For many people–readers and writers alike–writing novels defines the writing life. After all, when we study literature in school, it’s usually novels we’re assigned to read and report on, with the occasional short story thrown in. Plus, if you’re on your way to becoming an avid author, it’s probably because you were an avid reader–a pastime that generally involves books. For most readers, when we talk about leisure reading, that means novels.
It’s not surprising that many aspiring authors are drawn to writing novels. (I was. I just took a long, circuitous route before I arrived.) Once you’ve decided to write a novel, you need to find a starting point. If you’re born with an extraordinary talent, you just begin writing. For most, learning to write a novel involves taking courses, attending workshops, reading books about writing, and possibly finding a mentor or a circle of like-minded writers to shepherd you through the process.
Whatever route you take to achieve the finished draft, you’ll discover that good writing involves good rewriting. And revision. And re-plotting. And proofreading. And finding beta readers and editors and proofreaders to lend another set of eyes. The trick is to find a balance. When is it time to stop revising and start looking for a publisher?
Writing novels is almost exclusively done by freelancers. The established route is to write the book, then seek out publishers who are looking for that particular genre. If a publisher doesn’t accept unagented work, an additional step is added: Find an agent.
As an aside, series that are contracted out to writers other than the original author are an example of a departure from the usual process. Once the author of a popular series is deceased, a writer may be secured to continue the writing. Think Nancy Drew and James Bond. Not necessarily in the same sentence. Novels commissioned with the support of the publisher and permission of the late author’s estate are considered an official continuation series. Unofficial novels may more closely resemble fan fiction.
Back to the standard procedure. At this point you begin the long, drawn-out process of querying and sending out manuscripts. Once invited to send sections of the finished work or sample chapters, the author compiles a packet of the requested material. The submission packet typically consists of a cover letter, clips of previous publications, a synopsis, and a few sample chapters, if you haven’t already sent these with your query. It should go without saying that whatever you send to the publisher or agent should be representative of your best work. Achieving that polish usually involves numerous rewrites, input from beta readers or a critique group, and, above all, the services of a professional editor and/or proofreader.
The entire process can be streamlined if you have a good contact at a publishing house or literary agency. These contacts can most easily be made at writers conferences. Another good reason to put conferences on your bucket list.
You then reach the most agonizing part: waiting. At the end of an interminably long period of time, you’ll receive one of two (or three ) possible answers: 1) Sorry, this doesn’t fit our needs, 2) We’ll consider this manuscript if you are willing to rewrite, or 3) We’d like to offer you a contract.
Once you receive Answer #3 you enter the wild, unknown world of AUTHOR!
PS. The timing of this post is not an accident. One of the camps sponsored by NaNoWriMo–National Novel Writers Month–begins in April. If you’ve been putting off writing that novel for ages, this opportunity could get you past the inertia. During their regular session, you commit to sitting down and writing 50,000 words during the month of November. The “camps” in April and July are more flexible and you can set your own goals.
Check it out here
NOTE: I have no association with NaNoWriMo, other than being a satisfied “customer” (there’s no charge to participate). I’ve taken part twice, once for a draft and another for a rewrite.
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