Oftentimes, developing target audiences can reveal interesting information about how to get the book into the hands of the reader. For example, if members of a target audience are likely to listen to podcasts, then the marketing plan for the book should include some reviews by podcasts they probably listen to.
Graphic design is so much fun. There is so much you can do in this space, just within the context of book publishing alone. From print to digital, there’s no end to what you can create. Because it is such a vast and interesting area, a lot of people want to try it out, but they hesitate because they don’t have any formal art training. I get it—I’ve been there. There is a lot of overlap between art and graphic design, as they require a lot of the same skills and an understanding of concepts like space, color, lighting, etc. But, while having a working knowledge of these when you start is helpful, it’s not required.
If you’re a writer or an English major who aced every spelling and grammar quiz in school, you might think to yourself, “Hey, I’m pretty good with words. I understand punctuation, possessives, and present participles. I would make a fantastic copyeditor!” And you could very well be right. But before you dive headfirst into this profession, it’s important to know that for a good copyeditor, grammatical know-how is just the tip of the iceberg; successful copyediting requires a number of additional skills that have nothing to do with whipping out that red pen to correct a dangling modifier. This post outlines some essential copyediting skills that are completely unrelated to grammar and spelling.
A line edit typically occurs between developmental editing and copyediting, and it’s a sort of transition between making large structural changes and perfecting the mechanics of the language. Not every manuscript needs a line edit, but a line edit would likely enhance most manuscripts because its primary focus is not on perfecting the language but on elevating it.
At nearly every press, there is a room that is stacked high with cardboard boxes. For people in publishing, a certain feeling may be invoked by this image. I feel it myself. A book unread is a sadder sight than one unloved.
Writing book proposals can seem intimidating. Writing the book was hard enough, and now you have to get other people to like it too. The number of resources for writing query letters is infinite, with published authors, agents, and publishers all weighing in on what makes a good query letter. But what about the next step—the proposal package?