The following is a brief synopsis of the process of writing and publishing a book. Aspriring authors are encouraged to read the How-To>Publishers section as well. Sites and Books lists some of the many, many publications that address this topic at length.

Background and Skills

A book is a large undertaking. Very few writers start there, and very few book publishers take chances on completely inexperienced writers. Novelists usually cut their teeth on short stories, non-fiction writers on magazine or newspaper articles. The important thing is to get feedback on one's work, and to learn how to revise and rewrite. Writing programs and workshops can help. Editing other writers' work, informally or professionally, is also invaluable experience.

Aside from writing and editing skills, an aspiring author needs:

• Belief in one's ability and ideas. If the author doesn't believe in her work, no one else will.
• Planning ability, patience, and perseverance
• Support. Family, friends, and sympathetic readers are islands of stability in the trackless, heaving ocean that is writing.

Developing Ideas

Some books are based on one idea. Others, such as novels, are webs of ideas, impressions, and commentary. In all cases, however, writers are well advised to clarify their ideas and how they intend to develop them at an early stage. Publishers invariably want a clear, punchy synopsis of the (proposed) book, and the questions they ask themselves before accepting are identical to the ones an author should ponder before submitting (some of these do not apply to fiction):

• Does the book fill an existing need? Has the author researched the literature and come up with an original and/or appealing approach?
• What is the potential market for such a book? Does the author have a clear idea of who would want the book and why?
• How well does the author know the subject matter?
• How well does the author write, and how much of the appeal of the book relies on the writing?

The Book Proposal

Non-fiction books are usually sold to publishers via book proposals, sometimes preceded by a "query letter," which is exactly what it sounds like--a letter inquiring whether a publisher is interested in seeing a proposal. In the case of fiction, most editors will want at least a synopsis and sample chapter, and often the entire manuscript, before making any decisions.

Selling a book before it is written brings incalculable benefits to the writer. Simply knowing that the book will be published can be a great spur. A good editor will encourage the author at every stage and keep him focussed; and the value of having deadlines cannot be overstated. There is also, not least, the money.

Thus it is worth taking the time to learn the elements of a good book proposal. An author's agent, if any, will have very particular ideas on this subject. The basics are as follows:

• Cover letter. This should remind the editor of previous contact, if any, and briefly introduce the enclosed contents.
• Overview and outline. A brief summary and chapter-by-chapter synopsis.
• Sample chapter(s). These are always welcome, particularly for a first effort, and essential for fiction.
• Marketing information. This is where the authors shows a keen understanding of the book's potential market and how the proposed book will differ from competing titles.
• Author information. This is an important selling point. It should include previous publications, all relevant qualifications and experience, and, if appropriate, a photograph.

Finding a Publisher

At some levels and in some fields, having an agent to help find a publisher is a very good idea. See Acquiring an Agent. Writers without agents, and especially new writers, should know that even though it's preferable to find a publisher at an early stage, it is rarely easy and sometimes impossible. Rejection is the rule, and the sooner the author learns not to take it personally, the better. Perhaps the ideas or the proposal need to be further developed or recast; maybe the proposal just isn't getting into the right hands. In any case, it's probably going to take a while, and the author might as well keep working in the meantime.

Whether the manuscript is finished, half-done, or embryonic, the publisher should be approached in the same way: by proposal. Unsolicited manuscripts are seldom welcome, SASE or not. The author should target publishers with precision, writing directly to the relevant editor and using any contacts or entrees available. It is standard etiquette to offer the book to one publisher at a time, informing each one that after a certain period of silence it will be offered to others.

For information on contracts, see Contracts with Agents, Publishers, and Others.

Writing, Editing, Preparing the Manuscript

The topic of how to write is too large and personal to address here. Every writer has her own habits and strategy, and there are many books on the topic.

How to produce a clean manuscript is another matter. It starts with a word-processor and printer. Given the ubiquity of cheap computers and good word-processing programs, there is no excuse for spelling errors, inconsistent formatting, or unnumbered pages. Furthermore, publishers want the digital file. See Writers: Hardware and Software. Most publishers tell their authors exactly how they want the manuscript to be formatted.

Self-editing is an art. Most authors learn how to do it by trial and error. Reading print-outs at regular intervals with a pen in hand is a good idea, and some writers find it helpful to read their words aloud. More important, probably, is finding helpful readers. If the book is meant for a general audience, it's good practice to find a general person or two to read it as it's developing. Is the writing clear to them? And it's always worth soliciting criticism from other experts and writers.

Before submitting, the entire manuscript (or at least the sample chapter) should be professionally copy edited. Agents and editors are immediately turned off by typos and usage errors. There are thousands of freelance copy editors out there. See NetRead's Directory for some listings.

If the book includes illustrations, photographs, lengthy quotations, interviews, or potentially controversial content, it's often the author's responsibility (depending on the publisher and type of book) to acquire all the necessary rights and permissions, and to supply camera-ready art. The author should consult with the publisher as to how best to handle these matters, logistically and financially.

Working with the Publisher

An author's relationship with the publisher can be trying. Revisions, delays, and compromises are all but inevitable. The author should be aware of the publisher's needs and be as flexible and patient as possible. See the Publishers chapter to learn more about how the business works.

In general, and depending on the type of book and size of the publisher, the author can expect the following:

• There will be one main contact, usually the editor. At various stages, however, the author can expect to work with marketing and publicity people as well.
• The manuscript will come back to the author at three stages:
  1. During structural editing: as many times as necessary
  2. After the copy edit. The author is expected promptly to approve all changes and respond to the copy editor's queries.
  3. After typesetting. This is the author's last chance to proofread the manuscript. Any changes other than corrections are strongly discouraged at this point and might incur expenses. The publisher's proofreader generally goes over the typescript at the same time.
• While the author's marketing suggestions are generally welcome, or at any rate politely received, the publisher invariably has its own ideas, and, unless the contract stipulates differently, sole authority in all marketing decisions. This can be a delicate issue. The author should be familiar with the contract and be careful not to step on any toes.