So, You Think You Want to Be a Writer?

Ian Roberts By Ian Roberts, 12th May 2013 | Follow this author | RSS Feed
Posted in Wikinut>Writing>Tips

The article looks at ways to become a published writer and the difficulties involved.

So, You Think You Want to Be a Writer?

Twenty-five years ago, I wrote a novel. It took me a year to write it, and I then sent it off expecting a quick reply, a fat cheque and early retirement. What I got instead was a stream of rejection slips, other than two letters, which showed interest and offered encouragement. One was from an agent, the other from the fiction editor of a large publisher that has now been swallowed up by a multinational conglomerate. I was invited to rewrite the novel, making specified changes, and resubmit it. I did this. It took me another year, in between renovating a house, teaching, playing rugby and getting married. I sent off the rewritten version, expecting more speedy replies and an even fatter check. Instead, after quite some time, I received two polite letters. The first one informed me that the agent had died a month earlier and that the agency was dealing with her affairs and unable to take on new clients. The second letter told me that the editor in question had left publishing. I was just a little disappointed and said things such as ‘Oh gosh’ and ‘Dearie me’, as I flung the unread, returned typescripts across the room. I then rushed out of the house and assaulted a man who happened to be walking his dog. For good measure, I kicked the dog too. Ten years later, in between playing rugby, renovating another house, being married, teaching and becoming a father, I rewrote the book, again with no success. Sadly, I couldn’t find an old man or a dog to assault, so I shot the neighbour’s cat instead. This book would not let go of me, so late last year I decided to have another go, this time with a difference. To try and make some money, I had tried my hand at short stories, after doing a writing course. It was the writing course that made the difference. I won’t go into all the details, but the course taught me to ‘throw away’ every word that was not essential and to focus on the story and the characters, not my self-indulgent descriptions and unnecessary narrative. As a result, my novel has been halved in length and is complete. I have also had five short stories accepted for publication. So, there you go: to get this far, it has taken only twenty-five years, a badly-beaten man and his dog and a dead cat. I thought I would tell you this just to cheer you up and fill you with optimism from the outset.

The first thing you should know is that becoming published is extremely difficult. And that is an understatement. The opposite is much closer to the truth, even for those who are talented enough have a potential best seller to offer. A writer may be lucky at the first attempt to become published, but that really would be very unusual. If you are not prepared for a very long ride and to accept one rejection after another, forget the idea. You might become one of the lucky few and quickly find a publisher or agent to take you on. But, for most aspiring writers, it is a very long and rocky road. Becoming published demands talent, a lot of patience, hard work and determination. It also demands a willingness to accept the letters of rejection time and again then pick yourself up and start all over. It’s not easy. Consider this: you have put in a great deal of work. You have slaved over your typescript and you believe it is going to happen for you. You really believe that your hopes and dreams will soon be a reality. You have sweated over that typescript for months or years. You believe in it. You ache to be recognised as a writer. You think it is a worthy piece of writing. Then, the postman delivers that first rejection letter, and many more follow. You receive one letter after another telling you that your work is not wanted or good enough. It is heart breaking, a terrible feeling of disbelief and hurt. ‘How can they say that?’ you ask. ‘I’ve worked so hard. They can’t do this to me.’ And the rejection letters rarely offer worthwhile encouragement or advice. I have been there, and it really hurts, believe me. It knocks the wind from your sails, and you really have to want writing success to face these slings and arrows and keep on going. If you think you might not be able to face that then forget about being published right now. Have I cheered you up even more or do you feel like shooting a cat?

There are too many examples to quote of successful authors who were initially rejected by numerous publishers and agents. There are thousands of them. You may be aware of James Patterson, currently a very popular author of a string of best crime and mystery novels, several of which have been made into films. His first book, The Thomas Berryman Number, was rejected twenty-four times before being published, but it went on to win the prestigious Edgar Award for a first mystery novel. Another author, John Kennedy Toole, provides a very poignant, example. Toole killed himself in 1969, because he could not get his book published. His mother persisted with the typescript, which was eventually published as A Confederacy of Dunces, a wonderful book, which subsequently won the Pulitzer Prize and was translated into ten languages. I imagine few people have not heard of a certain JK Rowling. Harry Potter and the Philosopher’s Stone was not her first novel. She had written and put aside two novels before beginning the Harry Potter series. The Philosopher’s Stone itself took five years to write and was rejected numerous times before publication. These are just a few examples, and I will provide some more later. There are many successful authors, past and present, who have had frequent experience of rejection. The keyword is ‘perseverance’: if you are good enough and want it enough, you will get there, but it is not easy. Or, hard as it may be to accept, you may not have what it takes and must face that reality. But if you are good enough and want it enough and persevere you will get there.

On Persistence: “Nothing in the world can take the place of Persistence. Talent will not: nothing is more common than unsuccessful men with talent. Genius will not: unrewarded Genius is almost a proverb. Education will not: the world is full of educated derelicts. Persistence and determination alone can assure success. Press on!”
(Anonymous)

‘Persistence’: remember that word.

Publishers and authors’ agents receive hundreds of typescripts or manuscripts each week and are inundated with work from unknown writers as well as work from established authors or writing that has been specially commissioned. The competition is very fierce, and even established authors can be rejected. Editors and agents have something known as the ‘slush pile’, which I will come back to later. The ‘slush pile’ involves typescripts/manuscripts that are unsolicited or unwanted and which may or may not reach the desk of an editor. An editorial assistant or professional ‘reader’ may determine how far your work gets, and it may depend on personal preference or simply a whim. Even if your work reaches the desk of an editor who thinks you have potential, it may not be his decision to accept or reject your work. You may have produced writing of merit, brilliance, even, but that does not guarantee publication. In days gone by, publishing houses might well accept work of merit and publish it for little or no profit, in the knowledge that the work was good and may possibly lead to bigger things. However, the days of ‘gentleman publishing’ are gone, and accountants now rule the roost. Many of the old publishing houses have disappeared, replaced by conglomerates and multinationals whose sole motivation is profit. These big organisations have many established writers on their books and do not need to rely on fresh talent or first-time authors. The criteria for publication are ‘will it sell and to whom and how many copies’. It does not matter if you have talent or potential worth nurturing. If you can not turn an immediate profit you will probably face rejection, unless you are lucky, for luck as well as talent and perseverance play a big part in becoming published unless, of course, you ‘know’ someone, and even then there are no guarantees. If you think about it, it is, in a way, comparable to The X-Factor, on TV. There are thousands of applicants, a great deal of talent on display, more than a few sad people with little self-knowledge or ability, many broken hearts and only a small number who actually make it. Such is life, but remember that every winner of the Booker Prize, Pulitzer Prize or even Nobel Prize was once an unpublished writer. Writers write and keep on going. So, do you still want to be a writer?

Should You Choose a Publisher or an Agent?

As with most approaches to any given project or topic, you will find widespread disagreement on this. A publisher is precisely that – someone who publishes books. An agent is someone who finds a publisher and advises, or may nurture, an established or would-be author, although a publisher who sees new talent or ‘scents’ money may also provide advice and guidance.
An agent will require payment for services rendered, a percentage of any profits from a book when published. Percentages vary, usually from ten to twenty percent. This may seem a lot, but a good agent will be familiar with the market place and which publisher to approach with your typescript. Agents worth their salt will be aware of which publishers are more likely to give unsolicited typescripts a fair chance and they will be aware of the type of book that is currently popular with a particular publisher. For example, one publisher may have gaps for unpublished writers of merit, whereas another may have too much work to consider the novice. As in any area of life, it is often a case of ‘who you know’ that can lead to success, and from an unpublished writer’s point of view the agent is often the one who is ‘in the know’ and who will push and promote your work if it shows potential. An agent will also be able to help you deal with contracts and legal aspects, should you become published. It is unusual but not unknown for an unscrupulous publisher to take advantage of a naïve author by offering a less that fair deal or contract. An agent will help you to avoid this and will negotiate the best possible contract, as the more money the writer makes, the more the agent does too. Another advantage of the agent is that a publisher may be more likely to show interest in a typescript if it has already passed scrutiny at an agency. The disadvantage of using an agent is that it has to be paid for, as I said, and many of the best agents may be far too busy to accept work from unknown writers. Again, that word ‘perseverance’ must be applied.
Not all authors agree that the agent should come before the publisher. Let me try to explain. Although it is true that publishers tend to favour typescripts that have arrived through an agent, because they have already passed the first screening, there are publishers who are always on the lookout for something outstanding from the ‘slush pile’. Every publisher would love to ‘discover’ a new talent. There is kudos in this and the professional satisfaction of being able to spot a winner, not to mention the potential of profit. Also, an unrepresented, inexperienced author, who has no experience of publishing, is less likely to drive a hard bargain over a contract.
There are far more publishers than there are agents, so you might submit your work to a publisher first and if successful look for an agent to represent you and do all the negotiation, deal with contracts and leave you free to ‘write’. The advantage of this is that you will be more attractive to an agent if a publisher has already accepted your work. So, you will be a potential ‘hot property’ for a publisher, if you have passed an agent’s ‘screen test’ and will have the same appeal to an agent, if a publisher has accepted you. It’s a case of swings and roundabouts, and there is no ‘right’ way of approaching it.

Dealing with Rejection:

Remember that both past and currently successful authors, many of them now household names, once faced rejection. John Braine, one of the literary ‘names’ of the last century, had Room at the Top rejected thirty-eight times. It is now regarded as a classic of that genre. Jack Higgins, who wrote The Eagle Has Landed and a stream of best sellers, struggled for years to become published. Wilbur Smith, Stephen King, even Charles Dickens: the list is endless, and rejection is the norm, not the exception. So, although a rejection letter or slip will hurt you, it is not the end unless you allow it to be.

Think back to the earlier examples of rejected writers who achieved success and fame. Here are some more: “You’re welcome to Le Carre. He hasn’t got any future.” This was said about John Le Carre’s book The Spy Who Came In From the Cold. I wonder how many million books John Le Carre has now sold. “A long, dull novel about an artist.” This was a comment on Irving Stone’s biographical novel of the life of Van Gogh, which sold a million and was made into a film. So, it’s not all gloom and doom, but keep that word ‘perseverance’ firmly in your head and accept that you are most probably in for a long haul if you really want to be a successful and paid writer. No one ever achieved writing success by throwing away a typescript when rejected and angry and bitter and hurt by a publisher’s adverse reaction. Keep your typescript, shoot a cat then start again. Mao Tse Tung, the father of modern China, said: “A thousand-mile journey begins with the first step…” And most aspiring writers face that metaphorical ‘thousand-mile’ journey. You have to start somewhere, but it will probably be a long walk, so be prepared or pack it in, now.

Publishers and agents will, for the most part, if rejecting you, provide a polite letter in a standardised format. They do not exist to edit or criticise your work and will refuse to do so. They are very busy with those whose work has been accepted. However, if you are lucky enough to receive a reply with more than a brief, perfunctory comment you are honoured, as publishers do not waste time with those whose work shows no merit at all. If this happens to you, despite the rejection, be encouraged, but if you receive a stream of offhand rejections you might consider whether your work is worth the effort or that writing is not for you at all. So, do you still want to be a writer?

The Rewards of Writing

I’m sure there are many people who would and will continue to write for no material reward, but wouldn’t it be wonderful to get paid huge amounts for a labour of love? But, I’m afraid there is more bad news for you. For most, the financial rewards are few. We sometimes read of astronomic sums paid to novelists, the sale of film rights and writers who become tax exiles. It is no wonder some people think writing is an easy way to become rich. In reality, the average author’s earnings are very small. Few can afford to make it a full time career unless they have other means of financial support. Even one successful book does not guarantee a second, and earnings may vary from year to year. You would probably need a string of best sellers to guarantee automatic acceptance of your next book or a large and steady income from writing novels. But, there are other sources of income. They may not provide the fortune a writer may dream about, but there is money to be made. Let me come back to that later, however. So, you write your novel and are fortunate enough to find a publisher. What can you expect to earn? Well, there is no hard and fast answer. Perhaps you might make that fortune or maybe you will hardly cover your expenses. You may receive an advance from your publisher, but the amount will depend on the number of future sales your publisher envisages. The greater the sales potential of your book, the larger the advance you will be paid. If sales of your book produce an amount exceeding the advance, you will then receive royalties as well, according to the contract previously negotiated. For example, if your book costs £15, you will have to sell one thousand copies at a royalty of 10% to earn £1,500, and there is no guarantee you will sell that many. Perhaps you might then receive upwards of £1000 for the paperback rights. This will be shared with your hardback publisher, in keeping with your contract. Foreign translation rights and public lending rights (libraries, etc) could increase the amount your book earns, as could the United States rights, if sold. Multiply this by ten and you might have made £30,000, but it will take around four years, in most cases, for you to have received this sum: not exactly the fortune you were hoping for and not a fabulous annual income over those four years. And you must balance this against all the time and sweat and hopes ploughed into your book. Still want to be a writer?

What Publishers are Looking For:

Profit is the main criterion. Publishing houses are, to a great extent, run by accountants, in that books published must produce profit. You may have written a work of brilliance but if it is unlikely to sell and result in revenue for the publisher it will not reach the bookshops.

Another factor that will increase your appeal to an editor is if you have a second novel in the offing. This indicates that you have staying power and as such will be more reliable and not waste the publisher’s investment in you. Also, when your second book is published, you will already be a ‘name’ and therefore more attractive to the reading public. You must have seen ‘Author of so–and-so’ on the dust jacket of a book. Even though you may not have heard of ‘so-and-so’, it still looks impressive. And, would you be more impressed at reading the name of Bernard Cornwell, author of the Sharpe series, or if you saw the name ‘Joe Bloggs’ who has just written his first novel? Publishers are more interested in authors than in books, because known authors generate more interest: ‘names’ attract readers, and this means more sales.

The length of your book is another consideration. As a rule of thumb, you should be thinking in terms of 80,000 to 120,000 words, or so I’m told in every publication I’ve read. The cost of production influences decisions on whether or not you will be published (those accountants again).

Let’s look at what else an editor will be looking for. This may seem obvious, but your skills as a writer are vital. By that, I mean you may have a wonderful story but if you can’t write you have problems. A stream of jumbled words and ideas is unlikely to pass muster with an editor, no matter how awesome your story. You must be able to tell that story clearly. A story needs to be constructed properly and ideas expressed with clarity. Paragraphs should be started and ended at the right places. Unnecessary waffle should be avoided. Convincing dialogue is a must, and you must be able to communicate with your readers in a way that makes it easy for them to understand what you have to say. Reading for pleasure should be precisely that, and if your readers have to struggle with your writing the pleasure factor may disappear, as will the point of buying your book.

Credibility: if you were to write a story about a talking chicken pie that yearns to assume human form, pass an A Level in astrophysics, learn to speak ancient Greek and sail the Atlantic on a bean-bag, an editor might be a little reluctant to take you on as a commercial prospect. Your plot, characters, feeling of period and place must be convincing. It should appear that your research has been painstaking and that you know what you are talking about. Your writing must be ‘authentic’ within your chosen genre or background to the story or an editor will not be interested. Descriptions of people and places and the dialogue should be appropriate to the setting and plot of the story. You would not have a gladiator in ancient Rome using expressions such as ‘Hey, man, what’s goin’ down?’, just as you would not expect an astronaut to blast off wondering if he had sacrificed enough sheep to ensure his mission to Mars was a success. Well, you might do this, if you had deliberately created a particular style or approach, but that is difficult to do and not advisable – unless, of course, you are a very good at it. Your reader will suspend belief as long as your writing at least ‘appears’ to carry authenticity and is consistent.

Think about ‘action’. What would you prefer to read in the first few pages of a thriller or crime novel, a detailed description of the weather and the architecture of the setting or of dead bodies, flying bullets, threatening personalities and conflict? A reader wants to be gripped by the story straight away, so the opening of your book should achieve this by providing immediate intrigue, fear, violence, shock, horror and not lengthy description, which should come later, if needed. Description in general should be kept to a minimum, unless central to the plot, because both editors and readers want stories and characters as opposed to complex depictions of place and background. A good writer will allow the reader to provide his or her own mental picture with spare use of description interwoven with dialogue and narrative. So, when you begin your story, open with drama and not a detailed description of your main character’s living room furniture and carpet – unless, there is a blood-covered body on the carpet or someone having sex on it, in which case it might prove quite popular.

For those who write non-fiction, ‘authority’ is essential. That is to say you must know your subject back to front and inside out, for you will be competing with established historians, biographers, scientists, gardeners, celebrity chefs and so on. It would also help to have a name people recognise within the sphere of your expertise. Alan Titchmarsh is a good example. Because he is well known, a ‘name’, he appears on TV, writes gardening books and now novels. Who would have bought a novel by someone named ‘Titchmarsh’, if he had not already been a household name? Simon Schama, who wrote the book and the TV series A History of Britain, is another famous ‘name’, and in the science world you have Stephen Hawking. As you can see, you may be in heady company, so you must be able to impress an editor to get a foot in the door.
Controversy in a book is something else that will always arouse interest, unless it crosses the boundaries of taste. Having said that, it seems that there is little today that is deemed too unpleasant to publish or broadcast, as long as it makes money. A drawback to the controversial book is that it might result in a libel action, although that might still not prevent its publication. Topical controversy is also popular but soon runs out of steam and must be written quickly, if it is to sell, before the public becomes weary of its topic. But remember that with controversy, ‘authority’ is again needed. You must know your subject well, and a few hastily written pages on generalised chitchat or your own opinion or will not be enough to attract an editor.

What Publishers Do Not Want:

For commercial reasons, editors will show no interest in ‘ordinary’ biographies and autobiographies. Perhaps you might write an autobiography to pass down to your children and grand children. It would be of no commercial value, unless it’s Angela’s Ashes, but still worthwhile for your own satisfaction and part of your legacy to your descendants. Imagine being able to read about the thoughts and experiences of your grand parents or great grand parents. But editors and the reading public are not often interested in the lives of ‘ordinary’ people, which most of us happen to be, so if you intend to write about your personal life for non-profit reasons, consider looking at self-publishing or vanity publishing. We will spend some time on those in due course.

Have you heard of a village named Lower Piffle? Neither have I, and neither will have most publishers. So, who will want to read The History of Lower Piffle, if it simply outlines the everyday growth or demise of an obscure hamlet? The answer is that few people, other than the Lower Pifflians, if there is such a place as Lower Piffle, will be interested. Such a book will have no commercial future and will therefore be ignored by an editor. Short story collections; imitations of Harry Potter or Stephen King; novels about failed people and over-used themes or plots: unless done brilliantly, such books do not appeal to publishers, so beware if you have one of these in mind.

Having said all of the above, there are exceptions, and publishing can be as fickle as any other business. You may break each of the so-called rules we have mentioned and produce a book that is a resounding success. What we have talked about are guidelines, what publishers ideally look for and common sense suggestions. However, your approach might be totally original, against the flow, even bizarre and it might still result in fame and fortune, but I think it is safe to say that following a tried and tested path is the safest route for most new and would-be writers.

Setting Out a Manuscript

We have already discussed at length the difficulties of becoming published, and the last thing you will want to do is to make the task any harder for yourself. However, you will do this if your work is not presented properly. Good presentation suggests effort and a conscientious approach on your part, and a publisher will treat work that is properly presented more favourably than submissions that appear shoddy. Imagine an editor or editorial assistant reading one script after another from the ‘slush pile’, day after day. At some time it will become tedious, and the assistant or editor may become both bored and irritable. So, it makes sense not to increase that irritation, and thereby increase the odds against you, by submitting a scruffy piece of work that looks like a ransom note filled with errors and covered in gravy stains and the blood of that cat you shot earlier. Good presentation is vital, and there is a standard format for this. We have used the words ‘typescript’ and ‘manuscript’: the latter term is still used but refers the days when writing was done by hand. Today, you must send a ‘typescript’. Use A4 paper and allow a good margin on either side and at the top and bottom of each page. 2.5 centimetres is a good guide, and this will provide room for corrections or annotations an editor may want to add. Type on only one side of the paper and use double spacing. This format gives work a professional look and is easier to read, an essential factor if you don’t want to annoy the editor who is considering your work. Make sure the pages are numbered consecutively and don’t forget to include the word count. We already know that you will need all the help you can get, so do make a favourable initial impression.

What to Submit to a Publisher or Agent:

First of all, make sure that you send your submission to someone who deals with the kind of work you have written. There is no point sending a novel to a publisher of educational textbooks or a dissertation on earthquakes to a publisher of fiction. There are publishers and agents who will consider many different types of writing, whereas others deal only with specific areas. You will need to check the profiles of publishers and agents to ascertain what they are willing to consider. I will provide a list of sources for this, but, probably, the two best sources are The Writers’ and Artists’ Yearbook and The Writer’s Handbook. These are annual publications, available from most decent bookshops and libraries. Both provide a mine of information on all aspects of publishing and contain detailed lists of what individual publishers and agents are looking for, as well as submission guidelines and useful advice on clubs, societies and associations relevant to the writer.

Some agents and publishers will accept complete, unsolicited typescripts, but they are few and far between. Most require a letter of inquiry with a synopsis and sample chapters. It would be impossible and pointless to look at that here, and you really need to take time on your own to read through the two publications mentioned above. And do some homework in the bookshops. Have a look at the shelves containing the type of book you have written and note who the publisher is. This will save you time and effort in finding those publishers who are most likely to be interested in your work. However, when you decide what to send and to where, ensure that you also provide a professional-looking, but brief, covering letter. Don’t send a plea, or a list of all your friends who think your book should be published or say how wonderful you could be if given a chance. Keep the letter polite, brief and to the point or you may risk putting off an editor or agent with your first introduction. Then the waiting begins.
You can usually expect a delay of two to eight weeks before you get a response. It may even be longer, but it is not a good idea to send pestering letters straight away, as there may be a number of legitimate reasons for a delay. Your book may be working its way up the pile on the desk of an editor who has a heavy volume of work. Or, you may have to take a back seat for a while to an established author who is working to a contracted deadline. It may also be the case that your book is being given a second reading within the publishing house or by a professional reader, with the possibility of you being accepted. If it is decided to accept you, editorial, production and sales staff will meet to consider production costs, sales estimates and other issues integral to the publishing process. It will be a complicated and lengthy business before an offer is made to you, so do not expect an immediate reply, unless you are being rejected outright. However, if several months elapse without a response, it is then reasonable for you to either write to or phone the publisher in question. Also, if your book comes back very quickly, this may be because an editor has immediately spotted that he is unable to place it because he is simply not dealing with your type of work at that time or that he/she has too much work to take on a new author. It does not necessarily mean that your book is no good or that he/she doesn’t like it, so persevere, send it off to someone else and keep doing so.

Legal Aspects and Contracts:


Once you have signed a contract, it is a legally-binding document, so be sure you are happy with your contract before you sign it. Your agent, should you have one, will help with this and other legal matters, which should be left to professionals, unless you have personal experience. Contractual differences with a publisher might be settled by negotiation, but whatever agreement you reach get it in writing. If you are a member of the Society of Authors or the Writers’ Guild, legal advice will be available to you from these sources, also, but you have to be published or to have had your work broadcast to be eligible for membership.

Copyright laws are very complicated and best dealt with by experts on your behalf, but you do need to be aware of the more simple aspects. As soon as you commit writing to paper, the copyright becomes yours, by law. You may wish to deposit a copy of your work with a bank and get a dated receipt, to protect yourself, but reputable publishers will respect the copyright of all work submitted to them. This is not the case in parts of Asia, where pirate copies of books are regularly published without permission or payment of royalties, so be aware of this. Copyright extends for fifty years after an author’s death and may be bequeathed. You should not relinquish copyright except in unusual circumstances, as once you do your work may be published in large numbers with no further financial reward whatsoever for yourself, and the new owner of the copyright will have the right to change, edit and abridge your work in anyway he/she sees fit. There are other areas to consider within the legal aspects of publishing, but these should be the focus of careful study with a lawyer or agent who can provide the appropriate knowledge and experience for any situation in which you may find yourself. In other words, leave the law to the lawyers, unless you have expert knowledge yourself.

Self-publishing:

There has been a recent explosion in the growth of self-publishing, with Amazon, Kobo, Barnes and Noble and Smashwords providing the opportunity to upload your work for Kindle and similar advices. You can be your own boss, upload your books and get royalties, but you will have to work hard on marketing to promote your books, and progress may be slow. However, at least your work will then be available to the reading public, and many in the publishing world believe that self-publishing is the future. If you type in a search for successful self-published writers you will find a few millionaires on the list.

Another option, if you are interested in a limited printing of your book, is to search for a printer who will produce the book for you at an agreed price and do a good job. A bookseller may be happy to display your book on a sale or return basis, but you will have to do your own marketing. Or, you may simply wish to give copies to family and friends. Another option is to use your PC for desktop publishing, which will be cheaper than using a printing firm. If you have access to the technology and have the expertise, desktop publishing might be option that suits you.

Whichever path you choose, remember that word 'persistence, and I wish you success.

Tags

Literary Agents, Novels, Publishing, Royalties, Self-Publishing, Writing

Meet the author

author avatar Ian Roberts
Educated at universities in Britain and California, Ian Roberts is an experienced teacher of English, with one novel in print and three books on sale on Amazon Kindle, to excellent reviews.

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