Since we frequently get questions about publishing, I thought it could be beneficial to see the traditional and self-publishing processes at a glance. I’ve talked about the traditional path once before in my post Publishing 101, but it’s been a few years, and this is a more skimmable format. Which comes with some trade-offs, so just to be clear:

• This list is not what getting published looks like for every author at every house. Each writer’s journey is unique, as is the process of each agent and publishing house.
• The list format makes everything look so much more orderly and concise. That’s not how it feels IRL. Many items on this list can take years. Or sometimes you get through step 6, the book goes nowhere, and you start over at step 1.
• I really cannot emphasize enough that this is generalized and over-simplified list. But just in case that’s still not clear:
• THIS LIST IS GENERALIZED AND OVER-SIMPLIFIED.

Okay, now that we all understand this list is GENERALIZED AND OVER-SIMPLIFIED, let’s proceed.

1. You write the manuscript.

As discussed in previous posts, for debut novelists the entire manuscript needs to be written before you can start looking for an agent or editor.

2. You edit the manuscript.

This step is such a big deal, Jill Williamson and I wrote a whole book on it. This step also might involve getting critiques or paying a freelance editor.

3. You query agents.

This might mean participating in #PitMad, going to a writers conference, or spending all your free time searching Manuscript Wish List.

Further reading: How To Write A Query Letter

4. An agent wants to work with you. Hooray!

Please make sure this is not “an agent” but a good agent who you like. And who has actual contacts in the publishing industry. Not all literary agents are right for you, and they have different strengths depending on genres.

Your agent will likely suggests changes to your manuscript, so some more edits might crop up here.

Further reading: Find The Right Literary Agent For You (the “how to” is a little outdated, but this post still has some good thoughts about why it matters to wait for a good one.)

5. Agent puts together a list of where to submit and starts sending out emails to editors.

6. You buy a pint of your favorite ice cream to keep in the freezer, and check your email approximately every five seconds.

7. An editor requests the full manuscript, loves it, and tells your agent.

8. The editor shares your manuscript with the other editors to see what they think.

Editors work together to shape the line, so it’s important that they’re all on board with a book. (Jill wrote a mock editorial board meeting about The Crowl and it’s a GTW classic.)

If the editors all like it, then:

9. The editor takes your manuscript to the pub board.

The attendees of this meeting vary based on the size of the publishing house, but those included are probably the publisher (meaning the boss, not the company), the editors, head of sales, head of marketing, and maybe head of publicity too. This meeting is to decide what books they’re going to acquire and what they’re going to pass on. For our purposes today, we’re assuming they say “yes” to your book.

Further reading: Again, Jill’s Crowl posts offer a great glimpse of this process.

10. The editor contacts your agent with the good news and a brief outline of what they’re offering.

The deal memo includes details like how much of an advance they’re offering and what kind of rights they’ll retain (international, audio, etc.) and what they’re thinking for a release date. But it doesn’t go into all the detail that a formal contract does. It’s like a pre-contract.

Further reading: How Advances Work

11. Your agents comes to you to discuss the deal memo.

The two of you talk together about what changes you want to ask for.

12. Your agent haggles with the editor until everybody is okay with the deal.

13. A formal contract is drawn up and more negotiating happens.

The paperwork can take a bit, and often you and your editor start working together before anything has been signed. I’ve frequently been working with my editor on story direction or her suggested changes months before I actually sign anything.

14. Finally everybody can agree on the terms of the contract, and copies are printed for you to sign.

In my experience, the publisher sends three printed copies to my agent, who sends them onto me. Once I’ve signed them, the publisher signs them, and then one lives with me, one lives with my agent, and one lives with the publisher. Now the official announcement can finally be made! It might look like this:

15. If your editor hasn’t already, you’ll receive an editorial letter from him or her.

Again, this process might have been underway while all the contract haggling was going on, but the editorial letter is pretty much what it sounds like, though they vary in length and tone depending on the editor. Mine, so far, have always been written with my tender writer’s heart in mind.

These are going to be broad notes about character, plot, theme, etc. though there may also be some specific notes of, “In this scene, I thought you could do this instead.”

16. You make the changes by the agreed upon deadline and submit the final manuscript.

Depending on your release date and how many changes are requested, this is most likely a few weeks to a month.

17. The editor reads it, tells you it’s fantastic, and sends it on for copyediting, typesetting, and proofing.

18. You fill out lots of paperwork for the marketing department.

This includes but isn’t limited to: Back cover copy, a short hook to pitch your book, other title ideas you maybe had, thoughts about the cover, your marketing ideas, your social accounts, a list of media contacts you have, who you know who could endorse your book, and the list goes on.

Not everybody at the publishing house will be able to read your entire book (remember, they publish many!) so it’s really important that you give the marketing team good stuff. This is what they’ll use for pitching you to media, and it’s what the sales team will use when pitching you to bookstores.

19. You receive edits from the copy editor.

These are the line edits where they’re checking grammar, continuity, and probably other things that I don’t know about. Copy editors are amazing people. Again, your deadline on returning these might be anywhere from a week to a month, just depending on the schedule.

20. You make all the changes and turn it back in.

And if you’re smart, you read the whole thing again to make sure you scrubbed every typo you possibly could. Also, this is likely your last chance to make bigger changes.

21. You receive galleys.

Galleys are the typeset pages, and it’s one of the most exciting things ever to see the book with all the pretty fonts.

22. You review the galleys and return them.

Usually you have a week or two to read and look for typos or teeny-tiny word changes you want to make. You can’t make big changes now without undoing all the hard work of the editor who did the typesetting.

23. You work with marketing on the plan for releasing your book.

This experience varies widely based on your publisher and genre. Some publishers only send out digital Advanced Reader Copies. Others do a combination of printed and digital. Some have a long list of trade magazines they try to get reviews from, others have a more genre specific list. Every marketing plan looks a little different!

24. Your book is published. You’ve done it!

This is both surreal and a bit anti-climactic, in my experience. Most authors have had the experience of being super excited on release day, driving to the bookstore, and finding ONE copy. Spine out.

And with shelf space being what it is, you try to be grateful they ordered one (as you turn the cover out).

Typically from the time you receive the initial offer to the release date is at least a year, but often eighteen months or two years. It’s a long process!

Also, not mentioned above is that the entire time this is going on, most writers are working to grow their audience on social media, and writing another book that they hope to sell once this one is published!

Did anything surprise you on this list? What questions do you have?

Stephanie Morrill writes books about girls who are on an adventure to discover their unique place in the world. She is the author of several contemporary young adult series, as well as two historical young adult novels, The Lost Girl of Astor Street and Within These Lines. Within These Lines was a Junior Library Guild Gold Standard selection, as well as a YALSA 2020 Best Fiction for Young Adults pick. Since 2010, Stephanie has been encouraging the next generation of writers at her website, GoTeenWriters.com, which has been on the Writer’s Digest Best Websites for Writers list since 2017. She lives in the Kansas City area, where she loves plotting big and small adventures to enjoy with her husband and three children. You can connect with Stephanie and learn more about her books at StephanieMorrill.com, Instagram, Facebook, and Twitter.