okay. If you want to get in on one of the big contract deals, you want to be with, what is it, Little Brown? Is that there in England? Then Penguin books here in the United States or Random House. You want to be with them. They’re not going to accept an unsolicited manuscript, which means you can’t cross your fingers and hope you get in a slush pile and someone reads your great book, and then you get discovered. No, you’ve got to have an agent. It’s a whole different game to go through that. So think about that one there, and then think about the next step down, the small press.

Like I said before, I think that there are 3,000 small presses in the United States alone. This means that they’re in the publishing business of some kind helping people. Either they’re putting up the money to take care of the publishing, or maybe they’re just doing the distribution, or layout, or whatever it is. That can be another route that you can go if you don’t want to deal with the traditional side, you don’t want to get into the self-publishing side, this is a really good place. Some are calling them hybrids, but really it is just a small press.

Of course, on the last end there, you’ve got the self-publishing world where we just said, you can go and print it or publish it in twelve hours and have it distributed to the world.
So you’ve got a lot of different options, but you really need to figure out which one of these is going to be the direction you want to go. Because if you’re doing the self-publishing route, just go listen to self-publishing podcasts with Sterling & Stone, or Self-Publishing Roundtable, or Rocking Self-Publishing. There’s all these, or the Sell More Books show. All of these guys and girls, they work really hard, it’s a completely different thing. They’re no longer just an artist; now they’re also the owner and the business operator of their own publishing company.

Peter: Yes, it’s so true, and I think remembering that these are businesses, it’s just as true for the small presses and the self-publishing as it is for the big ones, and treating it as such. Treating your work, and treating how you present your work, and how you reach out to people to get behind your work. Every communication that you go through, you have to remember that you’re communicating with a business, not charity, and you’re trying to… They want to discover the next big thing, but you’ve got to help them by being professional and by drafting professional communication when you do speak with them.

Clark: Mmm hmm. Exactly because it’s something you just hit on right there you know these are business. So let’s say for instance you know Raven International Publishing we want to publish someone’s book means we have to have the money, we have to have the money to give them an advance, we have to have the money to give take care of the editing costs, of marketing costs, of distribution costs, of the cover design, of the layout all of this it’s all cost. Which means we want to get that money back, because it is a business we want to be profitable. And so, actually this is one of the things I talk to my students about. Don’t be so down on yourself when you get rejection letters because remember they are not just, it’s not because they are rejecting you it because they don’t know that they can make the money on it. They want to make sure they are going to have the best chance of getting that money back. So that’s why, the more professional you are the better chance they are going to say yes. This person takes themselves seriously, they have already started to build an author platform, you know they are working, to get known even before the book gets published. This is someone I want to work with.

Peter: Yes it’s so true and it’s worth saying because I know even we’ve had emails where you can just see straight away that, that is has been sent out to a few different people. You know it’s not personal, they’ve not sought us out for a particular reason, it’s just been a batch correspondent that’s been thrown out. Whether that’s right or wrong when you’re sort of reading that you, you do almost switch off a little bit immediately. Not in a bad way but, it’s not the best foot forward I think in terms of trying to open that dialogue with a business.

Clark: Yes, absolutely you know the idea of “Dear Mr. Editor” and it’s a woman who is running
the editorial staff, you know it’s not even taking the time to look at who you should be addressing it to or understanding who the person is, that’s just such a big mistake. And in this world you know we are in right now with Facebook, Twitter, Instagram and all this type of stuff, we get the feeling that we know people even better than we do. So let’s say you have been following an agent for a long time, for the past couple of years, you’ve never actually met them. Maybe you have retweeted some stuff, maybe you’ve… But you feel like you know him, because you’ve seen their meals that they are taking pictures of and tossing online. It’s just like you were there. And so you decided to…

Peter: You don’t want to see what editors eat.

Clark: No you don’t. It’s just a lot of pain. A lot of pain. So you craft this query letter, and since
you feel that personal connection there – that is not honestly there – you say, hey – their name’s Josh – “Hey, Dear Josh. I think you’re going to like this one this time.” Or whatever, it’s like you’re being way too informal, and not taking the beginning of that relationship seriously as a business venture.

Peter: Yes, it’s so true…The only excuse is laziness. Come on. Get on the hit, take a look, find
out who it is, find out what genres they generally like to sort of get behind and just ten minutes research kind of does the trick to allow you to sort of go into this with a little bit of prior knowledge.

Clark: Right. I jotted it down here, make sure I’ve got the right one. And looks like I closed it.
Hold on just a quick second. So it used to be called Publisher’s Lunch. There it is. Publisher’s Marketplace. is a place you can go and it costs, I think it’s 19 or 20, it’s under 30 bucks a month. And you don’t have to have it every month for the rest of your life or whatever. You can go on there when you have a new book that’s ready. Go on there, you spend a month, and you can research. You can research who’s buying books, you can see agents that have made sales. You can see what they’ve been selling, what genres they’ve been working in. Because the last thing you want to do is not just pitch to someone who’s not in your genre, but you don’t want to be pitching to agents who aren’t selling. Like, you don’t want to work… Because remember – you’re not going to get paid… They don’t get paid until you get paid. And so you think that they’ll be hungry, but sometimes that just… they start striking out and all the sudden they just can’t get out of that slump. And so you don’t want to go after one just so you can have an agent. Try to find the one who’s going to able to really maneuver your book to the right place so you can get the most amount of money out of that.

Peter: Yes, that’s just great advice because you’ve got things like the Writers and Artists Yearbook and stuff where you can find lists of agents and editors, and a great and an awesome place to start. But I think something like that, just going that little bit further can just really behoove you in the whole process. It can just help you gain that little edge that you might not have had when you’re looking for something like this.

Clark: Yes, and just look at all this, there’s so much available information on the Internet on this. Go to the right places, make sure you start following the right people. You can find which houses they work for, and like I said, you can follow them on Twitter, you can follow them on Instagram. You can find out what they’re after. There’s hashtags involved, and I’ll put the hashtag on there as well, I can’t think of it right off the top of my head. But it’s basically in search of manuscript hashtag. So we’re looking for a fantasy thriller in this age group, or something like that. I wanted to say, before I forget about this, though. One thing you definitely don’t want to do is pay an agent up front, okay? You never pay an agent up front. If an agent’s asking you for money, they are not reputable. If they’re saying hey, I need a retainer fee. I need you to pay up. It’s only going to be $2,900 and I guarantee. No, that’s not how the business works. So if you’ve never had an agent before, that’s not how it works. The standard practice is is that they’re going to get 15% of your total income from the first sale, okay. So if it’s $10,000 advance, they’re going to get 1,500 of it, and that’s how they get paid. So stay away, there’s people out there. It used to be really big with the vanity presses who just wanted to take your money and give you some published books or whatever to say that you have it. It is not ever worth it to pay out…

Peter: To defend your garage from a flood when you have boxes and boxes of books.

Clark: Of books, right, exactly. And it’s never worth it to say oh yes, I’ve got an agent, sure, I got an agent. I got to keep him on retainer, I got to pay him. No, that’s not how an agent works, okay. Don’t get into your ego here.

Peter: There are sharks out there essentially. There’s no other way of looking at it. You’ve got to be on the lookout, especially when you’re excited about something and you’re eager. It is easy to fall into some of these traps, because these traps are designed not to look like traps. They’re marketed at you to seem like a good idea, a good deal, and the way the industry works.

Clark: I say stay away from stuff that you have to pay for. Even if you’re trying to submit to
anthologies, publication contests. If they ask for money up front, the question is are they really in it to help the author or are they just in it to collect the fee. We totally understand. It would be great. I’ve thought about asking for fees when we do anthologies because we get so many submissions, and just the amount of time that it takes to read through those, it costs money, because it means that we’re not working on something else and we’re reading the submissions for the anthology. But at the end of the day, it doesn’t feel right to charge for that because the publishing company, the agent, they should be working for the author, not the other way around. So, of course if you want to keep your rights, if you want to do that, there are hybrid contract deals you can do, so that way you’re being part of the publishing team. That you’re putting your money into it as well. Think of an executive producer, they’re putting their money up for a movie because they want to be a part of it. Because there needs to be a lot of money put into it. So, that’s a possibility as well. I’ve got some tips here on putting together query letters, did you have something on that as well Peter?

Peter: Yes.

Clark: So, why don’t you go ahead and you can go first.

Peter: OK. Well, the first one is I would say as with anything, go and look at somewhere where it’s been done before. I’m sure you’ve heard of Writer’s Digest, but they’ve got loads of examples of query letters that have worked on there. It’s a great place to start and just take a nosey around and just get yourself familiar with some of the features of a good query letter. Features such as… If you read through them, you’ll begin to notice kind of a formula. So like we said before, addressing the agent or editor properly. Addressing them using their name, and showing that you’ve looked into who they are and who they usually represent so that you can then position yourself as someone that would fit with the market that they sell to.

Clark: Yes, because that’s a really important part because you don’t want to be the square peg trying to get into the round hole there, because it doesn’t work that way. Pay close attention to what the publisher’s asking for if you’re submitting to a publisher, or an agent, either one. They’re going to have a list of things that they’re looking for. So for instance, with Raven International Publishing, when we do the anthologies, if there is anything that’s attached, it just gets deleted. Because it specifically says paste your submission into the email. Because I don’t want to open up, I don’t want to open up potentially dangerous software, or malware, or something like that. So everything is just right in there, and if you don’t listen to that, that’s completely gone. Yes, make sure that you know how they want to accept it. Do they only do email? Do they want you to actually mail it to them? Is there, do you have to hand deliver it by the Pony Express? I think some of them still use carrier pigeons, because they’re pretty outdated when you’re getting up to the big five publishers.

Peter: Yes. I think you have to trek on horseback to the corners of the Earth, and then up all these steps, and then you get three questions when you get to the top. It’s something, I can’t quite remember though.

Clark: And then you get a golden ball and have to take it over. It’s a whole bunch of stuff.

Peter: And then you have to catch the snitch.

Clark: So Neil Gaiman, he’s the best. So for an example, this is one example of a good query
letter. Starts off with Dear Mr. Wey, because John Q. Wey is the editor, so. Enclosed is my short story, Spitfire Sunday, 2,500 words. It’s about Pastor Donald White, who spends every Sunday preaching hellfire and brimstone. But his little routine changes when atheist Catherine Cadone comes to town. She doesn’t just preach about perpetual suffering, she delivers it. The target of her latest sadistic crusade is none other than the preacher himself. As she kidnaps, tortures, and prepares to set him ablaze just before the clock strikes midnight on Easter Sunday. So we have a very concise this is what the story’s about. This is the name of the story. This is how many words it is. Really easy there, it’s a good little pitch. And then in his next paragraph says, I am a full time pastor by day, part time writer by night. My published stories have appeared in three mystery magazines, Murderously Yours, Crime Pays, and Mystery Times. You are the first editor I am soliciting with this story, and I will wait six weeks for your response before I approach another magazine. If you’re not interested in the story, feel free to dispose of the manuscript, but please notify me with this self-addressed, stamped envelope. If, however, you want to publish it, I can send you an electronic version in a Microsoft Word attachment. One of the things in this second paragraph that works here is the author is a full time pastor. So it means that he’s going to have some kind of information there that’s a little bit more privy in this story, and it’s going to fit better with the story. So think about those types of things. Where can you sell yourself more? Published articles, have you been published before, that’s important. Why are you the person to be telling the story?

Peter: Yes, and you’ll notice it in many sort of successful query letters. Being published before, and also, I think if you have a current platform or audience, that’s worth mentioning. Anything that can bolster your application, in a way, your appeal, to their better sense to take you on. But anything that’s going to help you out. Have you been previously published, and where? And do you have a current platform that’s going to help? And like Clark just said, any life experience. What qualifies you to bring this message or to bring this story to publication?

Clark: Yes, so it’s just a lot of good ways to get that out. We’re talking mainly, basically about traditional today. Definitely get signed up for the webinar so that you can get into this a little bit more deeper; show you more about what each of these different industries looks like right now and what it means for you. Whether you want to go self-publishing, maybe that is the way you want to do it. Maybe small press is the way you want to do it. Maybe you want to do the traditional way and spend your time trying to get an agent. This is one way to do it, and these query letters can work for editors, they can work for agents. I’ll make sure that I’ve posted it, we already have links on our other ones we’ve done about short stories, there’s a lot of places not requiring you to pay up-front you can submit without having to pay. You’ll make a little bit of money, and you could get your short story publications going, it just depends on what you want to do. So I hope that this has been a little bit helpful here, so that you can understand what you should be looking for is first, you need to understand your story, you need to put that together. You need to figure out how you want to get published, and you need to really learn how to do the query letters right and how to approach agents and editors and figure out your information. There is no excuse, there is zero excuse, that you can’t figure this stuff out online, on who wants what and who they are.

Peter: Yes, it’s so true. Don’t get in your own way, you know what I mean? Let other things stop you, let divine intervention stop you — don’t stop yourself.

Clark: That’s a really good way to look at it. Did you have anything else that you wanted to add on these, Peter?

Peter: Just looking over my notes. No, that pretty much covered everything. As I say, just to reiterate the last point, get out of your own way, don’t stumble on these things, because getting these in line and having a professional query letter is invaluable. Once you’ve figured out how to do it you’ve got it then, you’ve nailed it for any future letter that you do.

Clark: Yes, because if you’ve got it there saved, make sure that you’ve gone and correctly changed the name before you send it to the person, if you’ve got it saved kind of as a form, and also that you don’t end up sending the wrong one to the wrong person or something like that. Be organized. That’s one of the things I’ll have a little download that you can use either on Mac or Windows so that you can have an Excel type form where you can put in who you’ve been submitting to, where you’re at in those query letter prices.

That’s one thing I should mention real quick right now — remember that if you’re sending a full manuscript and you’re trying to approach publishers the — I don’t know what you want to call it, Gentleman’s agreement — is that you can only submit to one publisher at a time and they have to say “no” before you, or a certain amount of time passes like six months before you submit to another one. That is not the case with Agents. Agents can sell your book to multiple people at the same time, do bidding wars and you can also submit to multiple agents at the same time. So that’s why that works a little bit better.
So if you enjoy the show please leave us a review on iTunes or Stitcher, a like on YouTube and follow us on Facebook. And before you go jump over and click to register for our free Get Published in 2017 Webinar. We’ll be talking all about what we’ve hit today and going much deeper into each one of these so that you can really figure out the path you want to take, what your goals are for this and to make it happen in 2017.

I’m Clark Chamberlain, for my co-host Peter Turley, keep writing, keep learning and build a better book.