Every time, and I mean every time, I submit to my publisher and/or an agent, they ask for comp titles. Don't get caught flat-footed. Do the research before you get ready to submit. Know where your book fits into the literary marketplace. When a publisher sees the comp titles, they start to figure out where to market your book.
If you're struggling to find comps, ask one of your critique partners or BETA readers as they may have a more objective view of your story. Or, do the research:
So, how do you do that? Well, reading voraciously helps. I sometimes offer comp title suggestions to my students, and I can do that because I have read a wide-variety of books and I notice similarities. Note that comps work when the similar work is well-known. If you give a comp that's obscure, you're giving the impression that there's no market for your book. Eek, that's not what you want to do!
In the end, comparable-titles are a way to demonstrate your knowledge of your genre and the literary marketplace. They're also shorthand for a longer discussion on market, niches, etc. If you have to do the research, and for reasons beyond me you don't ask a librarian, at least have fun with it!
Post your comp titles in the comments below.
Some thoughts on how and when to build your platform
This is an honest and complex question. So many publishers, editors, and agents say a writer needs to "have a platform," which is a lot like the need to have credit to get credit.
How do you build a platform before you have a product to put on that platform?
When I first met my publisher face-to-face, having a contract and a release date in the far distant future, I asked her the number one thing I could do to set myself up for the release. She told me to get active on Twitter. My response (not wise, considering... publisher) was "I hate Twitter."
She had the marketing department scour my website and social media pages to give me suggestions. Not all publishers do this, but it was invaluable. They sent me a 6 page report on what I was doing right and what I should improve. The good news is that traditional publishing takes so long you have time to build before the release. The bad news is that every editor/agent who is serious about your work is going to ask about your platform. Do you have a website, a FB page, a Twitter handle, etc?
I have since reevaluated my opinion on Twitter, as I'm fully an addict, and I now despise Facebook, but I also think the publisher is both right and wrong about "get active on Twitter." Twitter is great for many reasons, but Twitter is not the place to sell books. Mind you, people try, but it's really just yelling into the wind. Facebook is a good marketing tool for writers, but the targeted advertising is part of what makes Facebook a burr under my saddle.
Where do I begin? How do I put myself out there when I hate "selling myself."
The biggest thing pre-publishing is to get onto your preferred social media platform and start making connections. Follow authors in your genre (as your writer page). Join conversations in Facebook groups or follow Twitter hashtags like #writingcommunity or #amreading. On Insta, it's #authorsofinstagram. You're not selling yourself, not yet, what you're doing is forming bonds and friendship with people who like books and your particular genre. You're building an online network.
Minor digression on the value of online networking
I graduated from Regis University with an MA in creative writing in 2015 (Regis now has an MFA program). A fellow student at the time just released her first book of literary nonfiction. She reached out to me on social media. I shared her release to my readers. I shared articles about her release on everything from social media to LinkedIn. This isn't a quid-pro-quo, as I don't expect anything of her in return. It's just the right thing to do to support fellow writers. You can do the same with published authors before you're published.
How do I "sell myself" as a writer before I'm published?
You're not bringing attention to something you haven't done yet, you're bringing attention to the thing you love: books. My publisher gave me a list of 15-20 top influencers in the form of bloggers and book reviewers that I should "get to know" or connect with online. I found that too artificial. Instead, I engage with other writers and readers. I like/share/retweet other writers whose work I like/love to build good will with others, and even if they don't directly reciprocate, I figure I'm growing my good karma (and that it will come back to me in some way in the future).
When is the best time to build a platform? Pre or post contract?
There's no "right" time to build a platform. Honestly, and I mean this, writing comes first. Let me say that again:
Writing. Comes. First.
It's easy to get sucked into the social media mud pit and get stuck, but if you're already active on a certain platform, getting to know other writers and readers shouldn't be too big of a stretch to start with. Things like a website or a blog can wait until the book is finished, but social media takes time to grow, so starting now would definitely be a move in the right direction.
Where do I start? Social media is overwhelming.
There's so many ways to get active in a way that is authentic, which I think is what you should focus on. Don't think of it as selling yourself. Writers for the most part aren't really good with that. Instead of "selling" or "marketing" which are dirty little words, consider social media as community building. You're finding a community to interact with, and you can do it no matter where you live, no matter your publishing stage... as long as you have Internet.
As for where to start, ask yourself: What social media platform do I prefer?
I know some publishers push you to be active on all platforms. Good luck with that. Although I do have someone help me with Facebook (she posts what I send to her onto my writing page because I don't have a personal account on FB), I don't have the time or money for a personal assistant, so spending an hour a day building my social media isn't in the cards, but I do focus on being active on Twitter, because I'm there anyway, and I enjoy the interactions. I even use it for my undergrads instead of online discussions (see one of my Twitter hashtags to see what they post).
Follow writers. Stephen King is on Twitter, and full of all kinds of fun posts from directly related to writing (like when a new book or movie releases), but he also posts pictures of his dog, retweeting other writers (including his son) and generally posting several times a week. JK Rowling used to be much more active, being quite vocal about things that matter to her, but seems to have slowed off the last year of so. Still, she's a good follow. Start with those writers you love, and even if they don't respond, you can interact with those commenting on their posts. And guess what? Those people are probably readers.
But it makes me feel like a fraud
Posting to someone who is not your family or friend is weird at first, but I promise, you're not a fraud. You are a writer. You are writing. You are connecting with readers and writers.
Remember the line from Field of Dreams. "If you build it, they will come."
As a general rule, and of course there are exceptions, writers are introverts, but even extraverts acknowledge that writing is a solitary act. It's easy to get stuck in our heads and in our stories rather than live in the real world. It seems easier, I think, because our families--no matter how supportive--don't really get writers.
Last semester in one of my undergrad creative writing classes, I asked the students why they write. A young lady, about sixteen (we have dual enrolled high school students on our campus) with long hair and thick glasses spoke up. She's rather shy, and this may be the most she spoke in class. She said, "I write to shut up the voices in my head." Immediately several people nodded in agreement. When I told this story in a faculty meeting, several of my colleagues looked at me like I'd lost my mind, some suggesting that maybe it was time to refer the student to behavioral intervention, because they really don't get it. If our families struggle with understanding our writing world, the people in the math department really don't understand creativity.
So we go to writing groups, develop writing communities, and eventually go to a writer's conference, because the only people who understand writers are other writers. Once or twice a year, we need to step out of our writing cave and visit with the only people on the planet who do understand.
Writing conferences have personalities just like people. If you go to the ThrillerFest, you'll be surrounded by thriller writers and will likely have workshops on law enforcement procedures, autopsies, and forensics. Mystery writers surround themselves with stuff of mystery, romance writers talk relationship building and romance tropes, while YA authors talk about everything. A general writing conference might have tracks for fiction writers, poets, and another for creative nonfiction. There might be someone who talks about memoir and another who talks travel writing.
So when you pick a writing conference to go to, make sure that they're your people. For instance, writing poetry is not my jam. SO if I ended up in a poetry-writing conference, I would be out of my element, which is the exact opposite of what we want in a writing conference. So do your homework and make sure the conference covers the topics that are of interest to you and your genre.
Once you sign up, or as you're signing up, you'll have to answer questions about food choices (yes, most conferences support vegan or gluten-free eating), but then it gets down to the nitty-gritty. Do you want an agent or editor appointment? Who with? Spend some time researching the agents/editors who will be there so you know which is most likely to appreciate your book.
For an editor pitch, this is a great way to get past the slush pile to submit directly to an editor. Make sure, however, that you've checked to see if they accept un-agented work/writers. Do your research and know what they publish, what lines they have, and what their current submission guidelines are.
For instance, at dinner during the conference last weekend, a writer at my table said the editor she pitched to was really nice and helpful, but "she doesn't edit horror." While the editor did make some recommendations for next steps for this writer, the writer should have known going into the conference that this editor wasn't an editor for a horror line. That's basic research that would have given the writer better options for her one pitch appointment.
If you're considering an agent appointment, figure out why you want an agent. There are oh so many reasons, but here are some from "How to Find a Literary Agent:"
If you're looking to pitch to an agent, here are some things to consider as you pick who you want to pitch to:
One of the interesting things I've noticed the last couple writing conferences is how my attitude and expectations from the conference have changed over time. When I first started going, I was all about the workshops, spending hour after hour in a clogged hotel conference room absorbing information, but as I've progressed in my career, those workshops hold less appeal. Of course there are exceptions. The two hour workshop presented by a coroner talking about dead bodies (DB) and the kinds of evidence we can retrieve from the body was the most amazing workshop I've ever attended, but typically, the workshops are things I've worked on through my coursework and my reading, and now I'm looking to focus on publishers or agents, so I know who the industry players are.
Which leads to the next reason every writer should go to conference: to network.
Yes, dear introverted writers, I know this sounds like hell. For some of us, networking is worse than hell, but we need to know who works for which publisher. Did they move, did they change to a different line, did they become agents or move to Hollywood? These are the kinds of details you really only get by becoming involved in a writing community and going to a writer's conference.
Last summer I attended RWA's conference because it was in Denver, so I didn't have to pay for travel expenses, which makes many national conferences an expensive proposition. Before my kids were born, I had been highly involved with RWA, even acting as president for my local RWA chapter, and I went to conference every year. I absorbed the workshop materials, enjoyed hanging out with my friends at the bar (every writer's conference ends up in the bar), but I didn't do an agent or editor pitch because I wasn't ready for it.
But when I went to RWA last year, I wasn't interested in the workshops (except the autopsy one and another on self-defense for writers), because I was there to make industry contacts. A good friend of mine, who has been even more actively involved than myself, took it upon herself to help me network. I didn't realize this until halfway through conference when I legit hadn't attended a single workshop... But she had me at lunch with one group of writers, drinks with another, and after hours with yet another group. She hosted a tarot reading so I would get to know yet another group of writers all in much more advanced stages of their careers than myself. She was like a publicist who was getting my name out there and connecting me to industry professionals. It was a fabulous (and exhausting) conference.
When to go to a writer's conference is a personal and financial decision, but when you do take the plunge, know why you're going and what you want to get out of it. This last conference at Pikes Peak Writers, I had two goals.
First I wanted to grow my writer's resume by building a reputation as a presenter and speaker. This worked out well for me and has led to another conference gig this fall at Rocky Mountain Fiction Writers. Second, I wanted to pitch to an agent. My publisher didn't require an agent (some do), and since I had researched my publisher's contract terms before signing with them, I didn't *need* an agent, but now I'm at a crossroads with my career. I have 6 books and a novella out in the world, and I really want an agent to take some of the business stress off my shoulders so I can focus on writing. Because I knew my book, my goals, and my pitch so well, the agent asked for the proposal within two minutes of me walking into the pitch room. That gave me the last eight minutes to simply have a conversation and decide if I think this is the person (or the kind of person) that I want representing my work.
Writer's Conferences are amazing opportunities for writers at all stages of the writing career. They build your writing skills, your industry knowledge, and your networking options.
The only question left to ask is when are you signing up for your first conference?
On Saturday, I participated in a mini-conference and book signing at the local library. It's free, a writer's favorite word, and had 2 panel discussions and a keynote speaker. Between sessions, readers and writers were able to talk to local writers who signed books. All proceeds benefitted the Friends of the Library. I love doing this event. Book sales are light, but it's a great way to network and stay connected to the local community. Plus, I worked for the library for years, and they take good care of me. I want to give back.
Now, for the interesting stuff.
The first panel had a publicist, an agent, and an editor. They talked specific to the business side of writing.
The keynote speaker discussed something no one likes to talk about. The dark night of the writer's soul when the words won't come. Writers tend to avoid this discussion out of some strange taboo, but every writer will go through it at some point. Stephen King threw out his initial notes on the book Carrie, convinced it was a dud. His WIFE was the one who believed in it enough to literally pull it out of the garbage. Take the time to go read that article about Stephen King. Trust me, it's inspirational.
The speaker pointed out that it doesn't matter if it's your first book or your eighth, all writers experience this moment of doubt. Hang in there.
Finally, the best part of the day was seeing one of my former students signing books! She took my novel writing class two summers ago. She said "your class is what gave me the final push and helped me put it all together." She has 2 books with another due out in June. I'm so proud! Her name is Adriana Carlson and you should checkout her website.
That's it for my notes for now. Hang in there. You're doing great!
Short stories to develop a character for a novel? To bring about a serial? To reach readers?
Good idea or not?
Writers, what say you?
In January, we had a guest speaker discuss hybrid publishing with us. Jennie Marts is the USA TODAY Best-selling author of award-winning books filled with love, laughter, and always a happily ever after.
What is hybrid publishing? That term is typically applied to an author who publishes with a traditional publisher and also Indie publishes. The difference between the two, according to Marts, is control and timing. In Indie publishing, you have control over everything, but you do more work (and you have to pay for it all). With traditional publishing, you have zero control, but they do all the work (and they pay for most of it).
As an example, professional editing is one of the most important parts of publishing. In traditional publishing, the publishing company pays for editing, while with Indie publishing, the author pays. It's expensive, but some of the best money a writer can spend. The same with book covers and formatting.
While those are costly and important differences, the writing remains the same. Write, edit, revise, and promote (no matter if you're the publisher or you have a traditional publisher). “Writing is a marathon, not a sprint,” Marts says. It’s all about the long run.
If you're considering Indie or hybrid publishing, Marts will be presenting this topic and more at the Pikes Peak Writers Conference in April.
Most writers I know work a day job, or a night job, or an online job. Plus they write. We have this illusion that writing is the golden ticket to financial independence. Sadly, it is not. This article by Merritt Tierce is a prime example of the financial struggles of writing, and how they impact your ability to write.
In the MFA program, I was made to feel crass for daring to mention money. I believe my exact wine-induced phrase was: "I don't write for free." I'm not a mercenary, but I don't pour hours, and in one case a year, into a novel, for nothing. If my university asked me to teach for free, I wouldn't even show up to the faculty meeting for the free food. No one should work for free. Anyway, talking about money tends to make people uncomfortable, so of course, we should talk about the things that makes us uncomfortable.
First, this amazingly well-researched article by Lincoln Michel who discusses his research into traditional publishing. The wheres, whys, and hows are something every novelist should endeavor to understand.
Second, author Brenda Hiatt has been telling the story to anyone with an Internet connection. What do romance and YA publishers pay? Authors submit their numbers to Hiatt and she graciously posts them (both traditional and indie). When you're negotiating a contract, or deciding where to submit, these numbers are tremendously helpful.
If you know of an article or website with good writerly information on publishing and the money trail, please post in the comments.
Writer Reference (Blogroll)
Show Don't Tell
To Be verbs
Wired for Story
Genre by any other name
He for She
A Little is Enough
Writing 17 minutes at a time
The Unlisted List:
The best women nonfiction writers.
Aubrey Hirsh' Beginner's Guide to publishing with format templates and more
Agent Query 15 posts on writing query ltrs
Platform Action Plan
Writer, college professor, lover of story, fan of all things bookish. Plus chocolate, because who doesn't love chocolate.