Fortunately for all of us, my books don’t go directly from my word processor to the bookstore. First, the pages go through the hands of exemplary professionals who tune them, shine them, and prepare them for the light of day.

The above comes almost at the end of the two pages of acknowledgments that one of my favorite thriller novelists, Stephen White, includes at the close of Warning Signs. Given that this guy — a clinical psychologist  as well as a New York Times best-selling author so no duffer in the intelligence stakes — recognizes the value of the people who helped him with research, editing, and general feedback, I’m at a loss to understand why Seth Godin continues to perpetuate the unhelpful view that writing a book is a “solo endeavor.” 

Well, let me rephrase that, because in reality oftentimes it is, especially in the world of self-publishing. But writing a quality book is never a solo endeavor. Godin may well point out that:

One person with time but no money can produce a first draft that is substantially similar to what the public will end up reading.

And therein lies the issue with so many of the poorly conceived, badly written, never-edited, and barely read c**p that is available online today – novels and nonfiction.

Please!!! Pay no attention to this nonsense. If your first draft looks “substantially similar to what the public will end up reading” you are either a genius or not trying hard enough. With all due respect, I’m going to opt for the latter. Certainly, I would never embarrass myself — after 25 years as a professional writer and internationally published author — or show such disdain for my readers to put out something that too closely resembled my first draft.

I’d rather be influenced by the humility and professionalism of Stephen White, and the many others who echo his sentiments in their own Acknowledgments pages, given that his 19th novel is about to hit the bookstores and the man goes from strength to strength with his writing. More so than Seth Godin who, I swear, would never sell that many books if he wasn’t in what my friend calls the “G2F” market: Guru to Follower. People will buy whatever he churns out because he’s Seth Godin. Much of his writing isn’t that good, in my opinion. It was once, but not any more.

Could it be because Godin takes his own advice and his first draft too closely resembles what he puts out for the rest of us to read?

What do you think?

Image: Rajiv Mathew/ThoughtWorks

Immensely grateful to Vinod Kumaar Ramakrishnan who succinctly captured many of the points I made to the aspiring (and previously published) authors who attended my recent talk at the ThoughtWorks offices in Bangalore, India recently.

Read  Vinod’s blog report here.

And what do we, the book-buying public, want? Cheaper prices, as ever, but we’re also all expecting books to move beyond dead text and into something much more dynamic, something loaded with rich media, something that makes use of the color and graphics of our tablet screens, and perhaps the social networking powers they also sport as apps. Because those kinds of books sure as heck aren’t in Amazon’s top-selling Kindle list right now.

This summary, which concludes a recent Fast Company article about e-book publishing, doesn’t represent me. Does it you?

As someone who buys books by the boatload and reads both nonfiction and fiction voraciously, I’m not particularly interested in “rich media.” As one commentator on this article pointed out:

I, for one, will forgo cheaper prices for better quality content. That was the beauty of the commercial publishing model years ago before the era of the celebrity airhead author and internet marketing old boys’ network began to seduce publishing houses with the guarantee of mega-sales and big bucks. When you saw the little Penguin on the front cover or spine — or any of the other symbols of the major publishing houses — you could be guaranteed quality: from the development of the core concept, to the writing, to the editing.

Now, you’re never sure what you’re getting when you buy a book from Amazon, because with so many self-published authors rallying their friends and family to write bogus 5 star reviews (and in some cases offering inducements to strangers in exchange for glowing testimonials), you can’t even trust the market to give an honest appraisal.

By my bedside I have Daniel Kahneman’s Thinking Fast and Slow, which I bought from Barnes & Noble, paying something like $25 (the RSP is $30). My experience of reading that book has been priceless as it’s generated many new thoughts and directions for my business.

So maybe it’s fine for “cheap prices” to be the top criteria for fiction. But, please, not for nonfiction. When a thoughtful author takes the time and effort (involving much more than the “write a book in a weekend” hucksters would have you believe) to craft a book with the potential to change your life — don’t they deserve to be rewarded for that? At least when writers are working with industry professionals (as opposed to most self-published authors who do everything themselves) the result is the coalescing of many expert minds and perspectives, which makes for a superior product.

Well, that’s what those of us who LOVE books think, anyway How about you?

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Every so often someone (most recently Seth Godin) will regurgitate the list of luminaries who originally self-published, such as:

• Emily Dickinson
• Ezra Pound
• Edgar Rice Burroughs
• Virginia Woolf

The implication being that today’s self-published authors have something in common with these Greats. That’s as spurious an argument as suggesting I’m like a world class athlete because I also have two arms and two legs.

Writers like those listed above are not like most of us in several significant ways. For one thing, they thought longer and harder about their material, exemplifying what Daniel Kahneman calls System 2 thinking:

… our slow, deliberate, analytical and consciously effortful mode of reasoning about the world.

That’s not the case with today’s “write-a-book-in-90-days-or-less” authors. Consider this recent LinkedIn post from one self-published writer:

“Did I really just stay up all night writing? I guess I did! Another 2,200 words down and chapter 22 is done!”

Contrast that thinking with Aldous Huxley’s explanation of how he worked, which he shared in an interview published in The Paris Review Interviews’ Writers at Work Series 2:

Generally, I write everything many times over. All my thoughts are second thoughts. And I correct each page a great deal, or rewrite it several times as I go along.

The reason why many contemporary authors can write their books so quickly is because they are  System 1 Knowledge Tellers, rather than System 2 Knowledge Transformers. The two types of thinking are qualitatively different. And so is the quality of the books that each approach produces.

I’ll be writing more about this topic shortly, including why any reputation-guarding consultant or executive should operate from a System 2, Knowledge Transforming mode of thinking before writing their book. In the meantime: how many books have you read that seem to offer little more than “easy answers and half-baked solutions” typical of those unwilling to engage in System 2 thinking. 

Liz: Olivier, we were talking earlier about the marketing and promotion of your book. What more do you feel you could have done (or could still do) to boost its “discoverability?”

A glowing review in the Wall Street Journal wouldn’t hurt, for starters. Becoming a regular expert contributor on CNBC, Bloomberg TV or CNN would probably help too, as would my own monthly column in Fast Company or Forbes. (And I’ve mentioned airport bookstores, right?) But you know, that’s kind of the typical thing.

It’s mass media exposure. There’s tremendous power to being everywhere. I think if the book were sold at the checkout counter of every service station in North America, I would accidentally sell a few more copies. People naturally want to buy things they see. So that’s kind of the basis for exposure: the more places you are, the more likely you are to sell more of your stuff. Every writer and publisher knows this: even if your book sucks, a great cover, a whole brick of copies front and center of the store, and cool promotional posters everywhere will move copies. It’s a given.

We aren’t talking about a meritocracy here. The best books don’t necessarily get pushed to the front; the ones with the most money behind them do. The reality for a new writer like me is that no publisher is going to throw a lot of marketing money behind a book like Social Media ROI, no matter how good or important it is. So you have to get creative. You have to work with what you have.

Interviews like this help a lot. I speak at conferences around the world. My blog is also kind of well read and I have a decent following on the twitternets now. All of those things add up. You have to put your eggs in a lot of different baskets, even if you start off with a bunch of really, really small baskets. And sometimes, you just get lucky. You catch a break. That’s important too.

I would say that going into its second year, sales of the book are being driven mostly by two things: word-of-mouth, and search. Most people who discover the book and read it end up liking it a lot, so they tell their friends and coworkers – even their bosses – about it, and so it spreads that way, organically. When it comes to search, I haven’t focused on “owning” the right keywords, but I’ve kind of put my stamp on the topic of social media ROI for the last few years, so it’s kind of difficult to google the term without running into me or the book. That’s the very definition of earned media for you, and it works very well.

One more avenue that might be key to the book’s longevity is universities. Social Media ROI works very well as a textbook. There’s a massive opportunity there for a book like this at the university level – graduate and undergraduate – and we’re seeing the start of that already. Increasingly, I find myself being invited to speak to students by professors who used the book as a teaching tool. I love that and hope I will see more and more of it. When you look at the sales numbers from university book stores as opposed to just, you know, the Amazons and B&Ns of the world, you realize that there’s a lot more to the publishing world than meets the eye. Don’t underestimate niches, either when it comes to genre or distribution.

Liz: My clients are senior executives and very busy people. Many struggle with finding the time to write their books while holding down high-level positions. What time management (or self-management) tips could you give them?

© Photong | Dreamstime.com

That’s a great question. They have a few options:

1. Hire a ghost-writer. It isn’t uncommon for high-visibility CEOs and celebrities to go that route. It becomes more of a collaboration than what the average writer goes through, but it takes care of the two biggest hurdles facing a busy, high profile executive: the time factor, and the very real possibility that they might not be talented enough to actually write the book themselves — even though they are probably smart enough to be the driving force behind what the book has to say.

2. Write a short book. Some of the best management books I’ve read were less than two hundred pages. Nobody needs to write a three-hundred page brick like Social Media ROI. (It comes in at one pound, give or take a few grams.) My next book probably won’t be that big. It just so happened that this one needed to be.   Small works. Look at books like the seminal The One Minute Manager, by Kenneth Blanchard (no relation) and Spencer Johnson, or Do The Work, by Steven Pressfield. Writing a book doesn’t have to become a Herculean endeavor. Keep it simple. Keep it short.

3. Really want it. Nobody can expect to write a book unless they have a fire burning inside them to see it done. It’s a long game, this book business. Writing seems like the hardest part, but you realize it’s actually the easiest once you come through that initial gauntlet. Anybody can write a book. Look around. Walk through any book store and pick up some of those discount books that sit around in the bargain bin. Somebody sat there and wrote those. They were living the dream, right?

Well, the reality of it is that there are worse things than not getting published: like publishing a really horrible book nobody likes; a book that flops and ends up in some bargain twelve-books-for-a-dollar bin in some frozen corner of Nebraska. That’s an aspect of this kind of project that any aspiring writer, especially an executive, needs to consider. Finding the time to write a book is just part of the equation. They also have to make damn sure that six months later – and years later, even – the book is something that can be seen as a feather in their professional cap rather than a stain on their career, if not an outright black eye. So… there’s that. Think beyond just making time to write the thing. Look well beyond the crest of that next hill.

Writing a book is just the beginning. You have to follow through and make it count.

Liz: Thanks so much, Olivier. 

My review of Olivier’s book Social Media ROI appears in my Thought Readership column soon. Check back for the latest on books that work (like his) and those that don’t (like this one).

Olivier Blanchard, Author

Here is the second of my three-part interview with the delightful Olivier Blanchard, author of Social Media ROI: Managing and Measuring Social Media Efforts in Your Organization (Que, 2011).

Liz: What were your reasons for going with a commercial publisher for this book (in this case, an imprint of Pearson Education), rather than publishing it yourself? What didn’t you know that you didn’t know, prior to becoming a published author? 

Well… The publisher approached me, so that part was easy. I didn’t have to shop the book around. It was all pretty serendipitous. Having said that, I wouldn’t have dreamed of publishing this book on my own, and for two simple reasons:

The first is credibility. When it comes to fiction, I don’t think there’s much of a difference anymore between self-published authors and professionally published authors. Look at the success that some self-published authors are already seeing. It’s amazing. We’ve entered a new era of publishing for fiction authors. The gates are crumbling. Amazon is taking bulldozers to the old publishing world and carving out whole new neighborhoods, highways, and shopping malls. But when it comes to non-fiction, especially business books, we still have a ways to go before self-published books can shed the stigma of not having been “properly” published. If for no other reason, Social Media ROI had to go through a traditional publisher. It couldn’t be just a self-published e-book.

The second is the amount if work it takes to actually get a book to market: Production, distribution, publicity, etc. What most writers don’t realize until they’ve gone through this process is just how much goes into making sure that a book will become a successful product. At the core of that success is a team: The writer and the editor. I am not sure that most people appreciate the importance of the editor in that process – sometimes a whole team of editors, actually. An average writer and a fantastic editor working together can produce an amazing book. Conversely, an incredibly talented writer with no editor might just end up writing a thousand-page wreck. Working with a reputable publisher generally takes care of that problem, so there’s that.

I also mentioned earlier how having deadlines and looking at the project as a job helps get it done. Writers are natural procrastinators. Add a perfectionist streak to that trait and now you have a perfect recipe for “the book project” that takes seven years to complete. No thanks. The point is to get the book out and share it with the world, not to fiddle with it for the better part of a decade. Having someone to push you and keep you to a set schedule is pretty key. 

Also, business book readers don’t exactly have the same habits and expectations as fiction readers. They tend to shop for books differently, read books differently, and they still like paper. It’s still a lot easier to highlight, earmark and sticky-note a physical book than to take notes on a tablet. For a book like Social Media ROI, all of these little details mattered: The book needed to be in book stores. I felt that people needed to see it on the shelf, next to Seth Godin and Guy Kawasaki. It needed to have a physical presence from a credibility standpoint. From a more practical standpoint, I wanted it to be discovered by business managers and executives who aren’t necessarily e-format readers or blog readers. Self-publishing limits you somewhat to the electronic format, and that would have ignored that portion of my intended audience.

Production and distribution-wise, even if I wanted to arrange for the book to be printed and had the money to do it, I didn’t want to have to deal with trying to sell it to book stores across the country, across the world, even. It just wasn’t practical. So I needed to work with a real publisher. You give up a few things when you do that, but the balance of it hasn’t been bad: the book doesn’t seem to be slowing down, it’s being sold in book stores around the world, it’s being translated into a half dozen languages. It’s a dream come true for a guy like me. Going with a traditional publisher was the right decision. It would have never been a success if I had gone the self-publishing route.

Liz: I know publishers never like to reveal sales figures, but just between you and me — how has the book done sales-wise since its publication last year? What advice would you give to first-time authors like yourself about marketing and promoting a nonfiction book? 

You’re going to laugh, but I actually don’t know how many copies the book has sold. I’m slack like that. Once it’s sold a hundred thousand copies, I’ll know that. It’s when I’ll start paying attention because that’s something I can legitimately brag about. But until then, I don’t know. At any rate, I can’t look it up right now either because I’m in France and the monthly statements I get from my publisher are back in the US. But look, the book is doing okay. It’s no New York Times bestseller or anything, but it sells so I can’t really complain.

You know, I have to talk about perspective here for a minute, because it’s important when we start talking about success and whatnot. Let’s face it: It’s my first book and I’m kind of a nobody on the world stage. By that, I mean that I’m not Jack Welch or Steve Jobs. I’m not even Seth Godin or Malcolm Gladwell. People aren’t going to line up around the block to read my book or score my autograph. I’m not a household name. And it isn’t being sold in airport book stores either, which for this kind of book is kind of an arrow to the knee. So once you’ve taken all of that in and you’ve taken a step back to get some perspective on how big the publishing world is, how many books are published each year, and the scandalous percentage of books that just plain fail, it’s a miracle that it’s been as successful as it has been. At least to me. Could it be doing better? Sure. But could it be doing worse? Absolutely. And it would be devastating for me, to have put so much work and hope into it only to see it flop and go nowhere.

What I can tell you is that after just a few months on the shelves, it had already beaten the odds when it comes to books making it or failing outright. I remember not too long after it came out when I saw that it had sold more than five thousand copies because that’s kind of a benchmark for pretty much any book. Most books that get published never quite manage to reach it, which is really scary when you think about how hard it is to get a book published to begin with. So I think that if you’re a new writer and you can sell five thousand copies of a book and watch it just keep going, that’s something. It’s like a series of clubs. The first club you get into is the “I’m published” club, and then there’s the “I’ve actually sold a few books club,” but then there’s that one, the “five-thousand” club, which I think also coincides with the “my publisher just broke even” club, which is nice. It gets you invited back, I think. (I hope.) Then if you’re lucky, you move up to the ten-thousand and the hundred-thousand and even the million+ clubs, and even the “my book was turned into a movie” club, and so on. One can hope. It’s what I’m shooting for anyway. Not that a movie based on this book would be all that fascinating, but you never know.

In the final part (#3) of this interview with Olivier Blanchard, we talk about “discoverability,” longevity, and his time management tips for busy executives and entrepreneurs planning to write a book. Stay tuned for Part Three soon!

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It had taken me just a few hours and cost a weekend’s wages at the grocery store where I worked. At age 16 I was now a published author of several execrable (I’ll check next time I visit my mother — she still has a copy of the book!), angst-ridden teenage poems.

Feeling magnanimous (more likely, wishing to show off ) I took a copy to school, to donate to the library. Our headmistress, Miss Higginson — think Severus Snape in the guise of Professor McGonagall – took one look at the title, A Kaleidoscope of Verse, and asked, “Is this vanity published?” I didn’t know, back then, what she meant. I’d simply responded to an advertisement informing me that my poetry could be published, I’d paid my money and now saw my name in print.

That youthful “dream come true” is similar to the one experienced by Ajla Dizdarevic, only this 12-year old is aiming for three self-published books of poetry by the time she’s 15, and meantime has got herself quoted in the New York Times.

The idea of parents funding the literary aspirations of their offspring has led to opposing opinions. On the one side we have novelist Tom Robbins who asks:

What’s next? Kiddie architects, juvenile dentists, 11-year-old rocket scientists? Any parent who thinks that the crafting of engrossing, meaningful, publishable fiction requires less talent and experience than designing a house, extracting a wisdom tooth, or supervising a lunar probe is, frankly, delusional. There are no prodigies in literature (which) requires experience, in a way that mathematics and music do not.

As if on cue, Seth Godin pitches in, mocking Robbins’ allusion that writing fiction bears any resemblance to “leading part of the Apollo mission.” Godin concludes with a “what’s the harm?” argument, pointing out that:

It’s free! No gums are damaged, no thumbs are hammered, no shuttles are launched.

Leaving Robbins and Godin to debate the “what” and the “how,” I’m more interested in the question: Why? And the answer lies, I believe, in the mediocritization of our goals.

What do these parents want to impart to their kids? What, indeed, is the goal here?

To be published? So what? Anyone (or anyone with parents willing to do so) can pay to be published these days. If this is being lauded as something worthy, then I fear these kids are missing out on an invaluable lesson. The one that Miss Higginson gave when she informed – no, shamed — me on the demerits of vanity publishing. I never wanted to feel so lessened ever again and determined that would be the one and only time I paid to be published; my new goal was to have people pay me.

Was the goal to sell books?

If it was, these kids are going to be sadly disappointed. The founder of KidPubPress, one of the vanity houses presumably making a lot of money from the current “be published” obsession at least has the honesty to admit that if each sells 50 books on Amazon that would be “pretty unusual.” And that figure is 150 short of what the average, “crank out a book in 30 or 90 days” tomes written by adults can expect to sell.

Was it to learn to become a real writer?

Not if you’ve got your mother fretting — as one of these published teenager’s mothers did —  about your writing being criticized. Good grief, I hope it would be , preferably before it’s published!

If that budding novelist has any desire to make writing a career and isn’t wanting to be published just so she can tick “author” off her bucket list, then – hell yeah — you’re going to be critiqued! As Malcolm Gladwell alludes to in the Acknowledgments of his bestseller, Blink, not even a writer of his calibre can expect to complete a manuscript perfectly, first time, with no help. Writes Gladwell: “Thank you (insert names here), who deftly and thoughtfully, and cheerfully guided this manuscript from nonsense to sense.” And later, “(different names) brought focus and clarity to the text and rescued me from embarrassment and error.”

Was the goal to perfect their craft so that, eventually, these youngsters would end up writing something really good?

That doesn’t seem to be the case either, from what I read.

And that lack of desire to produce quality work is not confined to the kiddie publishing scenario. For example, an aspiring author I know announced to our cohort that she had completed the query letter she intended to send out to a number of literary agents, to pitch her self-help book. Much celebration ensued, which puzzled me. Surely she wasn’t to be congratulated simply for finishing a query letter? Which appeared to be the case, since none of the others had actually read it. I did; it was really poor. I told her — in as kind a way as possible — that she was going to have to study what made for a good query letter, because the one she had cobbled together wasn’t going to get her represented any time soon.

In the end she decided to throw money at the problem and hire a professional to write it for her. This “author” felt she had it in her to craft a book she expected to be read by millions, yet didn’t even have the skill or patience to write a compelling query letter. Go figure!

In The Closing of the American Mind, author Allan Bloom writes about college students of 25 years ago:

  They arrived ill-equipped to explore the large questions the humanities pose, and few saw the need to bother with them in any case.

Now that would be a worthy goal, surely? To use the discipline and process of writing a book to explore those “large questions,” to find your voice and a perspective that you can defend — perhaps even be open minded enough to  engage with others who take a contrary view? To incrementally shift from being a novice writer to becoming a master story-teller?

But that’s not the goal of Author Solutions, Lulu, Create Space or even KidPubPress who are providing the means with which to add “author” these youngsters’ future CVs. Their goal is to part as many folks as possible from their money — and quality be damned.

I can assure these young people that contributing unedited early material to a vanity published book is going to advance none of their writing careers. Although, sadly, gone are the days when an educator (or anyone else for that matter) will tell them that; we wouldn’t want to damage their fragile “self esteem!”

I will, however, reserve believing we’ve gone completely bonkers as a nation until the New York Times covers the latest self-published offering by a two-year old. It can’t be far off!

* In case you’re wondering, the title of this article refers to a term used by London tailors of yesteryear, which spawned a British TV series in the late 1960s/early 70s: it means diverting attention from shoddy workmanship by drawing the eye to something completely irrelevant.

Olivier Blanchard, Author

Brand strategist Olivier Blanchard’s Social Media ROI: Managing and Measuring Social Media Efforts in Your Organization (Que – an imprint of Pearson Education, 2011) is due to appear on that site on April 30th. Before then, here’s the first of a three-parter with Blanchard, talking about — among other things — the differences between writing a blog and writing a book.

Liz: Olivier, probably the first thing that struck (and impressed) me about your book was your conversational writing style. I know that you do a lot of blogging but since this is your first book, how come you were able to write so engagingly? Is this a gift you were born with or something you’ve honed and refined over time?

Well… first, thank you. I appreciate that. I don’t know, really. I used to draw and write a lot even when I was little; that’s probably where it started. Every year until ninth grade, some random essay question that I’d answered on an exam invariably ended up getting published in the annual student “literary” publication. It was just a horrible little collection of poems and vacation stories, but it made my parents terribly proud. Naturally, it encouraged me to keep writing; that and a few of my teachers who told me I should focus on doing a lot more of it.

But there’s another piece to this: I think that writers are naturally drawn to write the sorts of things they read. Before I started blogging, I spent a lot of time reading magazine editorials and feature news stories; short stuff. I wasn’t reading a lot of books but Fast Company, Rolling Stone, Esquire, Vanity Fair, and Newsweek. I loved the kind of writing I found in those publications. It was crisp and fresh and had an easy style to it. When I started blogging, I sort of went with that. It seemed a natural fit. If I had been fonder of books, perhaps things would have moved in a different direction.

Let’s talk about the difference between writing a book and writing a blog. A lot of folks think writing a blog is a way of collecting material they’ll then turn into a book…is that wise, in your opinion? What are the key differences, if any, between those two writing formats? 

Until Pearson’s Katherine Bull came along and suggested I write Social Media ROI, I had pretty much given up on ever writing a book. I didn’t think I had either the talent or the brains for it. When I first started I thought it would be a lot like writing a hundred or so blog posts and putting them together in some sort of logical order that would more or less fit the Table of Contents. I actually tried that for about a week. It didn’t work at all. So yes, there is a very big difference between writing for a blog and writing a book. I think that people need to be aware of that.

The thing about writing a book is that you need to build into it a thread of continuity. Let’s forget about structure for a minute. A book, whether it’s a business book or a novel, always tells a story. It takes a reader from point A to point B, then from point B to point C, and so on. Just throwing together blog posts won’t work. Your book will come across as disjointed; it won’t be whole. So as a writer, you have to figure out what the story is. You have to find the narrative thread that will take the reader from the introduction to the conclusion and will give every topic and every chapter some measure of context. In that sense, you have to think “bigger” than when you write a three-page blog post or an editorial. You need much higher ceilings inside your own head. When it comes to managing your thoughts, books require scale.

Then there’s structure. A blog post can be about one thing, even if it fits into a ten-part series. A book is more like a Russian nesting doll: it has layers. Its structure is a lot more three-dimensional. You don’t just have a beginning, middle, and an end. Chapters reference each other; they build on concepts, ideas and anecdotes thqt you introduced in earlier chapters.

A book is a much bigger enterprise than a blog post. If I had to compare the two, I would say that writing a blog post is at best like building a tree house while writing a book is like building a working train station. I’ve gotten pretty decent at building tree houses. When it comes to building working train stations, I’m at best a novice and a dangerous one at that. It’s a very different animal.

How long did the whole process take…from idea to manuscript, then manuscript to published book? And what surprised you most along the way?

Olivier Blanchard, Author

I want to say it took about six months for my part to be done, four of which were devoted to writing. Then there was the production and printing, the stuff that I didn’t have a hand in. So all in all, maybe 8 months from the time I started writing to the release date?

The start was pretty easy. I spent a few weeks working with Pearson on the proposal itself. It seems trivial because there wasn’t a lot of heavy lifting involved, but in hindsight it was the most crucial part of the process. It was then that we put together the Table of Contents and what turned out to be the book’s DNA. That early in the process, you can’t really know what the book’s personality is going to be, but you do know what it is going to be about, what it is going to cover, in what order, etc.

I didn’t know it at the time, but it is one of the most important aspects of writing a book – or rather, to make it possible to finish a book. I don’t think that starting books is a problem for anyone who likes to write. Actually finishing one is the real challenge. 

Having a Table of Contents and a detailed proposal gives you a road map for the book. That’s crucial, vital. I don’t think that the majority of books – business or otherwise – would actually get written without one. Think about it: you’re going to be writing a book for three, five, maybe eight months. That’s a long time to be wrestling with one project. The thing about working on something for that long is that you’re going to lose your way at some point, and probably more than once. You’re going to go off on a tangent. You’re going to take a wrong turn. If you don’t have that road map to get you back on track, you could be stuck in the weeds for a really long time. That’s how books don’t get finished. It isn’t for lack of will or talent or ability. It’s just that writers go a little crazy; they get a little lost. They end up going off course and can’t find their way back. Having a strong Table of Contents right from the start — a solid road map for the book — makes sure you can always find your way again, and sooner rather than later. It takes most of the dangerous guesswork out of the equation.

The writing itself didn’t take that long for me. I’m a pretty prolific writer. I can write fifteen, twenty pages a day if I know ahead of time what it is I want to write about.

And that’s the other thing: Having a schedule and a process in place that ensures that the schedule is the schedule. In my case, the project had been divided by Pearson into four simple due dates. Every four weeks, I owed them twenty-five percent of the manuscript. That kept the momentum going. The schedule wasn’t random or vague, it was set. Meeting that schedule was a job like any other. That kept things rolling. If my publisher hadn’t set those deadlines or incentivized me to stick to them, I would probably still be working on the book. It would have never gotten written. So deadlines matter.

Aside from those types of practical insights, I was surprised by two more things.

The first was how much more work the editing took. I don’t know if other writers have the same experience, but I found the editing portion of the project a lot more difficult and time-consuming than the actual writing. I swear I must have spent three times more energy reworking chapters than writing them in the first place.

The second thing was how important it is to feel that you have someone in the trenches with you during the entire process, especially when you’re going through tough spells (and every writer does). The relationship between a writer and an acquisitions editor is far more important than people realize. The two have to get along. They have to work together, build a rapport, build trust and mutual respect and even some measure of affection. That human element is key. If you don’t have that, I think you’re going to end up with a pretty lifeless book.

In Part Two of this interview, Blanchard explains why he went with a commercial publisher rather than self-publishing his book, how well it’s selling, and his aspirations as an author. 

If you have written a book or have a particular favorite (recently published) title that you’d like me to review for the Thought Readership series, email me the details and I’ll see what I can do!

© Saniphoto | Dreamstime.com

As a wordsmith, I find the origins of words fascinating.

A “consultant” originally referred to someone who visited oracles, until a reference in a Sherlock Holmes story in 1893 changed it to one qualified to give professional advice.

Back in the early 19^th century “coach” was Oxford University slang for a tutor who got students through their examinations.

“Doctor” comes from the Latin root meaning a teacher or adviser.

Over time a “shepherd” shifted from a person who tended sheep to someone who generally watched over, protected and guided others.

Stick book in front of each of those words and it’s not surprising you’re confused as to what exactly a book consultant, book coach, book doctor or book shepherd actually does, let alone whether you need one. Only the term “book midwife” and the alternative moniker “book doula” directly alludes to the birth of a book being akin to birthing a baby. Let’s agree – for the sake of brevity – that this is an activity inadvisable to do alone.

Let me focus instead on helping you sort through the morass of options available, should you decide to engage professional help to birth your brainchild.

Who are these people?

THE current self-publishing free-for-all is not unlike the Klondike gold rush, not least because of how often the unwary are parted from their money. As you review the websites (found by Google-ing any of the terms I mention above) of folks purporting to help you with your book, ask yourself these questions:

1. How long have they been in the publishing business – and where’s the evidence of that? Anyone can say they’ve been involved in book publishing for decades; providing proof is another matter.
2. Do they come from a book services background (e.g., a former editor at a publishing house) or have they actually written books themselves? How many copies have those books sold? It’s one thing to have assisted others to publish their books, quite another to have direct experience as an author. If you plan on an extended period of writing support, for example, the empathy of a published author may well be important to you.
3. What direct experience do they have of the genre in which you are writing?  Children’s books and anything historical are just two examples where I believe it’s advisable to collaborate with someone with specialized knowledge. I turn down work all the time from novelists, as my only experience with fiction is a handful of published short stories and completing last year’s NaNoWriMo (http://www.nanowrimo.org/). I encourage my clients to incorporate storytelling principles into their books, but as a nonfiction author and journalist with a background in self-help, “how-to,” and business, these are the areas in which I feel most qualified to serve.
4. Does all of the expertise you need reside in one person or will you be working with a “creative team?” Be wary of a website that only extols the virtues of the founder or principal when in practice your project will be passed on to a team member whom you know nothing about. If you are relying on a single individual, do they have experience with agents and commercial publishing, with self-publishing – or both?  

What range of services do book consultants offer – and to whom?

Here’s a list of typical services, although not every business may offer all of them:

• Idea development.
• Strategic planning (e.g., how a book can help you reach business or career goals).
• Various forms of editing – developmental, substantive, line-by-line etc.
• Manuscript critiquing.
• Copy editing and proofreading.
• Copywriting for back cover; cover design; interior layout.
• Title and subtitle generation.
• Creation of a book-focused website.
• Consulting on publishing options, book production, distribution, fulfillment etc.
• Book proposal coaching.
• Writing coaching.
• Time management strategies.
• Co-authoring or ghostwriting.
• Peripherals: ISBNs, LCCN, PCIPs etc.
• Marketing and promotion plans; professional press kit.
• Outsourced publishing.

Client backgrounds vary but most have one thing in common – the willingness and means to invest in themselves as authors of good books that sell.

What’s it going to cost me?

That’s like asking how long is a piece of string? Fees can vary widely. Most reputable book consultants don’t charge less than $50 an hour…some cost $200+. One book consultant & marketer quotes $500 an hour on his website! Obviously this depends a lot on the professional’s length of experience, depth of expertise and chutzpah!

As a rule of thumb you might budget around $125 an hour. Bear in mind that you may need 50 hours or more of the professional’s time to move from idea to final manuscript.  Some book consultants offer discounted rates on bigger projects. For example, you might pay $350 for a two-hour “ad hoc” consultation to talk about a specific aspect of your project, with no commitment to move ahead, but find this hourly rate is significantly reduced when you sign up for a three to six months’ package of services leading to a published book. 

How do I find the right professional for me?

Do your due diligence. You’ll likely spend several thousands of dollars with this person or their business. If you were shelling out that kind of money for a car, wouldn’t you do some preliminary investigation? At the very least review their website (I can’t tell you the number of people who contact me, for example, with projects that are outside my scope of interest and expertise); read their testimonials; ask to speak with satisfied clients (the best you can hope for; no one’s going to put you in touch with a dissatisfied one!).

But remember that this isn’t just a business collaboration; it’s also an intimate one-on-one relationship that may last several months or longer. Most reputable professionals offer some form of free “taster” session – from regular group call-ins where you can ask questions to 30-minute one-on-one, complementary phone consults.  Be prepared with lots of questions and trust your gut.

Red flags – what should I be wary of?

This is a personal peeve, but I’d run like hell from any who uses the word “guarantee” in their marketing copy. There are no guarantees in publishing. Here’s legendary editor, Bob Loomis, who retired earlier this year after 54 years with Random House:

Every day when I wake up in the morning and I come to work, I have no idea what’s going to happen. All the books that I think are going to sell don’t work, and all the books I don’t think are going to work sell a lot and win awards. That’s why I love this business so much.

Anyone can be a published author these days; guaranteeing which books will become “best sellers” is the province of those with big marketing budgets, big lists, and scores of adoring affiliates.

Final advice? Partner with someone who loves their work and your book (almost) as much as you do. Combine their passion for the world of publishing with solid experience and a personality that will motivate you, for an enjoyable journey and a successful outcome.

This was originally a guest post on Joel Friedlander’s The Book Designer blog. Thanks, Joel, for allowing me to reproduce here. (And, yes, Joel’s one of the good guys, with LOADS of brilliant resources and other material to help the committed Indie author!)

Best-selling author, Ken Brand

Congratulations, Ken Brand, who just knocked off Donald Trump — figuratively, not literally, lol — from the Amazon bestseller list with the book we worked on together in 2010/11.  News story here.

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