Getting Published (FAQ)

When it comes to the task of getting published, it is a three-step process.

1. Write the manuscript. 
2. Edit it.
3. Query it to publishers and/or agents, and/or research the companies you will use to self-publish your work.

The process is simple, but that doesn’t mean that it’s easy. It’s normal to find that the act of editing is just as much work as drafting. The same with querying—the process of finding a home for a manuscript can take more effort than writing it.

One of the common feedback from editors and agents regarding the querying process is, “Authors submit too quickly.” What does this mean?

It’s important for authors to understand that one round of edits or revisions is not always sufficient to elevate the text to a submittable level. While it can be frustrating to slow down and take time with drafts and revisions, in the long run, it will be beneficial, both to your skill set and your career.

Authors can also encounter difficulty if they don’t know industry parameters and terminology. When writing for your genre, ensure you understand the plot and character developments of that genre. Also ensure your target audience and word count is correct. This is especially important for Children’s Literature, where developmental stages and grades/ages dictate vocabulary, sentence structure, literary mechanisms, word count, and content.

While it’s tempting to write, then submit, for authors who wish to thrive in the industry, education is key, both for the business of writing and the craft. A writer is a business of one, a literary entrepreneur who is the CEO, CFO, and COO of their career. To grow and build the business of being a writer, there are a few things you can do.

1. Understand the tax implications and find an accountant who knows how to file properly on your behalf.
2. If your intention is to self-publish and use American businesses (e.g., Amazon, Smashwords), then research and obtain an Interim Tax Identification Number (the ITIN is through the IRS and allows companies like Amazon and Smashwords to transfer your earnings to you).
3. Take classes on the business of writing, for example, the Writer as Entrepreneur from the University of Toronto’s School of Continuing Studies or A Literary Agent’s Guide to Getting Published.
4. Because this industry can be predatory at times, it’s helpful for emerging authors to form relationships with other writers to learn about opportunities versus scams. Websites such as Predators and Editors and Writer Beware can help differentiate good opportunities from bad. Applying for mentorships, such as Annick Press’s Mentorship Program, The University of Toronto’s Mentorship Program, the WGA’s Mentorship Program, or the WGA’s Horizons Writers Circle can provide opportunities to work one-on-one with professionals and learn about the industry.
5. It’s important for emerging authors to learn how to say, “no” or to walk away from opportunities that sound too good to be true/make them uncomfortable. A bad contract or agent is worse than no contract or agent.

The following blogs may prove helpful as you begin/continue your journey.

• Nelson Literary Agency  
• Jane Friedman
• Orca Book Publishers

There are many ways to find a book publisher. 

1. Attending conferences (either as a participant or volunteer).
2. Networking with other authors.
3. Using websites such as Query Tracker. 
4. Signing up to agency, author, or publisher newsletters.
5. Following agents, agencies, authors, or publishers on social media.
6. Searching the database of Manuscript Wish List.   
7. Subscribe to the Directory of Canadian Publishers.

1. Research potential publishers. (Make sure you have read titles in their catalogue to ensure your manuscript is a fit for their list.)
2. Head to their website and click on “Submission Guidelines.”
3. Read the guidelines (These guidelines can be unique to the publisher. Read them carefully.).
4. Follow the guidelines.

It sounds simplistic, but many authors submit without verifying if their manuscript is appropriate to the publisher, if it’s submitted in the format required, or if the publisher is even open to submission. An author who reads, and then follows the guidelines, is well ahead of the other people who don’t do their research before submitting.

The process remains the same as with the submission of fiction. Research potential publishers/agents, then follow their instructions. For poetry, you can read about formatting for submission with this Masterclass article.

Agents do not charge authors for representation. 

When a writer signs with an agent, the agent will take a commission (15-20%) on the book sale. An agent is paid when you are paid. Agents are responsible for shopping your work, reading over contracts, and helping to grow your career. For more information on what agents do and if one is needed, visit PRH (UK), Writers.Com, and MasterClass as starting points for your research.

If you are submitting to Canadian publishers, you DO NOT need an agent. 

If you are submitting to certain USA publishers, you DO NOT need an agent. 

If you wish to submit to publishers who only accept agented submissions (e.g. Penguin Random House, Hachette Book Group), then you need an agent.

You can verify if you need an agent by reading the submission guidelines on the publisher’s website.

For a sample of questions, you may want to ask a literary agent who is offering representation, visit Stephanie Wrobel, Bookends Literary, and The Pub Pros.

Finding an agent follows the same guidelines as finding a book publisher.

1. Find agents. You can use Query Tracker or MS WISHLIST, read the acknowledgments’ section of an author’s book, talk to fellow writers, and attend workshops or conferences.
2. Ensure the agent is reputable and professional (see Predators and Editors or Writer Beware to see if the agent is legitimate. (Note, for American agents, you can also verify their membership with the Association of American Literary Agents).
3. Read their submission guidelines.
4. Follow the instructions.

To the question of whether an author needs an agent, consider the following:

1. Does the publisher require an agented submission?
2. What is your goal with the book?
3. What are your goals with your writing career?

Much like submitting to an agent or publisher, submitting to a magazine requires a writer to read, then follow the guidelines on the magazine’s website. When doing your research, ensure you understand a magazine’s timelines. For example, they may be looking for winter holiday stories in summer or seeking Back to School articles in spring.

A writer hoping to have their piece published with a magazine should read several issues of the magazine to ensure their work matches the tone, audience, and content of the magazine.

A query letter is your manuscript’s version of a cover letter (with the manuscript being the resume). It details the work’s title, premise, audience, word count (you should note that your manuscript is complete at this word count), as well as the author’s prior publication history. For samples of query letters, please see 

• QueryLetter.Com 
• Jane Friedman
• Nathan Bransford

Non-Fiction proposal: This will include the premise and sample chapters. It will also include the table of contents, why the book’s subject is relevant to today’s audience, marketing notes (comparative titles, how is your book different), and why you are the person to write the book (are you an expert in the field? What is your platform?). 

Fiction book proposal: While most agents/publishers prefer authors to submit complete manuscripts, there are still certain cases where they may ask for a fiction proposal. This usually comprises the query letter, synopsis, and a partial (e.g., pages one-fifty) of the manuscript or a chapter-by-chapter outline. Read their guidelines to ensure you’re submitting properly.

Note: In a fiction proposal, the author’s platform (e.g. expertise in the field, social media following) is not as important as in a non-fiction proposal.

Further information, including templates and what needs to be included can be found on 

• How to Write a Book Proposal
• Rachelle Gardner’s How to Write a Book Proposal
• Start Here: How to Write a Book Proposal + Book Proposal Template
• 7 Steps to Mapping Out Your Nonfiction Book Proposal

If you are querying: Most publishers will give the timeline. For example, “If we are interested in your submission, we will contact you within six months.” If they do not give a timeline, then you can consider the manuscript rejected if you don’t hear back after twelve to eighteen months. 

If the publisher has requested your manuscript: As with the above, they will usually give you a timeframe (e.g., six months). If the deadline has passed (it’s best to give them a couple of weeks or so), then you can email a follow-up, asking for an update.

Regarding Rejections: A publisher/agent is turning down your CURRENT project. You are free to submit a new manuscript when it’s ready. 

A simultaneous submission means that an author is querying more than one publisher and/or agent at the same time. If you are submitting simultaneously, advise the agent/editor in your query letter and keep them updated (e.g., if a publisher offers a contract, let the other publishers/agents know).

That’s up to you. The benefit of hiring an editor allows for an objective, professional review of your work.

When you’re deciding whether to move forward with an editor, consider the following:

1. Understand that reading is subjective—hiring a professional will not guarantee you will be offered a contract. It will only ensure your work is as polished as it can be. Therefore, you’ll want to research and ensure the editor you choose is in alignment with your story intention.
2. Do your research.
   1. Is this editor the best fit for your work? (Perhaps they’re an award-winning editor of picture books, but your work is an adult novel).
   2. What type of editing services do they provide and what are you looking for? (e.g., are they offering line edits or substantive editing, or are they reading for content?).
3. Ensure the editor will elevate and focus your voice, not edit according to their voice (reading reviews of their work and talking to clients can help you sort this).
4. Budget for cost. Editorial costs can vary.
5. There are applications (Grammarly, Autocrit) that are more cost-effective. However, many of them use A.I., and it is up to the user to verify how their content is used (and if it’s sold).

There are organizations such as the Editors Canada, CANSCAIP and the WGA that offer evaluation services, as well as mentorship programs for aspiring authors. Talking with fellow writers may also net you some possibilities. 

Sensitivity readers are readers who read the book pre-publication (either brought in by the author, pre-submission, or by the publisher during the revision process) who read the work and flag content that may be perceived as racist, sexist, queer-phobic, ableist, etc.

They are often used when the story content deals with a subject matter or community that is not part of the author’s lived experience but is part of the sensitivity reader’s life.

In recent years the use of sensitivity readers has come under debate with some critics arguing their work blurs the lines of censorship and gatekeeping, while others criticize the idea that one person can speak for a community. Further reading on the conversation can be found 

• Why the use of sensitivity readers is causing such a stir in the publishing world
• Sensitivity Readers: What Publishing’s Most Polarising Role is Really About

NB: The term sensitivity reader differentiates itself from cultural consultant reader in the following ways (1) The sensitivity reader’s expertise includes a foundation of lived experience whereas the cultural consultant’s expertise may not be lived experience but they will have a background that positions themselves as an expert in the field (2) Because a cultural consultant review of your work may include further research, their fees may be higher than a sensitivity reader. 

A ghostwriter is someone who is hired to write the book, whose name may or may not appear on the cover, and they don’t hold the copyright for the book.

Depending on the project, a ghostwriter may receive royalties.

You can begin your search for a ghostwriter with The Writer’s Union of Canada (TWUC): Ghostwriting Request.

Simply, a publishing contract spells out the duties and responsibilities of both the author and the publisher. The contract will address copyright, rights, advances, delivery of manuscript, date/timeline of publication, etc.

For a starting checklist and reading on what a contract entails, see 

• Book Publishing Contracts
• Publishing Contracts 101
• TWUC How-to Series.

For authors who have agents, it is part of the agent’s job to read the contract before the author signs and to ensure the author’s business and creative interests are protected.

If you are looking for an agent, ensure anyone on your list is well-versed in reading and negotiating contracts.

What should you do if you’re offered a contract, but don’t have an agent and don’t feel comfortable negotiating it on your own? Hiring an entertainment lawyer may be an option. 

Copyright means the work you have created is your creative/intellectual property and other people/organizations are not allowed to use your work (barring quotes used for reviews, etc.,) without your permission or paying you for the use of your work.

• There’s a lot to know about copyright and the WGA has a list of resources, including Intellectual Property FAQ  
• Write/Right: Law for Writers Column Online Archive. 

Technically called “An advance against royalties,” an advance can range from zero to millions of dollars, and is a payment against your royalties. Advances are based on the size of the publisher and how many copies of your work they think they can sell.  (Note: Just because a publisher cannot/does not pay an advance, this doesn’t mean they’re not reputable. Some small publishers don’t have the finances to advance monies to authors).

An advance can be paid in two or more installments (e.g., signing of contract, delivery of acceptable manuscript). Once an advance is paid out, you will receive royalties. If, for example, you receive $500 for your advance and you receive $1 royalty per copy, then 500 copies of your book must be sold before you can transition into receiving royalties. For more information, see 

• How Book Advances Work: A Simple Explanation for Writers 
• Book Advances and Royalties

When a book sells, an author will receive a percentage of the sale. This is called a royalty. The percentage will vary based on the book, publisher, and how established the author is in the industry. 

Royalties are paid after an advance has been paid out. Depending on how often the publisher pulls their royalty reports, you can be paid one or more times in a year for your royalties. 

See also

• How Book Royalties Work
• Navigating Royalties
• Agenting 101: Part Six: Royalties   

The WGA’s Controversy at Noon offered two sessions on the topic. You can view them here and here. 

Traditional publishing: The process of querying your manuscript to a publisher (or agent) with a view toward publication. Once contracted, you are responsible for returning edits and participating in publicity/marketing. Among other duties, the publisher is responsible for editing, cover design, hiring the illustrator, and submitting your book to contests. Examples include Great Plains Publishing and Kids Can Press. For more reading on the difference between traditional versus self-publishing, see 

• How to Publish a Book: An Overview of Traditional & Self-Publishing 
• Self-Publishing vs. Traditional Publishing: How to Choose
• Traditional Publishing vs. Self-Publishing: Pros and Cons

Self-Publishing: When an author assumes all creative, business, and financial responsibilities for the publishing of their work, including (but not limited to) hiring the editor and/or illustrator, designing (or working with the illustrator) on the cover design, submitting to contests, getting the book into both online and brick and mortar bookstores. The author receives 100% of the royalties. Examples include Amazon KDP and Smashwords. Further reading can be found in 

• Self-Publishing Versus Traditional Publishing: Pros and Cons for Leaders to Consider
• Traditional vs Self-Publishing vs Hybrid Publishing: Which to Choose?
• Self Publishing vs. Hybrid Publishing: What’s the Difference?
• WGA Resources for Self-Publishing

Hybrid-Publishing: Considered a combination of the above two, a hybrid publisher an author pays a company to assume edits, cover design and distribution. In return, the hybrid-publisher receives a portion of the royalties. See the following links for more information.

• List of Reputable Hybrid Publishers for Non-fiction Books US
• The Definitive Difference Between Hybrid Publishing and Self-Publishing
• Self-Publishing Vs. Hybrid Publishing Vs. Vanity Publishing

What are the advantages of traditional publishing?

• The 10 Awful Truths about Book Publishing
• Self-published Books & Authors Sales Statistics [2023]
• How Many Books Are Published Each Year? [2024 Statistics]

This depends on the publisher and your book. Generally speaking, the smaller the publisher, the less resources they have to put towards your marketing. Bigger publishers have more resources, but it also depends on how well they think your book will sell (e.g., if they think it will sell well, then they will put more money toward the marketing).

Regardless of the resources the publisher will put toward your work, the expectation is that you will participate in marketing and publicity (in some cases, your marketing/publicity plan is part of the querying process, and in other cases, part of your contract). 

Participating in writer festivals, school visits, conferences, book signings, and social media are some of the ways an author can market and publicize their work.

Yes to the website. As for social media, it’s up to you.

In the current market, an author’s online presence is important. You should expect that publishers and agents may search you out online. Therefore, having an online presence helps set you apart from emerging authors who don’t. 

The basic online presence is a website. There are free (Wix, WordPress, Go Daddy) and paid options. Your website should have an “About Me” and “Contact” page. It can also have a blog, books, and event page.

Social media is recommended, as it allows publishers/agents to find you in a variety of venues. However, many agents/publishers understand the fraught nature of the platforms. Decide which platforms best work for you, then be consistent in your posting. 

Consider having both the social media and website up and running before your begin the querying process.

Finally, it’s important to understand the difference between your professional and personal online lives. Further reading can include 

• Strengthen Your Professional Presence on Social Media 
• How to Use Social Media Professionally

Yes, but it’s important to manage your expectations. It’s wonderful to dream of the million-dollar advance in the same way it’s lovely to dream about winning the lottery, but you wouldn’t base your retirement plans on winning the lottery.

It’s the same way with making money as an author. Is it possible that your first book sweeps the market? Maybe. Is it probable? Maybe not. Having a solid business/career plan can help you survive and thrive in the industry. That can mean having a day job, while writing part-time, having a five (or fifteen-year plan) to transition into the role of a full-time writer. It can mean writing in genres or for mediums that aren’t your passion, but help you build your brand. However you design your career and move in the industry, ensure your decisions are in line with your philosophy, work/health/family obligations.