Today, I’m taking a break from answering questions so I can post the Marketing column that I wrote for this month’s Advanced Fiction Writing E-zine. As I’ve said several times this summer, we are in an epochal year. 2010 may be considered by future historians as the biggest change in publishing since the invention of the alphabet in 18th century BC Egypt. Yes, bigger than that Gutenberg guy and his movable type.

Here’s my article, which I hope you’ll find interesting. I think it would be great if one my Loyal Blog Readers became the author of the first Billion-Dollar Book:

The Billion-Dollar Book

I think it’s plausible that in the next five years, some author somewhere will write a book that earns him or her a billion dollars. I call that a “B-book.”

Who will that lucky author be?

Let’s not be silly. Luck will have nothing to do with it. Great writing and great marketing will have everything to do with it.

If I had to hazard a guess on who will be first to publish a B-book, I’d say J.K. Rowling has the best shot. The 7-book Harry Potter series has reputedly earned her a billion dollars, so a B-book is quite possibly in her future.

If not JKR, then James Patterson is my bet for the next likeliest candidate. If not him, possibly one of the other heavy hitters in the publishing world.

Truth to tell, however, I wouldn’t bet even money on any one of these candidates.

In my view, the most likely author of that first B-book will be some unknown author who comes out of nowhere with great writing and an A+ marketing game.

While I can’t guess who will be the first B-book author, I am reasonably confident that the B-book itself will earn most of its revenue in electronic formats.

Prediction #1: The first B-book will be an e-book.

The reason is that you can’t have great sales without great distribution. There are roughly a billion computers on the planet connected to the internet and all of them can read e-books in numerous formats using free software. There are roughly four billion mobile devices, and most of those will soon be able to read e-books.

The sales channel for e-books is growing rapidly and has global reach. That’s why the first B-book will be in e-format.

What about the price of the first B-book? The higher the price, the fewer the number of copies you have to sell to earn a billion dollars, but the fewer the number of people willing to pay the price.

If your royalties are $1 per book, you could earn a billion dollars by selling a billion copies. Or you could get there by earning $10 royalties per book on 100 million copies.

Nobody knows the sweet spot, but my guess is that it’s somewhere between those extremes. If I had to guess, I’d say that a $2 royalty on half a billion copies is the best way to get your B-book. I can’t prove this. It’s a hunch based on incomplete information.

The reason I think this is plausible is because if you price an e-book at $2.99 on Amazon, then you earn a 70% royalty, which translates to $2.09. That means you’d need to sell about 478 million copies.

(Note that Amazon charges you a small amount for delivery costs when it sells your e-book. For a typical novel, this amounts to a few cents per copy, so things aren’t quite as rosy as I’ve painted them, but it’s a close approximation.)

I’d say that a large fraction of the 4 billion people who can afford a mobile device can afford a $2.99 e-book. And the vast majority of the one billion computer owners with internet access can buy that book.

It’s possible that the sweet spot price is $3.99 instead. At a 70% royalty, you’d only have to sell 358 million copies. Great news, eh?

If you try running these numbers with typical royalties paid on hardcover, trade paper, or mass market paperback, you see right away how much harder it is to get your B-book. Most of the money charged for these formats is going to somebody who isn’t you. That means the retail price has to go a lot higher or you have to sell many more copies. And delivery costs are much higher for a physical book than for an e-book.

This leads immediately to my next prediction.

Prediction #2: The first B-book will be self-published.

Self-publishing is the best way to get the royalty rate high enough and the retail price low enough to make the B-book a reality.

The fact is that most publishers aren’t going to price your e-book at $2.99 or $3.99. They’ll want it at $9.99 or $12.99, which is probably too high for the market. And they’ll pay you only 25% royalties on the wholesale price, which is too low. If you want an aggressively priced e-book and a high royalty rate, you’ll almost certainly need to publish it yourself.

Of course it may be that all of the above is just my wishful fantasy, but if you’re with me so far, let’s ask how you’re going to market a few hundred million copies of a self-published e-book.

You can’t do that alone. You need what Seth Godin calls a “tribe.” In the context of book publishing, your tribe is your set of committed fans. They’re the people you lead.

You don’t have the marketing oomph to reach hundreds of millions of people on your own. You do have the marketing oomph to reach thousands or tens of thousands of people. If you can energize them so that they love what you’ve got and if they’re willing to spread the word, then they can reach those hundreds of millions.

Want proof on that? I don’t have absolute proof, but I have three words that ought to be persuasive if you were awake two years ago:

Barack Obama 2008.

President Obama raised an estimated $656 million in individual contributions for his presidential campaign. He raised that by tapping into the social networks. In a word, he built a powerful tribe of committed followers.

Now it’s true that Obama didn’t hit quite a billion dollars, but he came close and he had an end-point for his marketing campaign. Presidential campaigns end with the election. Books stay on the market as long as they’re selling.

Let me sketch out how I foresee the first B-book will happen. I’ll probably be wrong on some details, but the general picture is plausible:

• First write a great book. There is no substitute for excellent writing. I define that to be, “Writing which provides a Powerful Emotional Experience.” Style is less important here than raw emotive force. See any current best-seller list for proof of that.
• Self-publish the book as an e-book and put it up for sale on all the usual sales channels: Amazon, B&N, etc.
• While you’re at it, create your own online store where you can sell your e-book in all the common formats: text, PDF, RTF, Mobi, ePub, etc. Don’t count on this bringing in a billion bucks on its own, but you can’t beat the royalty rate, and there’s just no reason not to do this.
• Post a large fraction of your book on your web site. I’d recommend at least half the book. Enough so that your readers can really get hooked on the story. Include links to your sales channels, along with incentives to buy. (Access to online “Director’s Cut” material would make a nice incentive. Don’t be offended, but a date with you would probably make a bad incentive.)
• Early on, you might jump-start sales with a special low price. Publishers can do “free Kindle” campaigns that seed the market with early fans by setting the price of the e-book to zero for a short time. (Don’t try that with a paper book!) You probably can’t do this if you self-publish your book, but you can set the price to $.99, which is almost free.
• Focus your marketing efforts on your tribe. Who is most likely to love your story? Build your web presence to appeal to them.
• Communicate to your tribe. Treat them as special, because they are. These are the people most like you. These are the folks who read your blog and subscribe to your e-mail list.
• Enable your tribe to communicate to you. They can do that through comments on your blog and by sending you personal e-mails. You can and should automate part of this by using online surveys — this will let you go broad. But don’t forget to go deep too — your tribe deserves personal responses from you. These are your people. Do right by them.
• Empower your tribe to communicate to each other. Your tribe is excited about your great writing. Naturally, they want to talk to like-minded people. Make that easy by giving them an online place to gather and talk — a forum is ideal for this. Join them when you can, but give them the space to be leaders. A large tribe needs many sub-chiefs. Foster those leaders. If you can, give them the ability to add content to your fan site.
• Encourage your tribe to communicate to the world. Give them buttons on your web site to Twitter or Facebook about you to their circles of influence. Collectively, your tribe knows a lot more people than you do. Your tribe can sell your book better than you can.
• Team up with similar authors who have similar tribes. Your fans will love these authors and their fans will love you. If I can switch metaphors here, remember that “the bigger the hive, the bigger the buzz.”
• That’s it. Don’t do things that sap your energy or drain your money or monopolize your time. You are finite. That’s OK.

You may be saying, “But what about book-signings? Speaking engagements? Giving away free copies in drawings on your blogs? Library visits? Yada yada screama?”

What about them? Those may move a few copies or a few dozen or a few hundred. They may be fine things to do once in a while for your tribe. They aren’t going to make a B-book for you.

Think about it. How many book-signings would you have to do to sell a hundred million copies? You will never book-sign your way to a B-book.

There isn’t any magic bean you can eat that will make you a B-book author. You need outstanding writing and a marketing campaign that you can automate as much as possible, so it doesn’t require ten times as much work to get ten times the results. You need strong, loyal fans who brag about your great writing to their friends.

Very few authors will ever write a B-book. It’s a lot easier (but still Xtremely difficult) to write an M-book — earning a million dollars. It’s vastly easier to write a K-book — one that earns a thousand dollars.

Most authors will fall somewhere on that spectrum. Now here’s the good news. No matter where you fall on the range, from B-book to M-book to K-book, the principles above can help you market your work more effectively.

That’s good news for all of us.

A number of my Loyal Blog Readers left comments yesterday in response to Jacob’s question and my answer about how to portray Evil in fiction. I took the liberty of asking my friend, freelance editor Meredith Efken at the Fiction Fixit Shop, to comment on this issue on her own blog. She had some interesting things to say, and her closing comments raised a point I hadn’t thought of — that the really scary thing about evil is its capacity to turn a good person bad, as with Frodo in The Lord of the Rings.

Tim posted this question on my “Ask A Question For My Blog” page:

I have asked many different professionals in writing about how to pitch a series, but never really get a answer. It is always a run around. I heard for the first time novelist publishing companies might want to sign you to a 3 book deal due to the costs, to me this makes more sense to write a series for your first book. Anyway, could you please talk about the best way to pitch a series to an editor or agent and even the benefits or pitfalls of having your first book part of a series. Thanks

Randy sez: You pitch a series almost the exact same way you pitch a one-book deal. If you’re a first-time novelist, you almost always must have a complete polished novel before you can sell it. When you’ve got that in hand, you query agents with your book idea and you can mention that this book is the first in a series, but you really don’t need to say more. If an agent is interested, he’ll ask for either a proposal or the full manuscript or both.

In a proposal, you tell all about the book. And somewhere in your Executive Summary for the book, you add a paragraph explaining that this is the first in a series and then you tell a very little bit about the series. You don’t have to tell much. You’ll sell your book (or fail to sell it) based on the polished manuscript you have.

Many publishers prefer to do a multi-book deal with a new author. The reason is simple. They figure that marketing a new face is expensive, and they’d prefer to spread that cost over several books. If you turn out to be a good selling author, they’d like to have you in their stable for several books.

There are of course some publishers that prefer to do one-book deals. Your agent will know which publishers like the multi-book deals. Some categories are very commonly done as series. Mysteries, for example, often feature the same detective in many, many books. Likewise, fantasies are often multi-book series. Romance novels are most often standalones, for the simple reason that most romances end with a wedding, and that’s generally a non-repeating event for any given pair. However, even if a book is a standalone book, many publishers will still want to do a multi-book deal. In that case, it’s not a series; it’s just a multi-book deal. Yes, even first-time novelists get multi-book deals.

In my view, it makes all kinds of sense for an author to sign a multi-book deal. Then you have some reason to believe that your publisher will work reasonably hard to promote your book, since they’re investing more money. (But even so, never assume that a publisher will promote your book. Bad things happen in publishing and books sometimes just all through the cracks.)

I don’t know of any real pitfalls to a multi-book deal. It’s a good thing to have a pipeline of books you’re working on, with one book just coming out, one book being polished, and another book being concepted. If you can schedule your books at regular intervals (maybe 9 months or a year apart), then you’ve got that pipeline going nicely, and you probably won’t get hammerlocked as you might when working with different publishers, neither of whom cares to compromise with the other.

If you’ve got a question you’d like me to answer in public on this blog, hop on over to my “Ask A Question For My Blog” page and submit your question. I’ll answer them in the order they come in.

In my last blog, I posted an interview with John Olson on the topic of “Writing in the Shadows” — a set of techniques for helping the reader read between the lines. I heard John speak on this topic at a writing conference in September of last year and really got a lot out of it. Part of me was furious at John for thinking of all this cool stuff before I did. Part of me was just glad that I could steal all his good ideas for my next book.

John’s latest book, POWERS, is an excellent example of all his ideas about “Writing in the Shadows.” I just finished reading POWERS today at lunch, and (besides being quite an adrenaline rush of a book) it was fun to see exactly how he used his “shadows” techniques in every chapter.

Currently, John and I are running a “book rush” for POWERS. If you buy POWERS on Amazon (or anywhere else), John will give you a free copy of his lecture on “Writing in the Shadows.” This special offer is good through Saturday night, at midnight PST, December 5, 2009. (After that time, John and I will be selling his lecture here on this site for $33.)

John’s lecture “Writing in the Shadows” is a downloadable product with about 2 hours and 40 minutes of audio. The lecture includes both notes (somewhat like PowerPoint notes) and MP3 audio files. You view them in a web browser, a lot like my Fiction 101 and Fiction 201 courses.

We’re also giving away a couple of other goodies during the “book rush” for POWERS:

• A full-color 24-page comic book of POWERS
• A 50% discount coupon that’s good on any downloadable product in my store on this web site. (Expires Saturday night at midnight.)

Click here for all the details on the “book rush” for POWERS.

I’m continuing to answer questions on writing conferences this week, along with some help from my guest, Meredith Efken.

Sam asked:

My question regarding your conferences is: if you don’t *need* a one-sheet (but maybe bring one as a nice-to-have) what else would you bring to carry around a conference? Would you have your sample chapters in hand or do you wait to send them to an agent/publisher when they ask for it?

Meredith answered this with more detail than I would have:

For Sam, about what you need to bring with you to the conference: I cover this in great detail in the Writers Conference Survival Guide, including a packing list worksheet. But for the pitch session, you do not need to bring sample chapters. Most pitch sessions are only 10-15 minutes long. That’s not long enough for an editor to read much of anything. Plus, editors/agents rarely want to take lots of paper on the plane home. If they want to see any of the actual manuscript, they’ll usually say so in the conference information. Otherwise, assume they don’t.

You may want to have business cards on hand, but don’t give one to the agent/editor unless they ask for it. They are more likely to hand you a card if they want you to send a proposal. But they don’t really have any reason to take your card. Remember, they’re in the power seat in a pitch appointment. You have to do the contacting if they ask for it. They don’t have any reason to contact you. Have a one-sheet, have a business card–but don’t expect or pressure the editor/agent to take either one.

Now, a critique appointment is a totally different thing. We have to remember that at most conferences, a pitch session and critique session are TOTALLY different. A pitch session is for pitching–you don’t go expecting feedback on your work. A critique session is for feedback, not pitching. If you have signed up for a critique, there will usually be detailed information about how much of your manuscript to bring and how to submit it. And if that information is missing, contact the conference coordinator and ask. Sometimes there will be group critique opportunities or other feedback sessions. Again, what to bring for those sort of sessions should be explained on the conference website or brochure. If not, ask ahead of time.

Randy sez: Let me add that a critique session with a published author can be FAR more valuable to you if you are a “freshman” or “sophomore” writer. The reason is that, by definition, a freshman or sophomore writer is not yet ready to get an agent or get published. (Otherwise you’d be a “junior” or a “senior”. It is quite common for “juniors” to get agents these days and for “seniors” to sell a book. Happens all the time.) If you’re a freshman or sophomore, an editor or agent will not be outlandishly interested in your work. But an author can help you see what it is you need MOST right now to advance to that pesky next level.

By the way, it is probably not particularly helpful to tell an editor or agent, “I’m a senior.” If it’s true, they’ll figure it out pretty quickly, and if it’s not true, then you’ll be scraping egg off your face for awhile.

Melissa wrote:

I have to agree with Martha. I’m a complete social retard though, who hasn’t even got up the nerve to approach an editor with my work. So way to go Martha for trying! Anywho, my deal is that I completely lack the confidence. I have no credentials to speak of. So how do you be yourself and pitch your idea with confidence when you just know that every word you say is going to come out sounding stupid and unprofessional?

Randy sez: If you are really a social retard, then it’s going to be pretty easy to be yourself, isn’t it? I should know, because I am about as socially inept as you can get. But, as one of my friends once told me, “That’s part of your charm, Randy.” I personally don’t consider it very charming, but I think I got the point. Which was that me trying to be Joe Cool is never, ever, ever going to work. So I might as well just get used to being my own geeky self and then (here’s the important thing) QUIT WORRYING ABOUT IT.

I will give you my patented, fool-proof, method for getting along with anyone at a writing conference. If you’re talking to a writer, ask them, “What sort of writing do you do?” If you’re talking to an agent, ask, “What sort of writers do you like to represent?” If you’re talking to editor, ask, “What sort of books do you love to edit?” Generally, that will get them talking for a good fifteen minutes, which you can of course help along by asking for more info if they hit a lull.

This is very nice, because for a whole fifteen minutes, you can forget about you and think about someone else. By that time, one of two things will have happened:
a) You two will have hit it off and be gabbing like old friends
b) You two will realize that you really don’t have a lot in common

In case (a), you now have a new friend for life, which is a Good Thing. In case (b), you will both realize that it was fun chatting, but there are many other people at the conference and it is now time to part, which is a Mediocre Thing.

Notice that there is no case (c), in which Something Truly Horrible happens. I can say this as a card-carrying member of the Social Retard Club. If I can have fun at a writing conference, you can too.

Meredith types much faster than I do, and she wrote all this:

Like I said to Andra and Martha, feeling unsure of yourself is normal and nothing to be ashamed of. You would be surprised at how many published authors–even bestselling or award-winning ones–struggle with intense self-doubt. There’s no magic cure that I know of. I know how it feels to sit there listening to myself and thinking “Gosh I sound like an idiot.” It’s a terrible feeling!

At the risk of sounding psycho-babblish, one thing you can do is identify those negative messages you are sending yourself and replace them with positive truths. For example, your comment said “…you just know that every word you say is going to come out sounding stupid and unprofessional.” What you’re doing here is telling yourself “Every word I say is going to sound stupid and unprofessional.” Well, that’s not exactly true. Sure, you may trip up and say some stuff that sounds a bit awkward. But stupid? I doubt it. Unprofessional? That would be something like telling the editor your entire gory medical history, or about the fight you just had with your husband, or mentioning that you now hate your former best friend because she didn’t like the ending of your book. You are not going to say such inappropriate things to an editor. You really aren’t.

So stop telling yourself such nasty things! You can work on creating a more professional image and presentation. You can learn to manage your jitters. But first, you have to start talking to yourself more kindly. If you’ve got kids, you wouldn’t tell your kids they’re stupid or whatever, right? Or if you did in a moment of anger, you’d apologize for it later and try not to do it again. But somehow we think it’s okay to verbally abuse ourselves in ways we’d never dream of doing to anyone else. And then we wonder why we have problems with self-confidence.

There’s a difference between being honest about our own shortcomings and being self-abusive about our faults. When you catch yourself telling yourself something like “You’re stupid” you need to stop and evaluate that statement. Are you indeed, truly mentally incompetent? No, of course not. What is it that you are really trying to say? Maybe it’s that you say awkward things when you are trying to talk about your writing. Okay, THAT is a fair statement. It’s neutral and objective. Follow it up with more truthful, objective statements, such as “I can learn to be less awkward. That’s something I can correct. I don’t have to stay awkward. I can improve.” And then get to work on that.

Additionally, find things to compliment yourself on. Do you like being around people who put you down all the time? Yet that is what we do to ourselves. No wonder we don’t like ourselves very well! So be more complimentary. Be as honest about your strengths as you are about your weaknesses. Say, “I finished my manuscript–way to go! That’s quite an achievement.” Or “There is NOBODY out there with my exact story. It’s a unique reflection of me, and even though I know there are ways to improve it, it’s still an unique work of art to be proud of.” Or find sentences or scenes you particularly enjoy and tell yourself “I really enjoyed writing that and reading it because…(fill in blank). I’m glad I wrote that. I did a good job with it.”

As you make this sort of self-talk more of a habit, you’ll find your confidence improving and you will also find that you have more energy to write. Being verbally abused–even by ourselves–drains us of creative energy. You will become a better writer if you stop beating yourself up.

And don’t worry about your credentials. When it comes to writing fiction, there are no credentials greater than a strong story. Think of the author of ERAGON–he was 15 or 16 when that book was accepted for publication. Homeschool kid. Not much for credentials there. No college degree, no MFA, not even much for life experience. Just a strong story concept that caught the attention of an editor. The thing about fiction is that nobody cares who the author is or what the author has achieved. All that matters is the story. On the flip side, as a fiction writer you will NEVER be considered a real expert in whatever you’ve researched or studied for your books. That stinks–if you want to establish credibility in that field you have to do it outside the context of your fiction writing. But it does take pressure off you to have “credentials.” It just doesn’t matter at all.

So work on that writing craft, as I’m sure you already are doing. If you aren’t confident enough to pitch yet, then I’d recommend going to a conference and signing up for whatever critique opportunities are there. Also, try to find a conference that gives you opportunities to meet with published authors or faculty. Talk with them about your book, get their opinion on whether or not you are ready to pitch to an editor. Chat with them about your concerns about your work. Authors are SO under-utilized at conferences because everyone wants to get to the editors and agents. But authors are there to help you, and they have incredible experience and insight. It would also help you get used to talking about your work in a situation that is low-pressure. The only way you’re going to get more confident about it is to do it. Use those authors as a sounding board–that’s why they’re there.

Randy adds one thing: At one time or another, every writer feels like they’re lousy. A few months ago, I was feeling kind of discouraged about my writing and starting to think that I’m a horrible, wretched excuse for a writer. And after I told Meredith about that, she went through several of the manuscripts she’s edited for me over the years and pasted a number of paragraphs in to a long email, with a few comments about why this or that passage was particularly good. That helped me break up my little pity party. Thanks, Meredith! I owe you for that.

Last week we began discussing “one-sheets”–a sheet of paper with info about your book that you use in pitching to an editor an agent in a one-on-one appointment. I’ve enlisted the help of novelist/freelanced editor Meredith Efken to help answer your questions, since she’s become something of an expert on writing conferences, having authored the e-book Writers Conference Survival Guide.

Today, Meredith and I will tackle more of the backlog of questions that my loyal blog readers have posted here.

Karri wrote:

I don’t have any questions, but just thought I’d say that all this talk of pitching makes me want to pitch myself off a cliff.

Randy sez: We’ve got some great cliffs around here, so be sure and come visit me before you make that pitch. 🙂 Of course, Alice had a slightly more helpful comment:

LOL, Karri! It’s not as scary as it sounds. Agents want new clients–selling more books is how they pay the rent. So they’re willing to listen–you might be their next multi-seller. The key is to know your hook and your elevator pitch cold.

Randy adds: To be honest, it is very scary the first few times. But it’s true–agents and editors are there because they’re looking for talent. If you have talent, they want to talk to you. Now here is a secret that isn’t commonly known: The editor knows how to dance. What I mean by that is that even if you don’t know how to pitch your novel, the editor knows how to ask the right questions to put you at your ease and find out about your book. With VERY few exceptions, editors and agents are Xtremely nice people.

Meredith had some good comments to add to the issue of what it means to dress and act like a professional, so I’m going to insert them here:

At the conference I attended in April, I saw so many would-be writers shuffle into their pitch sessions in worn-out jeans and scuffed t-shirt and tennis shoes that looked like a dog chewed on them. They sat slumped in their chairs while pitching, and their entire body language and appearance screamed “I don’t believe in myself and you shouldn’t either!” If any of them actually were invited to send a proposal, it’s either because they’re actually so brilliant that their slovenly behavior was overlooked, or the editor merely felt sorry for them.

And I can attest to the fact that even Randy, with his “zany physicist” fashion sense, still looks neat and presentable at conferences. Beyond even his clothing, he is good at relating to editors, agents, and other writers as a confident, competent professional. And that’s what I think most writers need to remember at conferences. You can be yourself, you can be zany, you can be eccentric and wonderfully unique. You don’t have to be a fashion plate or look like the CEO of a company. But you do have to convey that sense that you are, indeed, a professional, career-minded writer.

Randy sez: I can say amen to that. I will never look like a fashion plate, but if there’s one thing I communicate to editors when I talk to them, it’s that I’m interested in them and that I enjoy talking with them. I want to know what kind of books they like to read. I want to know what authors they’re working with that excite them. Occasionally, I’ll find an editor who loves the same books I do. Of course, it may turn out that they don’t much like my kind of writing. But I may very well know a writer who’d be perfect for them.

For the same reason, I spend a lot of time talking with agents at conferences. I don’t need an agent. I have a great one already, and I don’t need another. But I like to know what various agents like, because then I can do a better job connecting up writers with agents. (Please note: I only do this when I decide a writer is ready for an agent, and that is rarely when the writer thinks he or she is ready. And I only do this at writing conferences, which is the only time I have time to play matchmaker.)

Andra wrote a question which seems to be very common for many writers:

Why is selling myself as a writer so darned difficult?

Meredith answered:

Great question. I find it MUCH easier to rave about other people’s work than my own. I think, for me, it’s a matter of perspective. My writing is personal, and it’s hard to distance myself from it. There’s also all that creative angst of “Oh, this is total schlock. Who would want to read it?” I think those insecurities come across when we’re talking about our work. It’s hard to sound as if we believe in ourselves and in our manuscript when we’re so acutely aware of the flaws and shortcomings of it.

What I do to overcome that is give myself permission to be proud of the strengths in my manuscript. It’s so easy to only think about what’s wrong. It seems arrogant or egotistical to be proud of what is right. But the truth is that your manuscript is a product–an artistic product, but still a product to be sold. You need to believe in the value of that product and know how that product will benefit the reader. It’s not ego to confidently assert that your manuscript holds certain reader benefits. It’s not arrogance to acknowledge that your product is unique or different from what is currently available.

As far as yourself–if you have managed to write an entire book and are going to conferences and have the nerve to actually meet with publishing professionals, that puts you in a very elite group of people. Do you know how very many people are out there who would “like to write a book someday”? How many of them actually take the time to study the craft, to put in the time to create this piece of art? How many of them are willing to take the risk of receiving tough feedback about it? How many are willing to handle the rejections, the disappointments, the years it can take just to get that open door to submit their work?

Those of you who are pursuing the study of fiction writing, who are persevering in this incredibly difficult and
competitive field–you guys are HEROES in my opinion! You are worlds ahead of all those wanna-be’s who never quite manage to make the sacrifices necessary to turn that dream into reality. So when you start feeling low on confidence or unsure of yourself, remember that you are attempting what most people don’t have the courage or perseverance to try. You have already accomplished so much just to get to this point. You’ve earned the right to be confident, to believe in yourself.

It’s a tough, tough road and plenty frustrating. Celebrate how far you’ve already come. Never, never look down on yourself or discount who you are. You’ll be surprised how much respect you’ll receive from other publishing professionals when you show that you respect yourself.

Randy sez: Yeah. What she said. I’d never thought of it, but yes, if you go to a conference, you have already done something that 90% of the wannabes have never done and never will. Let me give one last piece of advice for today, and then we’ll continue this discussion tomorrow:

Never, ever, ever, ever, ever, EVER reject yourself. That’s the job of the editor or agent. Don’t do their job for them! Your job is to write your best stuff. Your job is to present that in the most appealing way you can. Your job is to keep on keeping on until you make it. When you write something and then don’t even make an honest effort to sell it, you are rejecting yourself. Don’t do that!