Archive for the ‘The Business of Writing’ Category

Sitting down with a literary agent for a latte…

April 15th, 2014 | Agents, Books, Career, CBA, Current Affairs, Marketing and Platforms, Publishing, Questions from Beginners, The Business of Writing | 8 Comments

So if you could sit down at Starbucks with a literary agent, and ask him any question you wanted, what would you ask? I’m taking the month of April to let you ask those questions you’ve always wanted to talk over with an agent…

Does being a self-published author with several books help or hurt your chances of getting an agent to read something?

If the books are well written and have a good track record of sales, that will improve your chances. If the books are poorly done, or if you can’t show that you’ve sold many copies (or worse, the Amazon numbers suggest you haven’t sold a bunch of books), it will hurt your chances. I guess that’s not a surprise to you. But understand that self-pubbed books don’t disqualify you from landing an agent, nor does having a printed book you did on Create Space help your cause very much. An agent is going to be looking for a great idea, expressed through great writing, from an author with a great platform who has a strong track record of sales.

What advice would you give a first-time author? I’ve been trying to network, but not sure what else to do.

Know your audience. Take charge of your marketing. Have goals. Talk with someone who really knows how to market. Go to everyone you know. Do everything the publisher asks you to do. Research where your likely readers are online — maybe make a list of the top 100 sites your potential readers are gathering — then find ways to get onto those sites and get your name and book title in front of those readers. Learn to talk about your story in a way that’s interesting, and find venues to do that. Solicit reviews. Use the Amazon tools. Figure out some strategies you are comfortable with, and which you think will be effective, then do them. Don’t expect miracles. Don’t give up after two months.

Do you see the possibility of “New Adult” ever working in CBA?

Yeah, I do. New Adult is the (relatively new) category in publishing that appeals to those just past YA fiction, but maybe not interested in the romances and suspense stories we consider “adult” fiction. NA appeals to those in the 17 to 25 age group, and it’s been all the rage in publishing circles — growing like crazy. The genre began by looking at the issues closely related to people that age: relationships, career choices, new jobs, new cities, new adult friendships, the freedom that comes with growing up, etc. But it’s slid into a sort of soft-porn-for-younger-women trough, so authors are complaining that they can’t get their books looked at unless they raise the slut factor. Will this genre make its way into CBA? Yeah, it will, since Christians tend to buy books. Trends often hit the general market first, then trail along a year or two later in CBA. I think it’s just a matter of time before we see more New Adult fiction at CBA publishers.

What is the impact of e-books on “out of print” status of books? Do books never go out of print, and thus an author’s rights to have book and artwork revert back to them never take place?

You pretty well summed it up. Publishers have changed the wording of contracts to include e-books as qualifying for a “book in print.” And, since e-books don’t require warehousing, it basically means a book need never be declared “out of print.” That’s why authors have to be very careful with what they sign — have a professional look over your contract, just to protect yourself. One publisher recently sent contracts to dozens of authors, telling them they wanted to include their out-of-print works into e-book collections. That sounded like a great idea to several writers, and they signed the contract and sent it back without checking with anyone. The problem? The document they were sent grants ALL book rights to the publisher, and once publishers have a right granted them, they rarely want to give it back. This is why agents are pushing for either sales thresholds (“if the book doesn’t sell 500 copies in a year”) or term limits (“this agreement is in force for five years”), so that an author will eventually be able to get his or her work back.

How long does it take, on average, from when you agree to take on a new novelist to when you sell their manuscript?

It’s unique with each book, of course, but I would say an average for a first-timer is less than a year. Still, I have a couple novelists I represent, whom I’ve worked with for almost two years, and I’ve not been able to sell their work. (Not proud of that fact, but being honest.) I believe in them as authors, and want to sell them, but the fiction market is in a state of revolution. So I preach patience, and sometimes self-publishing, and continue talking with them about the future. They’re good writers, but it’s tougher than ever to land a debut novel with a publisher.

I see you’re responding to email questions, but I sent you a query letter two weeks ago for a sure hit suspense book and you have yet to respond. How long should I wait for you (or any other agent) to get back to me?

I’m trying to think of a sensitive way to say this… Cry me a river. I’ve got authors I already represent who require my time — is it fair to ignore them (who I know) so that I can take care of you (who I don’t know)? I’ll get to it when I can — usually in a month or two. That’s about the norm in the industry. But whining at me about taking time to write my blog isn’t going to win you my friendship. Besides, where is it written that I owe you a response for your proposal? I didn’t ask you for it. My website basically discourages a lot of writers from sending in something cold. I do that because I can’t respond to everyone who decides they have a “sure hit book.” (And I’ve got a secret for you: There are no sure things in this business. I’ve seen great books fail completely.) Of course, a nicer, gentler agent would say to you, “Have patience, my friend. All in good time.” Unfortunately, you didn’t write to that nicer agent; you wrote to me. And my feeling is that you sound impatient and entitled. When I have time, I’ll get to it. If I feel it deserves a response, I’ll write one. If you don’t like my answer, you are free to withdraw your proposal and talk to someone else. I’ll cry all night.

Could you shed some light on the reality of “movie rights?” I read recently that a book to movie was finally beginning production—10 years after the contract was signed. And they say publishing is slow!

You have to learn to see movies as being completely different from the book world, just as dance performance is completely different from the world of costuming. I mean, every dancer onstage is wearing a costume, but the two things are unique businesses. If a book publisher offers you a contract for your completed manuscript, the odds are better than 90% that your book is going to come out. If a movie production company offers you a contract for your completed screenplay, the odds are less than 5% that it will come out. (As I said — different businesses.) If a book publisher contracts for the rights to your book, chances are very good you’ll eventually see that book on sale in a bookstore. If a movie production company contracts for the rights to your book, they are only buying an option to talk about it for a period of time, and the vast majority of those options will simply expire with nothing concrete ever happening to move the story toward a production in theaters. If a book publisher accepts your manuscript, you’ll probably see your book on store shelves in 12 to 24 months. If a movie production company accepts your manuscript, you might see your movie in theaters in four to ten years (but probably not, since they’re just going to cancel the project anyway). It’s fun to have a production company contract for the movie rights to your story, but the odds are long that they’ll ever make a film of it.

The numbers you shared in the blog the other day (about how many people we need to be connected to as authors if we are to do a good job marketing our books) seemed awfully high. What constitutes a good platform for a beginning novelist?

I’ll stick with what I said. Publishers like big platforms. A small publisher will be happy to see an author have connections to 10,000 people (they may contract a book with an author who has a smaller platform, but they LIKE to see 10k or larger). A mid-sized publisher is happy with 40k to 60k. A large publisher wants large numbers. Again, any publisher may do a book with an unknown author who has a small platform — but the odds of landing a deal increase as your platform increases.

I know you do some Christian or spirituality books, and that makes me wonder… Why aren’t there any books for men? “Wild at Heart” was published about fifteen years ago, and people still hold that up as a contemporary men’s book.

Yeah, that’s something CBA publishers tend to weep and wail and gnash their teeth over. The problem is that men don’t buy that many books in CBA stores, so it becomes a self-fulfilling prophecy — “Men don’t buy much, so we’ll design stores that basically appeal to women, so men will buy even less.” I have no idea what the solution is, though I hope publishers don’t give up on male readers.

Is there any chance that Barnes & Noble and the Nook survive?

I’m always hoping, and I think the industry is better having a national bookseller, but realistically it’s hard to see. They are obviously squeezed by Amazon, and I think we can expect them to continue to shrink. But dang! I really want B&N to survive. Like you, I’ve heard nothing but negatives about Nook, what with executives leaving and staff shrinking — so let me just state here that I LOVE my Nook, and think it’s a great e-reader. And the Nook team just announced they’ve grown the international side, so they’re in 32 countries, and 19 languages, with hopes of being the leading international e-reader. Like the boys in Monty Python said, always look on the bright side of life.

Got a question you’ve always wanted to ask a literary agent? Send it along to me at Chip (at) MacGregor Literary. I’ll do my best to get you an answer.

Sitting down with a literary agent over a cappuccino…

April 11th, 2014 | Agents, Career, Current Affairs, Marketing and Platforms, Proposals, Publishing, Questions from Beginners, Resources for Writing, The Business of Writing, Trends | 16 Comments

So I happen to be sitting at Cafe Greco in North Beach (the Italian section of downtown San Francisco), and thought this was the perfect place to suggest authors sit down to have a cappuccino and talk. This month we’re just inviting authors to send the question they’ve always wanted to ask a literary agent, if only they could be face to face. I’ve been sent a bunch of questions, and I’m trying to get to each of them…

I know many agents are looking for an author to have a big “platform.” What does a big platform look like to you?

A platform is a number. You speak? How many people do you speak to over the course of a year? You write a column? What’s your readership? You’re on radio? What’s your listenership? You blog? How many hits do you get? You do a column? How many people read your work? You belong to organizations? How many people are you connected to? All of those are numbers — just add up the numbers, and you’ll know how big your platform is. The bigger the number, the happier a publisher is going to be. More important is how many people you actually have some sort of relationship with — that is, how many of those folks do you speak to or consider an acquaintance? Can you suggest what percentage might actually purchase a book? A small publisher may be happy with a platform of ten to twenty thousand. A medium sized published may be looking for a platform that is at least forty to sixty thousand. A large publisher may not be all that interested if your platform is less than 100,000 — possibly not interested if your platform is less than 250,000, depending on the project.

Is it pointless to seek publication before launching a blog? I have substantial Facebook and growing Twitter followings, but haven’t launched my blog yet.

I’m not sure a blog is as vital as it was a few years ago. Some authors have built a platform using Twitter, Pinterest, and Facebook. Others have really used GoodReads and Amazon in lieu of a blog. I think the important things to consider are (1) the numbers, (2) the connection they have with you, and (3) the content you’re sharing. Here’s what I mean — if you have a bunch of friends on Facebook because you’ve shared a lot of conservative political flamethrower stuff, but you’re writing a contemporary romantic suspense, the content doesn’t connect with the book’s expected readership. You may or may not need a blog, but the important thing with a blog these days is to get noticed, just like in publishing a book. There are currently roughly 20 million blogs available… how is yours going to grow a readership?

I’ve been asked to write a column for an online magazine which sounds good, but they refuse to tell writers what their numbers look like. Also, they pay, but they demand all rights. As an agent, do you think I should participate?

That depends on your expectations. If you need the money, a paid writing gig like this is great. As for demanding rights, lots of magazines these days are moving that direction — you have to be at peace with the fact you are basically using this as a work-for-hire. You could do some research on third party sites to find out some basic numbers for the magazine and make an educated guess at the numbers they’re hitting.

Do writers these days write specifically for the ebook market, or are they really writing for a print market and settling for a digital book?

Love the question, because for all the excitement about dedicated e-book authors, I find most writers are still hoping to land in print. Not all, certainly, but most. Why? Because traditionally that’s where success has come (and yes, that may be changing), and because legacy publishers can get authors into stores around the country. So it’s really a “reach” argument — that legacy publishers offer greater reach. That said, we’re in an era of revolution, and there are plenty of writers who have basically given up on the notion of working with a legacy publisher, and have become focused on creating their own ebooks and taking them to market via Amazon, Nook, and the iBookstore.

I heard you say at a conference that the one thing you look for most in a book proposal is “voice.” What are you really looking for when you say you want to see a strong voice in a proposal?

Voice is personality on the page. I love seeing proposals that offer strong personalities. Too many of the proposals I see are flat — they all sound the same, and could have been written by anyone. So I love seeing a project come in that seems different — big, unique, funny or insightful, with words/grammar/style/thought patterns that reveal your unique personality. If you read writers with great, unique voice, you just don’t confuse them with other writers. Great ideas come and go, but great voice lasts a long time. I see lots of ideas each month; I see very little great voice. And if you’re really interested in this topic, go to Amazon and pick up a copy of Les Edgerton’s FINDING YOUR VOICE. A wonderful book to help beginning writers figure out how to get their personality onto the page.

Do you still teach “proposal” workshops? Does a proposal still matter in these days of self-publishing one’s ebooks?

I do still teach my one-day proposal workshop. (Commercial: If your writing group or regional conference is looking for a cost-effective one-day seminar, you should get in touch.) Proposals continue to be vital for nonfiction books, and the way we usually start the conversation with fiction. I asked a senior editor at a Big Six publishing house about this, and she wrote me back to say, “One thing I think aspiring writers need to know about proposals is that they function as a business plan for a book. That is, they demonstrate why and how a project will be viable because of the idea, the author platform, and the market environment. In nonfiction, as you know, publishing a viable book is not so much about writing as about what will happen (either because of the author or the publisher) in the market to get people to buy it. Most people don’t want to hear that because they want to believe it’s all about writing, but that is very far from the truth these days. New writers need to understand this basic fact and see the proposal as an opportunity, not a chore to be gotten past.” A great proposal can help you find success, in my view. It won’t overcome a lousy idea, but it will certainly help you sell a good idea.

Who puts a manuscript or new book into the running for awards and contests? Does the author seek them out herself and submit her entries? Does the publisher submit completed manuscripts automatically to certain contests? Would an agent make recommendations for contests and/or award to go after?

Most major writing awards are submitted by publishers. Mid-level awards can be submitted by publisher or author. Most smaller writing awards are submitted by author. These usually cost money. And yes, in almost every case the entire completed manuscript is sent (though I know of no publisher who “automatically” submits to contests). An agent will certainly make recommendations for contests and awards, and I encourage authors to have that discussion with their agent. Publishers tend to like manuscripts that proved themselves by winning contests.

I’m working on a non-fiction manuscript for which I have some personal experience, but I don’t really have the full technical expertise to completely address the topic. Would an agent consider my proposal and connect me with an expert in the field? Or do I need to do the legwork myself to find the expert?

I have occasionally connected a writer and an expert, but it’s rare… Much more commonly I’ll just say to the writer, “You know, this would be a much stronger idea if you were to partner with an expert in the field.” An example: I once did a healthy lifestyle book, and encouraged the author to connect with a nutritionist and exercise physiologist, since her personal story was great, but I felt publishers were going to insist on some sort of recognized expertise.

I notice you do a bunch of religious/inspirational fiction. Do you also do fiction for the wider market?

I’ve received this question a hundred times… YES, take a look at my list. I do Christian fiction AND lots of general market fiction. So do Sandra, Amanda, Erin, and Holly, the other agents at MacLit.

I did a book with a smaller publishing house earlier this year, but the information on Amazon is incorrect. Try as I might, I can’t seem to get them to fix it. What do I do?

Talk to someone in the marketing department at your publishing company, tell them EXACTLY what is incorrect and EXACTLY what you would like it to say. Be clear, be polite, don’t blame, and don’t act like your life depends on changing this information. Amazon sometimes gets this stuff wrong, and publishers often try to fix it. I ran this question by a senior editor at a large house, and she replied: “Amazon is an automated system, at least with us, but I suspect with most other publishers. Amazon’s system goes into our system and pulls the data it wants when it wants it and then puts it up on the site, often as long as 4-6 months in advance. That’s why the data are often wrong. Authors get upset when they see incorrect data and copy but that’s because Amazon is pulling the early stuff before it gets polished. Pre-orders are good, but this is what comes of it. And this is Amazon’s doing, for their own mysterious and not-so-mysterious purposes.”

Okay — got a question you’ve always wanted to sit down and ask a literary agent in some face to face setting? Send it my way. Meanwhile, I’ll be here, eyeing the cannoli and ricciarellis. Ciao!

If you were sitting down for tea with an agent…

April 9th, 2014 | Agents, Career, Current Affairs, Marketing and Platforms, Publishing, Questions from Beginners, The Business of Writing, Trends | 26 Comments

All month we’re inviting writers to send in their questions — if you could sit down and be face to face with a literary agent, what would you ask? Here are some of the questions that have come in…

At a big writing conference last summer, I noticed that most agents and editors now insist on seeing a “completed manuscript.” I have a manuscript I’ve rewritten several times — you even once took a look and suggested I work with an editor to improve it. So what is the definition of a “completed manuscript”?

I have two answers for you… First, when an editor says they’re only looking at completed manuscripts, that means they aren’t going to seriously consider a proposal and sample chapters. They insist on an author showing them a finished book, so that they lower their risk (no worries about missed deadlines, or the story going off the rails, etc). That’s the industry norm for first-time authors these days. But my second answer is that “completed” to an agent can also means your manuscript has been revised, rewritten, and is ready to show to a publisher. I frequently see novels that have promise, but they need more work, so I’ll suggest changes to the manuscript, or I’ll encourage the author to work with a writing coach, or I’ll just give the author the names and emails of half a dozen editors and encourage them to get some professional assistance.

I know you represent a lot of thrillers. Is it possible to have a female protagonist in a thriller? Does she have to be teamed with a strong male in order to survive?

Sure, it’s possible. In fact, there are some publishers right now that are looking for strong female leads in some contemporary thriller novels. Examples of books wit strong female leads include Mercy Gunderson, V.I. Warshawski, Vanessa Michael Munroe, Kathleen Mallory, Jade de Jong, Jane Whitefield, Eve Dallas, um.. Charlie Fox. All great characters; not all require a male backup to save them.

Is it possible for an indie author to get his books onto bookstore shelves? I have copies of my book ready, but the local Barnes & Noble won’t carry it. Is there anything I can do?

Your local independent bookstore may take a few copies, if you go in and talk with the store manager. But outside of face to face meetings, you’ll find it’s awfully tough to get your book onto store shelves. Stores are used to dealing with publishers and distributors, not directly with authors (except in the rare instance). And big chains like B&N and BAM generally won’t take hard copies of self-published books. That’s why most indie authors are pushing hard on the web. But again, I encourage authors to think about becoming a big deal locally — so if you’re close to a major city with a bunch of bookstores, invest in getting around to all of them, meeting the store owners & managers, and chatting up your book. Offer them great terms, and show them how you’re supporting the book locally and online if you want them to partner with you.

I have a mid-grade reader, a women’s self-help book, and a contemporary romance novel all completed. When you have a variety of projects like that, do you need separate agents for each category? Or should you try to find one agent to represent everything?

I know some authors who have a separate agent for their children’s books, and several who have a separate agent for their film or screenwriting projects, but the majority of authors have one agent who represents all their work. That allows the author and agent to create a more comprehensive career plan, and it keeps vital information (like finances and marketing plans and release dates) with the same person. Either can work, though you’ll eventually find the more spread out things are, the more tension there is in your life.

I sent my agent a manuscript three months ago, and he has yet to read it. Is that normal? Should I be concerned? He sent out a manuscript of mine nearly a year ago, and he says people are still considering it, and things are simply slow in the industry these days. Is that correct?

I don’t want to hammer someone — maybe there’s a reason your agent hasn’t read your work yet. But yes, I’d say three months is a long time to wait for someone who is already your agent. I’d encourage you to call and have a chat about it. My guess: The agent doesn’t really believe in this project, and is too nice (or perhaps too conflict-resistant) to want to tell you. As for the wait with publishers, I would agree that things are very slow at the moment. Publishers are taking a long time to decide on projects. Still, if a publisher has had a manuscript for a year and not decided… well, they HAVE decided. If they had any enthusiasm for the project at all, they’d have said so. By not saying anything, they’re really rejecting it.

How do I find out if the novel I just completed has similar books in print? I want to include that information in my proposal. Do I look by topic?

You do some research. Go into a great bookstore and spend some time perusing the store shelves. Talk with the sales staff, or with a librarian, or with your writer friends. Then go onto Amazon.com and search by key words, and perhaps by likely authors who have also written on the topic. Finding comparable titles is simply a matter of time and deduction.

Like many of your readers, I dream of the day when I can be a full time writer. (Unfortunately, these things called “mortgages” and “car payments” and “college tuition” keep getting in the way.) In your role, have you found there are certain jobs that are tailor-made for writers who have to work?

That’s a fascinating question… There probably are day jobs that many writers have — jobs that aren’t taxing mentally or physically, so the writer still has some energy left to exert on the creative process. But I’m not sure I have any real-world wisdom on this. I’ve represented several beginning authors who worked in food service (i.e., waiter or barista) and on the telephone (chatting up customers) or doing retail sales. But I’ve never really noticed there was one job that attracted a bunch of writers, so let’s ask readers: Do you have a job that you find meshes beautifully with your writing life? Could you share your thoughts in the comments section?

If you could sit down with a literary agent and ask anything you like, what would you ask?

Having coffee with a literary agent…

April 7th, 2014 | Agents, Career, CBA, Current Affairs, Deep Thoughts, Publishing, Questions from Beginners, Self-Publishing, The Business of Writing, Trends | 5 Comments

Okay, so this month I’m asking people to send in questions — What is it you’ve always wanted to talk with a literary agent about? If you could sit down over coffee and just have a conversation, what would you ask? Send those in, and I’ll do my best to answer your questions. Here are some questions that came in…

Do you recommend self-publishing with your authors?

Absolutely. I think authors today have to think about doing a variety of projects through a number of venues. That could mean they are working with traditional publishers, non-traditional publishers, niche publishers, and self-publishing some projects. I’m a big supporter of what I consider the “hybrid” author.

What are the challenges of agenting in today’s publishing climate?

Well, agenting (like writing) has never been easy. You have to understand the market, have relationships with the editors, know what each house is looking for, keep current on things like trends and publishing contracts. Most importantly, in today’s market agents are called upon to be part of the marketing effort — something that we didn’t used to do much of. But in terms of the recent challenges, I would say advances are down, and slots are limited, making a debut for an author harder than ever. There are more books available, so it’s tougher to help an author get noticed. And there’s also been a bit of an anti-agent movement going on among the indie-publishing crowd, which I think is fueled by people who really do not understand the publishing business. But I have faced that a bit over the past couple of years, and it’s been interesting — people who really don’t know the industry, but are absolutely certain they know that an agent is unnecessary. I’d be lying if I said that wasn’t a challenge we face today.

I’ve heard you mention a couple times that you have some reservations about Amazon — can you explain to me in simple terms what the problem is?

Sure. I love Amazon. A great, forward-thinking company. They do a fabulous job selling books, and have positioned themselves to be the sole purveyor of ebooks. But… if the entire indie publishing movement is based on one company, we’re going to have a problem. Because Amazon, while I generally love them, is definitely a cut-throat, predatory company. (I’m not criticizing them. I’m just offering an opinion on their tactics.) We can say they’re just practicing good business when they lower prices to the point that they squeeze out other companies, but be aware that, as soon as it’s clear they are the only company selling ebooks online, they will cut their royalty rates. (They currently pay a 70% royalty on self-published projects. If there is no one to compete with them… why pay out 70%? Why not pay out a much smaller amount?) Lest you think that’s a scare tactic on my part, recently Amazon realized they didn’t have any real competition for self-published audio books. So what did they do? They cut their royalty rates from 90% to 40% Overnight. With no warning. And no negotiation, either — if you want to work with their ACX service to do your self-published audio book, you can expect to make 40% from now on. What happens when B&N.com and the iBookstore and the Kobo bookstore go out of business? You think Amazon will still pay 70%? Not if they don’t have to. So I love them… but I tend to think monopolies are dangerous. We’re in the Golden Age of publishing at the moment. A huge shift in royalties will mean far less money for authors, and an end to the halcyon days of indie publishing.

Since you seem to keep your finger on the pulse of fiction, what trends do you see in today’s fiction publishing market?

I don’t know that I have my finger on the pulse… and some days I wonder if there IS a pulse, at least on the CBA side. But some things I’ve noticed: Historicals are struggling; contemporary stories are where it’s at. Amish has waned, but it’s still a sub-genre that works because it’s sort of a blend between historical and contemporary. Paranormal has faded. New Adult has been hot, but unfortunately it’s turning into nothing more than upper-edge YA with explicit sex scenes. (Porn for an early 20′s readership, in other words.) A shame. Of course, romance just keeps selling — especially contemporaries with people who have interesting jobs or live in fascinating places. And romantic suspense seems to be growing as well (at least in our part of the business). I tend to think CBA YA is a major struggle, and wonder what’s going to happen with the genre. (My guess? It blends into spec fiction, and the spec side grows some. But the problem with that theory is that it’s never happened. Sci fi/fantasy has never been more than a slice of the overall publishing market. So what do I know?) On the nonfiction side, memoir is hot, so all you fiction people may want to use your storytelling skills and use your fiction technique to tell a nonfiction story. Books in the evergreen categories of money management, healthy lifestyle, career success, healthy relationships are also continuing to sell.

Of course, ebooks are the rage, and a growing percentage of all publishing. (While only a third of the sales of legacy publishers, they amount for roughly half of all books sold if you include all the startup, mini, and indie publishing ventures.) And, if you want me to talk about the business side of publishing, it should be noted that publishers have all gone to e-contracts (that is, a digital document, rather than a paper one). Also e-royalty reports. And e-catalogues. And e-editing. And e-breakfast, for all I know. Everybody is posting their books, so there is a boatload of under-edited, crappy novels out there, making it harder than ever for an author to get noticed. There are fewer editors, particularly at CBA houses, fewer slots for debut novelists at legacy houses, more expectations for authors to do their own marketing, less editing than ever, smaller advances, but growing royalty rates. And, of course, more crappy agents who don’t know jack and I have to apologize for their stupid errors. (I need to do a blog on this some day.) And more micro-publishers, most doing ebooks only, and starting to make their mark in the publishing market. That help you?

Have you always wanted to sit down with a literary agent and have a conversation? Here’s your chance. Send me a question, or post it in the “comments” section, and I’ll get to it this month.

If I were having brunch with a literary agent…

April 4th, 2014 | Agents, Career, CBA, Conferences, Current Affairs, Publishing, Questions from Beginners, Self-Publishing, The Business of Writing | 3 Comments

I’m spending the month answering questions authors say they would ask if they could sit down and have a conversation with me. I’ll be doing this the entire month of April, and I’m trying to get to all the questions that get sent in.

Can I query an agent if I’ve posted one or more chapters of my book online?

It depends on the agent, but with MacGregor Literary (and with many other agencies) YES we would look at a book that has been posted online. That’s one of the things that has changed over the past couple of years.

When an agent receives a standard commission, does it all stay with the agent or is it split with the agency?

If the agent works for a medium-sized agency, then yes, that commission is going to be split. Part of it will be paid to the agent, and part will remain with the agency. If the agent works for a large agency where he or she is paid a salary, the commission goes to the agency, but a bonus will probably be paid at the end of the year, depending on the size of the deal. Of course, at a small agency, the agent is probably keeping the entire commission.

How might I find the most appropriate agents to query? The usual advice seems to be to read agent blogs and websites, read the Guide to Literary Agents, and comb the acknowledgements in books by comparable writers. I’ve done a good deal of that. The problem: By vocation I’m an academic. I write religious non-fiction for a non-academic readership. Most people in my line of work write for other scholars and don’t have agents, and I haven’t been finding people like me on agency lists of authors — though my search has not been exhaustive. Like most of my colleagues, I sold my first book (to IVP) without an agent. Now it seems an having agent would be very helpful indeed.

I would agree that doing some research is the best way to locate an appropriate agent. You may want to add Publishers Marketplace (PM), which has a searchable database of agents and deals dating back six or seven years, and allows you to search by genre or key word. (PM is $20 per month, and well worth the price.) But if you’re writing for a trade audience (that is, not a scholarly audience, but the average reader who is walking into Barnes & Noble or looking for a book on Amazon), I think there are several good agents out there (and even more bad ones, frankly). Have a look at who is contracting the books, see who is already representing books similar to yours, and maybe ask around with some experienced authors. You may want to go to a couple of good conferences, where you can meet agents face to face — in some cases you can save money by going for one day, rather than paying for the whole schlamozzle.

I looked at the workshop line up for RWA National in July and more than half the conference is dedicated to self-publishing. A big part of my local chapter has self-published as well. I admire how a few authors are turning self-publishing into an empire, but for the vast majority of self-published authors it’s hit-or-miss. Yet there seems to be pressure on authors to self-publish these days. Do you think this direction is because it’s harder than ever to break into traditional fiction?

I think two things are at play… First, it’s as hard as it ever was to break into traditional publishing, and self-publising offers a potential opportunity to frustrated writers. I understand that frustration, and recognize why authors want to self-pub their works. Second, there is what I call the Amway Publishing Myth — that is, “All you have to do is to post your book onto Amazon and you’ll be making money, and soon you’ll be a star and the magical publishing faeries will smile on you.” Don’t get me wrong — I”m all for authors going indie and self-pubbing some titles. But it’s not a magic formula to success, it’s almost impossible to get noticed (Amazon now has 15 MILLION titles for sale), and my experience is that a lot of the folks who are pushing self-publishing as some sort of cure-all for every unhappy author are simply hucksters and wannabes. I hear from too many writers who talk big about their fabulous self-pubbed book, only to discover they’ve sold a couple dozen copies and made almost nothing. (Here I”ll be nice and say that if you don’t care about making money at your writing, and you’re only posting books on Amazon to express your creativity, then bully for you. But I do this as a business, so my inclination is to roll my eyes at people who say they don’t care of their ebooks sell or not.)

I have two questions which I would like to have a professional opinion about. First, friend of mine said the subject matter for my story may not be “publishable,” as it’s an historical about an unmarried girl from a wealthy family who is pregnant by a man of her social standing who rejects her. I’d wondered if this was too controversial for the Christian market. Second, Margaret Sanger had begun publishing “pro-choice” information at this time, and I wasn’t sure if it was legal to mention her by name or include her in the story. Is it?

To answer your first question, a novel about a young women of limited means who gets pregnant by a man of greater social standing who rejects her, is a fairly common theme in literature. I don’t see that as being too racy for a Christian fiction publisher. To answer your second question, Margaret Sanger was a historical figure, and novelists routinely tackle historical figures in fictitious/imaginative ways. It would not be at all uncommon or inappropriate to include her name or her words in your novel.

I write inspirational African American historical romance, and have won major writing contests. Still, it has been very difficult to get requests from CBA agents. My perspective is that in inspirational fiction, you need an agent to get to the editors. My options so far have been to self-publish or to take the inspirational label off of my works and go for general market agents instead. I think there is an entire market that is being ignored and most agents/editors don’t know what it is. So which do you think I should do? Self-publish or go for ABA?

A couple thoughts come to mind… First, you may not be talking with the right CBA agent. The best place to meet CBA fiction agents is at the ACFW conference, which happens every September. Let me encourage you to try and attend that this fall, if at all possible. It will put you face to face with a couple dozen agents who work in CBA. Second, it’s certainly possible that a more general market audience would be best for your novel (though I haven’t read it, so I’m obviously taking a wild surmise). Perhaps you could talk with a good editor of African-American fiction about the salability of your manuscript in the general market. Third, it’s also possible that self-publishing is a great choice for you, so long as you have a way to get the books in front of your audience. The reason most authors fail at indie publishing is because they can write,but they can’t market or sell their work. So evaluate your ability to get your manuscript in front of your intended readership. Does that help?

If you have a question you’ve always wanted to ask a literary agent, send it my way — I’ll happily get to it in April!

Questions you’d ask an agent…

April 1st, 2014 | Agents, Career, CBA, Current Affairs, Film, Publishing, Questions from Beginners, Self-Publishing, The Business of Writing | 7 Comments

So this month we’re going to let you ask whatever you’ve always wanted to ask a literary agent. You send me the questions (or stick them in the “comments” section), and I’ll try to answer them, or get another agent to answer them. First up, some questions that came in yesterday…

Suppose you have a character in your novel that would be perfect for a particular actor. Should you tell your agent about it and let them handle it?

You could… but it probably won’t get very far. It’s rare that a project gets pitched to an actor in a role, unless it’s a major actor with clout. (So, for example, if you had a role that was perfect for Leonardo DiCaprio, you could try and talk with his agent. Um, and you would be author #5962 who has the “perfect” role for him.)

If I have an agent, then decide to write a self-pubbed novel, how can I include my agent in the process?

This is one of the things happening in publishing these days that is still in process, so there’s no one right answer for every situation. You could ask your agent to help you with it — the editing, the copyediting, the formatting, the uploading, the cover, etc., then pay a percentage as a commission. OR you could see if your agent is producing a line of books, make it part of that line, and pay a certain commission to him or her. (For example, we’re helping our authors create a co-op line of clean romances.) OR you could do it all yourself and not pay the agent anything. OR you could do it yourself, but work with your agent to help with things like marketing and selling, and pay a commission.

I am brand new to the industry, and delving into the potential of writing fiction. So what are the first steps in identifying the right agent, reaching out and establishing that agent/author relationship, and writing and getting a publisher to release the first novel?

Okay, the first step is to learn to write. That might seem too simplistic, but without a great manuscript, you’re not going to land an agent, editor, or publishing deal. This is particularly true in fiction, where a debut novelist will not be getting a deal without a completed manuscript. So I’d recommend you complete your manuscript, then join a critique group to get some other eyes on it, listen to what other writers have to say, and eventually talk with a good fiction editor about what needs to be done in order to create a great manuscript. You should know that the average number of completed manuscripts an author creates is SIX before he or she lands a publishing deal.

As for the next steps, once your manuscript is ready, you’ll probably find it’s easiest to connect to agents either face to face at a writing conference (check the conference website to see which agents are attending, then do some research to see who is there that might be a fit for your novel), or through a friend. I find the majority of authors I currently represent were introduced to me by authors I already represent. Once you’ve got a great manuscript and an agent, you’ll be off and running.

Do you think Christian fiction is where Christian music was a couple decades ago – where certain music was deemed “UnChristian” or was too controversial to be accepted by the mainstream? My opinion is that after all that type of controversy cleared out, Christian music got really good. Or maybe it was vice versa — the music got better and then the controversy died.

I’ve had various forms of this question asked of me quite a bit recently. (For those who don’t know, we represent a lot of inspirational fiction, as well as general market fiction.) I can see why you might think that, but I don’t believe the two situations are analogous. Contemporary Christian music was faced with having to break out of the narrow, church-youth-group type of audience, so some performers (Any Grant is a great example) was criticized as being “too worldly” when she began doing music that was not strictly about Jesus or her spiritual life. Eventually contemporary Christian music saw a bunch of performers bust out, much of it became part of the mainstream, and the entire industry saw the financials change as it moved away from full CD’s and toward single-title downloads — so most music performers these days make the bulk of their money from concerts and other live venues, rather than from music sales.

Book publishing is going through a different change. We’re still selling complete projects (books, not just chapters), but the vehicles are altered. A reader can download an ebook from Amazon, or buy a printed book at Barnes & Noble, and each choice is unique. The end result is different, the delivery mechanism is different, the marketing is different, the basic audiences are different… and that’s why I keep telling people that we need to see digital books as completely separate projects from printed books. (Whereas music was music, no matter how it arrived in the customer’s hands.) The advent of ebooks has led to a ton of startup companies, a revision in royalties, a scaling back in advances, a decline in intermediaries, more crud on the market, but more opportunity to make money for authors. A seminal shift in publishing. But back to your question — No, I don’t think we’re seeing authors being viewed as “unChristian,” so much as we’re seeing a combination of more publishing categories for CBA fiction, declining overall sales for the legacy CBA fiction publishers, and a desire to play it safe (which is why Christian fiction is swimming in romances, but has a limited number of new literary titles being released by major houses). There is still a place for thoughtful inspirational fiction, but right now that’s become tougher to sell to traditional publishing houses.

Got a question you’ve always wanted to ask a literary agent? Sent it along and I’ll get to it shortly.

What have you always wanted to ask an agent?

March 31st, 2014 | Career, Current Affairs, Publishing, Questions from Beginners, The Business of Writing | 8 Comments

I started this blog seven and a half years ago, as a way to simply answer the questions writers have about the process. Some wanted to ask about writing, others about publishing, still others about marketing. People asked about careers, they asked about proposals, and they asked about contracts. Lately we’ve had a ton of people asking about indie publishing and working with Amazon to become a hybrid author.

In the month of April, I thought we’d do an “ask me anything” segment. So… what have you always wanted to ask a literary agent? I’ve got a backlog of more than 200 questions, but I thought I’d begin by simply asking the people who read this blog a question: If you could sit with me over a cup of coffee or a beer somewhere, and ask anything you wanted, what would you want to know? What would you like to chat about?

Drop a question in the “comments” section below, or send me an email at chip (at) macgregorliterary(dot)com, and I’ll try to offer short answers to your questions. You can ask about books, about proposals, about writing, career planning, marketing, platforms, proposals, or anything else. If I don’t know an answer, I’ll ask someone who does. If they don’t know, I’ll just make up something that sounds good. (Or maybe I’ll ask someone else.)

So there you have it — April is “ask the agent” month. Send me your tired, your poor, your huddled questions yearning to breath free. I’ll do my best to get you a good response.

-Chip

Thursdays with Amanda: How the Movie “UNDERWORLD” Perfectly Portrays Today’s Publishing World

March 27th, 2014 | Marketing and Platforms, Publishing, Self-Publishing, The Business of Writing, Uncategorized | 4 Comments

2014Amanda

Amanda Luedeke is a literary agent with MacGregor Literary. Every Thursday, she posts about growing your author platform. You can follow her on Twitter @amandaluedeke or join her Facebook group to stay current with her wheelings and dealings as an agent. Her author marketing book, The Extroverted Writer, is available from Amazon and Barnes & Noble.

 

Have you seen Underworld?

In this rather awesome and yet equally terrible movie, the vampires and the lycans are at odds (duh). The vampires are snooty and privileged and literally SLEEPING UNDERGROUND while the world passes them by.  The lycans, on the other hand, are rule-breakers and thugs. They do what they want and for obvious reasons don’t get along with the vamps.

There is a particularly attractive lycan-hunting vampire girl who is tracking a lowly human that most women my age would know as Ben from Felicity. Ben from Felicity is being followed by lycans, and the hot vamp chick wants to know why. The truth is soon revealed when the lycans bite Ben from Felicity and turn him. By now the hot vampire lady is torn! She has grown to care for Ben from Felicity, and how can she love her enemy?! She eventually decides to get over herself and love him anyway, but then he is once again injured and near death (wimp). She does what she has been warned not to do and bites him, thus making him both vampire and lycan–a creation that is rumored to be stronger than either species. They call him a hybrid. Eventually, he is able to bring about peace between the clans.

So why do I bring this up? Why walk you through the ENTIRE movie premise?

Because it adequately portrays what’s happening in publishing, and every time I hear the term “hybrid author,” I immediately think of Ben from Felicity (and I wanted you to do so as well).

You see, traditional and digital/self-pubbing are at odds. Traditional publishing for the longest time was comprised of two camps. There were the industry people who saw what was happening and wanted to figure out a solution, and then there were the stuffy, somewhat elitist industry people who were looking the other way (i.e. vampire sleeping) while digital/self-publishing took off. Also true to the movie, the self-publishing side is more of a wild west in which the rules are meant to be broken and anything goes so long as no one ends up getting sued.

And authors in the midst of their careers are caught in the shuffle. They’re torn, much like the hot vampire chick was torn when Ben from Felicity was bitten! Do they stay true to their publisher? Or do they venture out on their own? Conversely, self-pub authors, when given the opportunity to go traditional, have an equally tough decision to make. Are they signing their careers away by getting with the big houses?

One by one we see traditionally published authors dabble in self-pubbing.  And we also see self-pubbing success stories trying their hand at traditional options.

The result? The industry is filling with hybrid authors who are more powerful, more connected, more happy, and typically more profitable than those who stay one one side or the other.

The hybrid authors get the best of both worlds, as they get marketing and brand support (not to mention in-store distribution) from traditional houses, while they maintain creative control and better royalty breaks from their self-publishing ventures.

How are publishers responding?

For awhile, publishers tried to fight it. We heard stories of publishers dropping authors who had ventured out on their own, and for the longest time it was very difficult to get an indie book entered into any kind of contest. Publishers also held tightly to non-compete clauses, and would say things like “why didn’t you show this project to me?” when an author would take something and either do it on their own or place it with a micro-publisher.

But things are changing. Industry pros are finding that authors are happier when they’re making money (big surprise there), and the beauty of self-publishing is that it brings it more cash. It makes becoming a full time author a bit more feasible. And it also helps the author provide content to readers more regularly, thus developing a stronger brand and a more dedicated following, which traditional houses can appreciate.

How Do You Become a Hybrid Author?

For unpublished authors, it’s a matter of producing quality work…quickly. It’s about growing your sales numbers and catching the eye of an agent or publisher. From there, things tend to work pretty smoothly. You can negotiate a deal that preserves your right to self-publish here and there (you may need to slow the frequency with which you publish down a bit), and doing so won’t surprise a publisher.

For published authors, it’s a trickier dance…and having an agent would come in handy. You need to begin negotiating those clauses that would potentially hinder your self-pubbing career. You also need to develop a strategy for publication that would prevent the two from conflicting (timing, genre, marketing…all of these have the potential of creating major rifts in your publishing relationships).

There’s a lot more to it than this, but the idea here is that hybrid publishing can boost any career…it’s a marketing tool as much as it’s a career move. And I’m excited to dive into the topic with you.

Have questions or thoughts about the hybrid thing? Sound off below!

And the biggest successes of 2013 were…

March 25th, 2014 | Author News, Deals, Books, Career, Current Affairs, Publishing, The Business of Writing, Trends | 8 Comments

In this week’s issue of Publisher’s Weekly, they have their annual report on the bestsellers of the previous year. I always enjoy reading about it and discussing it with authors, because nothing gives perspective more than a number. You see, authors like to talk about having books “sell a million copies,” and I’ve frequently seen proposals in which writers make wild promises about selling millions, since the audience for a particular topic is considered huge. (“There are 246 million people with dandruff in this country! There’s a ginormous market for my book on hair care!”)

But then every spring PW releases its report, and everyone gets a dose of reality. How many hardcover novels sold a million copies in 2013? One — Dan Brown’s Inferno. How many hardcover nonfiction books sold a million copies? Three — Bill O’Reilly’s Killing Jesus and two of the “Duck Commander” books, Happy, Happy, Happy and Si-Cology. How many trade paper books sold a million copies? One — and it was released decades ago… F. Scott Fitzgerald’s The Great Gatsby. There was only one mass market book that sold a million copies, proving that this formerly big-number format is quickly dying off, replaced by digital books — George R.R. Martin’s A Game of Thrones.

On the children’s side, there were a handful of books that passed the million mark. Jeff Kinney’s Hard Luck: Diary of a Wimpy Kid #8 sold more than three million copies, and was the biggest seller in one format of any book sold last year. But Veronica Roth’s Allegiant and Insurgent, Rick Riordan’s The House of Hades, and John Green’s The Fault in Our Stars also hit the mark. (Two other titles probably did: Marcus Zusak’s The Book Thief and Dr. Suess’ Green Eggs and Ham, but the numbers are unclear because of several factors.) Still, when it comes to print copies, that means there were all of thirteen titles that sold a million copies last year. And there were roughly 250,000 books releasing in print last year, and approximately five million books in print for sale. Thirteen books. Makes one pause to think, doesn’t it?

On the positive side, more hardcover novels than ever (a total of 251 different titles) hit the bestseller lists than ever before. But on the negative side, the list of hardcover fiction that sold more than 100,000 copies comes to just 89 titles — the lowest I’ve ever seen. Also on the positive side, there were a bunch of Christian titles on the various lists. But on the negative side, of those 89 hardcover novels that sold more than 100,000 copies, only ONE was from a first-time author. In other words, the best way to be a bestselling author is to have been a bestselling author last year. Sigh…

The ebook sales in PW are harder to discover. PW relies on publishers to send them figures, so self-published books (and, let’s face it, most small e-publishers) simply aren’t included. There were only two ebook titles that, according to their study, sold more than a million copies: Dan Brown’s Inferno and Gillian Flynn’s Gone Girl. With the proliferation of indie publishing (whether by the author, an author co-op, or by a small independent press) we’re in a state where getting complete numbers is nearly impossible. And, I’ll admit it, while I’m very supportive of indie publishing, I tend to discount what some of them report. For example, on Randy Ingermanson’s wonderful “Advanced Fiction Writing Blog,” during a discussion of Hugh Howey’s interesting “Author Earnings” article, Mr. Howey came onto the site to say that he knew of “several (indie) authors who sold multiple millions last year.” Um… I doubt that. Randy’s own analysis (the guy has a PhD in quantum physic) was that there could theoretically be two authors who sold a couple million ebooks, and another handful that sold a million. So the irrational exuberance of claiming to know a bunch of authors who all self-pubbed and sold “multiple millions” may be encouraging to author wannabe’s, but I don’t think it’s accurate.

That said, if you take a look at the article in PW, you’ll see some really good news: the overall number of ebooks reported, even though it’s basically from traditional publishers, reveals that more books are selling than ever before. The explosion of ebooks and self-publishing has been a fabulous step for authors, even though we’re all still trying to figure out how to track the numbers and understand the new systems. Sure, there’s been a migration away from mass market books to Kindles and Nooks and iPads, but the overall numbers of titles selling is greater (and hey, there are still a significant number of mass market titles sold). This is great news for authors — books are continuing to sell, more people are reading than ever before, there is a greater need for content, and there are more opportunities to publish and be read than ever before in the history of the world. What’s to complain about? This is the golden age of publishing, people.

And one last thought comes to mind as you look over the article… Publishing is very much like buying a lottery ticket. (Or, as Joe Konrath once put it, “Publishing is a carny game.”) Some people can work at it, study the probabilities, try their hardest, and never get anywhere. Others stop by 7/11 one day, drop a dollar on a lark, and find themselves living in Beverly Hills and driving a Maserati. Hey – life ain’t fair. But understand that’s the system. Writing is art, and I never knew anyone who felt the world of art was going to be easy. You pick up a paintbrush, take lessons, work with a mentor, practice, and work your way through a thousand canvases before you’re any good, and even then you still might not get noticed. Or you fall in love with the ballet, invest thousands in lessons, spend your life doing plies, and hope to latch on to a little dance company in Toledo. Or maybe you buy a used Stratocaster, invest in lessons, start a band in your garage, and play every school dance and grange hall in hopes of getting discovered. Occasionally something works — your band gets noticed and you’re offered a job as an opener for a headliner, or you get cast in a lead role that gets rave reviews, or your sculpture garners a headline in a major art magazine. You bust out. It happens. Sometimes it’s because of your great craft, your unique interpretation, or your artistic vision. Other times it’s dumb luck — your book hits the same time the culture happens to take an interest in your topic, or your title appeals to somebody at USA Today. That’s life — you do your best, and sometimes you hit the lottery. Or you don’t, in most cases, and you continue to work at it because it’s art and you enjoy it. But there’s no sure thing in publishing. Books are selling (more books than ever, thank God), and opportunities abound. I still think you’ll do better if you practice and get a mentor and learn something about the craft, no matter the success of Fifty Shades of Gray. But this year’s report once again shows there’s no guarantee to success — and some of our best writers may not be selling all that well. Still, there’s a chance of finding success, whether modest or great, and we do it because we love words. That, to me, is always the point of reading about the biggest successes in our industry.

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To see the blog post from J.A. Konrath that I referenced above, go here: http://jakonrath.blogspot.com/2014/02/eisler-publishing-is-lottery-konrath.html

Engineered Bestsellers, Rock Star Pastors, and Rosie Ruiz

March 21st, 2014 | Books, CBA, Collaborating and Ghosting, Current Affairs, Deep Thoughts, Marketing and Platforms, Religion, The Business of Writing, Trends | 5 Comments

by Ghostwriter [While this says it's written by Chip MacGregor, it is not. It's written by a professional collaborative writer who is a friend -- Chip just posted it.]

Hi. I’m Ghostwriter and I’m the collaborative author of an engineered bestseller.

The news that Mars Hill Church paid ResultSource about $200,000 to get Mark Driscoll’s book Real Marriage on the New York Times bestseller list shocked a lot of people. For me, that news solved a mystery.

As I already mentioned, I am a collaborative author and occasionally a ghostwriter. Although I am a published author in my own right, I learned long ago that I could earn a much better living helping other people write their books. It’s a good life, and I enjoy my work. Nevertheless, I still hope that someday I’ll see one of my books on a bestseller list—any bestseller list.

This explains my obsession with Amazon rankings and sales figures.

I know, I know…

You have to take Amazon numbers with several hundred grains of salt. I get that. But I still enjoy checking my author page and seeing how many copies of my books have sold in the previous week. Generally, the numbers are unremarkable. Sometimes they are depressing. But a while back those numbers astonished and mystified me.

I’d collaborated on a book with a megachurch pastor and, although it was a contract job for which I received a flat fee and no royalties, I asked for and received cover credit. Because my name was on the cover, I was able to list the book on my Amazon author page and track its sales statistics. Even though I wasn’t going to receive royalties for the book, I was still curious to see how well it was selling.

So I set the book up and waited for the launch date. The first week’s sales stats took my breath away. The book went from zero to 10,000 sales virtually overnight. I must confess that at this point I was kicking myself for not asking for a percentage of the royalties. I figured we had a runaway bestseller on our hands.

Since Amazon posts BookScan sales figures weekly, I spent a week eagerly looking forward to the next report. But when the stats were posted, not only was I disappointed, I was puzzled. In one week, the book’s sales crashed from 10,000 to about 200. The next week it dropped off even further—to about 50.

You read that correctly.

Fifty.

If you do the math, that amounts to about a 99.95% drop off in three weeks.

At first, I thought the church had purchased a bunch of books, maybe to sell in bookstores on their various campuses. But I checked the geographical sales figures, and they were literally all over the map. Ten copies here. Twenty-five copies there. Sixty in another place. Almost every state in the U.S. was represented. I was flummoxed — until I heard about Mars Hill Church’s arrangement with a marketing firm known as ResultSource. Then all the puzzle pieces fell into place.

The pastor I collaborated with had mentioned that he had a “consultant” who helped his previous book get on a major (not the NYT) bestseller list, and that he planned to use them again. In my naïveté, I assumed the consultant was a publicist who helped market the book. Now I believe it was either ResultSource or a similar company.

Like it or not, I am now the collaborative author of an engineered bestseller.

How does that make me feel? It makes me feel an uncomfortable kinship with an infamous long-distance runner named Rosie Ruiz.

Ms. Ruiz won the 1980 Boston Marathon in the women’s category with the fastest time in the history of the race. However, her celebration was short lived when it became clear that she did not run the entire race. She wanted the glory of winning the Boston Marathon, but she wasn’t willing to put in the hard work required to do it legitimately. Even if she had put in the work, she might not have been good enough to win. Rosie wasn’t willing to take that risk. She wanted glory and fame. She wanted a guaranteed win. So she took a shortcut — she cheated.

That’s what’s happening when megachurch pastors, conference speakers, and big organizations hire companies like ResultSource to “help” their books attain bestseller status. Like Rosie Ruiz, they want the glory. They want a guaranteed win. So they take a shortcut. They cheat.

Is this done all the time in the publishing industry? Chip MacGregor says no, and I agree with him. This is not a publishing industry problem. I believe engineered bestsellers are symptomatic of an evangelical Christian culture that worships success and elevates megachurch pastors to rock star status.

Boston Marathon officials disqualified Rosie Ruiz and stripped her of her title. Unfortunately, no one is going to strip these pastors and Christian leaders of their phony “bestselling author” status. However, one can hope that the embarrassment caused by the Mark Driscoll fiasco will make them think twice before paying for another engineered bestseller.

And maybe, just maybe, they will remove the phrase, “bestselling author,” from their bios and websites until they attain that status legitimately — through people actually buying, reading, and sharing their books.