Before you begin, it helps to understand for whom you’re writing. If you’re writing just for yourself or friends and family, great, you don’t need to worry about your book’s sales potential. But if you want to attract a readership, generally your novel will fall into one of three publishing industry categories. This placement will help you make your novel commercially viable: 

Genre fiction

• Plot-driven stories that fall into a genre category such as romance, thrillers, mystery, fantasy, sci-fi, horror
• Reaches broad audiences
• Writing is fast-paced
• Satisfying experience that readers expect
• Concise hook or problem to solve (like a murder)
• Aim is entertainment

Upmarket fiction

• Character driven
• Well written but with a commercial plot
• Universal themes most people can identify with
• Blends with literary fiction but the writing is accessible
• Aim is thoughtful discussion (and is often used for book clubs) 

Literary fiction

• Driven by craft and quality of language 
• Blurs or blends genre expectations
• Pace is slower due to the emphasis on language
• Aim is art

The self-publishing space is almost entirely genre-driven, while genre, upmarket, and literary fiction all fall within the traditional publishing sphere. 

Next, let’s look at the three main types of book publishing: self-publishing, traditional publishing, and hybrid publishing.

You’re now ready to decide which publishing route to take. The majority of new authors today choose self-publishing, while many still pursue a traditional publishing route, and a small number choose hybrid publishing. Here’s an overview:

• Self-publishing. An increasing number of authors are becoming indie authors. Advantages include greater autonomy over your work and much higher royalties. Indie authors handle not just the writing and editing but all the other elements of publishing, including cover design, formatting/layout, marketing, etc. There are thousands of writers making a living as a full-time indie author and many more who do it part time.
• Traditional publishing. This is a more challenging route, given that it’s hard to land a literary agent or publisher. But for a select galaxy of authors, it increases the chances of your novel being carried by bookstores and, for the lucky few, becoming a breakout bestseller. Before approaching an agent, you’ll need not just a great idea for your novel but a finished manuscript.
• Hybrid publishing. This simply means that you write the work and you pay a small publishing house to handle the production and marketing. But beware, there are lots of unscrupulous players in this space. See the section below for tips on finding a reputable hybrid publisher.

In years past, self-publishing (or indie publishing) was often seen as a last resort for writers who couldn’t secure traditional deals. But today, many authors choose to self-publish from the start, bypassing traditional routes entirely.

Self-publishing gives an author full control over the creative process and the business aspects of writing. Book content, cover design, marketing strategy, formatting, and every other decision that goes into writing and publishing a book all fall into the hands of the author. You even get to set the price for the book. Because the writer is also the publisher, self-publishing can also mean higher royalties (the percentage of the book’s sale price that you are paid after costs are deducted). This approach also allows direct interaction with your readers, helping you grow a fan base in a way traditional publishing often can’t match.

However, self-publishing requires taking on all financial risk. While potential earnings per book are higher, if sales are low, you may not recoup production costs, to say nothing of your time. Essential elements like editing, cover design, formatting, and marketing are critical to a book’s appeal, but they all require time or budget. As a self-publisher, you’ll need to hire professionals or learn to handle these tasks yourself.

It can also be harder for self-published authors to achieve the visibility of traditionally published authors, though marketing support varies across publishers. With effort, self-published authors can get their books into bookstores, make bestseller lists (though many exclude indie books), and reach a wide audience.

If you’re considering self-publishing as a career, it’s akin to running a business. Some writers find it empowering to take charge of their author career. Here’s a breakdown of the typical steps:

1. Finish your manuscript 

• Unless you’re publishing a serial novel on a platform like Kindle Vella, you’ll need to finish the entire draft before publishing.
• Make sure you revise your story to the best of your ability. The more work you can do yourself, the less you’ll need to hire an editor to do it for you.
• If you have the budget, Scrivener is a great software application for authors. It offers a host of features you won’t find in Microsoft Word and provides an interface to see all your chapters at a glance.

2. Use self-editing software

• Marlowe Pro provides an inexpensive critique of your drafts, offering feedback on story beats, plot turns, pacing, characters, cliches, foul language, repetitive words, overuse of adverbs and adjectives, and offering book comps in your genre.
• ProWritingAid is used by authors chiefly to make in-line edits to their manuscript. It offers a plug-in that integrates with Scrivener, Microsoft Word, and Google docs.

3. Bring in outside editors

Outside editors range from (often free) alpha readers or beta readers to professional developmental editors. Remember, you are the publisher, which means taking on tasks typically handled by a publishing house. You may not need every editing type for every book, but consider at least one professional critique before publishing.

Here are the types of editing to consider: 

• Alpha reading: If you’re just starting out, it’s unlikely you’ll have the luxury of calling upon teams of both alpha and beta readers. Alpha readers are often the first individuals to read a manuscript after the author has completed a first draft. Their feedback is sought during the early stages of the writing process, usually when the manuscript is still rough and unpolished. The primary focus of alpha readers is to provide high-level feedback on the overall structure, plot development, and character arcs. They help identify major issues such as plot holes, pacing problems, and inconsistencies in the narrative. If you join a writers’ group, members who critique your manuscript serve this function. The size of an alpha reading group varies but three to five individuals is common.

• Beta reading: Beta readers come into play later in the writing process, usually after the author has conducted self-edits and believes the manuscript is close to being ready for publication. Beta readers provide more detailed critiques, focusing on the reader’s experience and elements such as pacing, characters, plot continuity, and the manuscript’s overall polish. Their insights help refine the story before it goes to the next stage — depending on whether you’re self-publishing or going the traditional route. A team of beta readers can range in size from three to dozens of people. There are also paid beta reader services for those just starting out.

• Developmental editing: A developmental editor reviews your finished story and makes recommendations for strengthening the plot, structure, character development, conflict, characterization, and more. An editor who specializes in your genre can also comment on whether you have met the expectations for your genre and whether it’s ready to be sent to a literary agent or is ready for self-publishing. Developmental editors are particularly helpful if you’re unsure about the structure of your novel. 

• Line editing: Line editing focuses on the style, word choice, flow, and readability of your writing at the sentence level. If you hire a professional editor, be sure to get a detailed breakdown of what services you’ll receive; some developmental editors will offer selective line edits, but for a full line edit you’ll want to find someone who specializes in this. Developmental edits and line edits tend to be the most expensive kind of edits. As with developmental editors, rates vary widely.

• Copy editing: Copy editors tackle the nitty-gritty of grammar, continuity, cohesiveness, style, and consistency. Copy editing focuses on making sure that your writing is clear, clean, and contains no clunky sentences, typos, misspellings, or grammatical errors. Sometimes a copy editing service will also include line editing. You’ll usually receive a Microsoft Word document marked up with track changes. Copy editors charge by the word — typically, three to 10 cents per word. 

• Proofreading: Proofreading should happen after the next step (formatting), but it’s still a type of editing. Proofreading is meant to be one last check before your book goes out into the world. Proofreaders look for typos and grammatical errors that slipped past the copy editing stage, but they also look for errors introduced during the formatting process. Some charge by the word (the current average is $15.80 per 1,000 words) while others charge by the hour (the median rate on the freelance platform Upwork is $25/hour).

Do debut authors usually go through all of these editing stages? No. See what makes sense for your budget and use Marlowe to defray some of these costs. Just keep in mind that Marlowe can’t take the place of an experienced developmental editor. 

4. Have your book cover designed

• Unless you have a background in graphic design (and even if you do), you’ll likely need to hire a cover designer who has the specialized knowledge and experience to create a cover that will stand out and attract the right people to your book. A professional will also ensure you have the right file types for each retailer and book format – for example, trim size, page bleed, and the like.

• If you choose the DIY route, there are tools available. Just make sure to do your research to make sure your cover is appropriate for your genre and looks professional enough to attract readers. 

5. Format your book or hire a formatter

• Once your manuscript is as polished as possible, it’s time to have it formatted. If you prefer to do this step yourself, there are lots of formatting tools available, including those provided by popular retailers like Kindle Create available through Amazon. Popular options include: 

• Vellum (Mac only) 
• Atticus 
• Draft2Digital — and see their ebook templates

• Each retailer has its own formatting guidelines, and your formatting needs will change for different book formats (ebook vs. paperback vs. hardcover). Pay close attention to these guidelines to avoid costly mistakes. 

• After your book is formatted, you’ll need to carefully review the preview to catch any formatting errors. It’s also important to order a proof copy of your print book (if available) or an early edition to catch any formatting errors that show up in the printing process.

6. Publish and distribute

• Decide how you want to publish your work. Two popular options include publishing exclusively through Amazon or publishing “wide” and selling your book through other booksellers (your author website, Shopify, Barnes & Noble, Kobo, Apple Books, etc.). An additional option is to sell it directly from your author website or on an ecommerce platform.

• If you enroll your book in Kindle Select (which means readers can access it as part of their Kindle Unlimited subscriptions), you won’t be allowed to sell your ebook on any other online retailers. Kindle Select applies only to ebooks. You can still sell paperback and hardcover books through other retailers. 
• If you choose a “wide” distribution, you can still sell your book on Amazon, just not as part of their Kindle Unlimited program.
• Your commitment to Kindle Select can be as short as 90 days, so you can change your mind later and start selling through other retailers. Many authors like to experiment to figure out what works best for their books. 

• Once you’ve decided where to sell your book, it’s time to upload the manuscript to each retailer’s website. Each retailer and distributor has its own requirements, so check out their websites for specific information about how to prepare your book for publishing. Popular distribution options include:
  • Amazon Kindle Direct Publishing 
  • IngramSpark 
  • Draft2Digital 

7. Market your book and find your readers

Once you hit publish, it’s time to let the world know you’ve published your book. There isn’t one right way to market a book and you’ll need to figure out what works best for your personality, your target audience, your budget, and your schedule. 

Here are some of the marketing options to consider:

• ARC readers & book influencer partnerships: Send advance reader copies of your book to book influencers or fans willing to promote your book online or via reviews. Some book influencers expect to be compensated for reviews, but many are willing to promote your book in exchange for a free copy of the book.

• Email newsletters: An email newsletter allows you to connect with your readers directly so you can keep them updated about upcoming sales or new books. Most authors build their newsletter by offering an incentive such as a short story, sample chapter, bonus content, or a free book. Newsletter swaps with other authors in your genre can be another great option for attracting new readers to your newsletter. 

• Social media: Many authors find success by posting about their books on platforms like Instagram, TikTok, and Facebook. The key is to strike a balance between sales-focused content and content that helps readers connect with the person behind the book. Social media is a nice to have but not always mandatory, so don’t stress if it’s not your thing.

• Paid ads: Platforms like Facebook, Instagram, and Amazon help expand reach but require budgeting for experimentation with paid ads or hiring an ad expert.

• In-person events: Book events and conferences offer a way to meet readers but involve costs like travel, event fees, and books for sale. They can be valuable for brand-building but the costs may add up for beginners.
• Paid promotions: Services like BookBub and Written Word Media (Bargain Booksy, Freebooksy) can help you reach thousands of readers by showcasing your book in a reader newsletter. You’ll need to discount your book (usually to 99 cents for the ebook) or offer it for free, but these promos are a good way to introduce new readers to your work. The bigger promo sites can be very competitive, and some of them don’t provide the return on investment they once did.

Traditional publishing is often a preferred path for authors seeking a hands-off approach to the publishing process, though it requires perseverance and a lot of patience. This route generally involves finding a literary agent to represent you and query publishers on your behalf. As with any publishing option, there are both advantages and disadvantages.

On the upside, if you find an agent, you’re more likely than not to get published. Reach and distribution — and prestige — are what attract a lot of authors to this option. Traditionally published books still command the lion’s share of books found in chain bookstores like Barnes & Noble, in independent bookstores, and in libraries. Signing a deal with a publishing house means the publisher will assign an editor for a final edit of your work. They’ll also take care of the cover design (and run the drafts past you) and handle the finances; you may receive a check up front as an advance against future royalties, if any.

However, the traditional publishing landscape has changed. Many authors assume publishers will handle all marketing, but that’s no longer a given. (Having a large social media following or email list can increase your chances of signing with a major house.) Signing with a publishing house means you’ll give up some creative control, as the publisher determines the cover, release date (often two years out), and sometimes even the title. It’s essential to review the contract to understand whether you’re signing away film rights, audiobook rights, or other key rights. Additionally, traditional royalties are often substantially lower than those in self-publishing. Despite these drawbacks, many authors find the benefits worth it.

In traditional publishing, the Big Five publishers — Penguin Random House, Hachette, Simon & Schuster, HarperCollins, and Macmillan — have dozens of imprints. However, there are also digital-first publishers and indie presses focused on specific genres, as well as Amazon’s imprints, including Montlake for romance, Thomas & Mercer for crime, and 47North for sci-fi and fantasy.

Landing a literary agent

Finding an agent can be challenging, but once you have one, your chances of getting published in the traditional book world go up dramatically. When writing to an agent, make sure to do the following: 

1. Finish your manuscript

• Make sure your manuscript is complete and polished. You want it to be as presentable and professional-looking as possible and ready for publication. 
• Format your manuscript. Jericho Writers has some tips.

2. Research agents

• Use platforms like QueryTracker, Manuscript Wishlist, and the Association of American Literary Agents to find agents who represent authors in your genre.
• Check similar books on Publishers Marketplace.
• Review the acknowledgments in books you love (especially within your genre).
• Create a spreadsheet list of 20 to 50+ agents who might be a good fit.

3. Prepare a query letter

• Hook: Start with a single-sentence pitch that captures your story’s inciting incident and central conflict.
• Pitch: Summarize the story up to the midpoint twist, often highlighting the main theme. It should be similar to the pitch on your back cover or book description. Don’t reveal the ending of the story.
• Details: Include the genre, word count, two recent comparable titles, and note that your manuscript is complete.
  Example: “The House With a Grey Door is complete at 95,000 words. It’s an upmarket contemporary romance for fans of The Love Hypothesis and The Summer I Turned Pretty.”
• Bio: Add a brief author bio.
  Example: “Martia Scott is a passionate romance writer with a degree in psychology. Her work has been featured in Horse and Hound. This is her debut novel.”
• See our Sample query letter to an agent.

4. Prepare materials

• Check the submission guidelines. Each agent’s website should provide the specific query instructions. Don’t assume you can send your manuscript — many prefer only a short query letter initially. If the agent replies in the affirmative, they may or may not want to see your full manuscript at this point. Often agents will want to see only the opening chapters and a synopsis.
• Polish away! Make sure your first chapters are well crafted and compelling.
• Create a synopsis that’s several pages long. Sometimes the agency will specify how detailed this should be. Typically, it lays out the major plot points, an introduction to your main characters, and character development arcs. 
• For nonfiction only, you’ll need a book proposal. A book proposal is not necessary with fiction queries. The proposal will usually be 20 to 30 pages long and include:
  • Two sample chapters
  • An outline or your synopsis (which should include genre, the tone, and “hook” of the story)
  • Author bio 
  • Target audience and marketing capabilities/plan (if you have an audience)
  • Comps (two to three comparative titles — but no more than five), preferably bestselling titles from the past five years.
  • Endorsements (from “name” professionals) if you have them. 
• Some authors hire an editor to write their book proposal. If you are writing it yourself, remember to put as much time as is necessary into your proposal to make it as engaging and as well-written as your novel. 

5. Settle on a strategy for querying

• Approach querying in rounds, starting with agents who seem to be the best fit for your work.
• Customize each query, ensuring professionalism and accuracy.
• Have everything prepared before you begin so you can make the process short and sweet. 
• Have a template query letter and personalize it for each agent.
• Consider querying less experienced agents with higher request rates first.
• Once you receive three full manuscript requests, consider querying top-tier agents on your list. (You can find them on QueryTracker.)

6. Submit to agents

• Customize your query letter to each agent.
• Be genuine and professional. Show that you’re an author the agent would want to work with.
• Make certain your query letter contains no mistakes or typos, and be sure to spell the agent’s name and agency correctly.
• Query 10 agents at a time. When you receive a request for your opening chapters or full manuscript, it means you’re on the right track. Go ahead and query more agents until you land one. If you do, make sure you follow up with any agents who are still considering your work to let them know you received or accepted an offer of representation by another agency.
• Be patient and stick to your formula. The process takes time, so don’t stress if you don’t hear back from an agent for a few weeks — sometimes months. (Yes, this is one of the big downsides of trad publishing.) Don’t get too down about the rejections. Stephen King received 30 rejection letters for his first novel, Carrie. Alex Haley, author of Roots, received 208 rejections.
• If you are getting many rejections without full requests, work on your query letter. If you are getting many rejections of your full manuscript, consider revising your manuscript. 
• Continue querying until you secure representation.

7. Think beyond representation

• When you secure representation, the agent will pitch your manuscript to publishers. They’ll handle contract negotiations and other details.
• If a publisher is interested, they will offer a contract. This may involve further edits, cover design, and some marketing efforts. The publisher will handle the production and distribution of your book.
• Even with a traditional publisher, you’ll need to be involved in promoting your book through social media, book tours, and other marketing efforts.
• Keep writing! Start a new project while you’re querying.

Advances and royalties
Traditional publishing offers advances, which can range from tens to hundreds of thousands of dollars, often split into three installments. Once the advance “earns out” through book sales, the author starts receiving royalties.

See the Get started section (“Debut author” mode) for marketplace distinctions between genre, upmarket, and literary fiction.

As the name suggests, hybrid publishing combines elements of self-publishing and traditional publishing. In this model, authors partner with a publishing company and pay for specific services while the publisher invests in the book’s quality through professional editing, design, and marketing. Hybrid publishers are selective, choosing only works that meet certain quality standards, which ensures a partnership focused on producing high-quality books and distributing them effectively.

Hybrid publishing (sometimes called partnership publishing) can be a good option for authors who prefer not to handle all aspects of self-publishing but are also not pursuing traditional publishing deals. However, it’s not an inexpensive option. The costs for preparing and publishing a hybrid title range from $1,500 to $10,000, divided between the author and the publisher. Here’s how it generally works:

The author submits her manuscript through a process similar to traditional publishers. Some hybrid publishers may even be smaller imprints of traditional publishing houses. For accepted authors, the hybrid publisher subsidizes part of the production costs, effectively sharing the financial risk of publication. Because they have a vested interest in the book’s success, reputable hybrid publishers tend to maintain higher industry credibility.

Important note: Hybrid publishing differs from vanity publishing (or assisted self-publishing), which we generally do not recommend. Vanity publishers lack quality control and often focus more on profiting from author fees than on book sales. Vanity presses typically accept almost any submission and charge authors a fee without offering significant editorial support or marketing. If you consider this route, exercise caution to avoid scammers who pose as hybrid publishers. A good rule of thumb: Be wary of companies that reach out directly or make big promises about the success of a book they haven’t reviewed. Always research any publisher you’re considering, and check their track record with past clients.

Vetting sites

You can find a reputable list of hybrid publishers here:

• The Alliance of Independent Authors does a great job of listing self-publishing services, including hybrid publishers. See its vetted list of self-publishing services.

• The site Writer Beware and its blog writerbeware.blog is another good starting point.

A final note: In the publishing world, the term “hybrid author” is used to describe authors who both self-publish some of their books and are published by traditional publishers for other titles. It has nothing to do with those who choose hybrid publishing. 

Switch from indie to traditional — or vice-versa

Editorial: Expanding a backlist

Business: Set up an author store for direct sales

Marketing: Be a storyteller, not just an author

If you have the budget and want to reach the widest audience possible, we recommend bringing in a professional outside eye — a book editor — beyond Marlowe’s assessment of your manuscript. You’ll want to make sure you find the right kind:

• Developmental editor. If you’re unsure about the structure of your story or any of the major elements outlined in your report, you may want to enlist a developmental editor. Their job is to support your writing and to improve various elements in your manuscript to arrive at a strong final draft. Developmental editors will provide a set of notes about your story and often suggest helpful line edits as well. Here is a directory of developmental editors who come recommended by Authors A.I.
• Copy editor. If you find grammar or certain sentences in your text troublesome, hire a copy editor to correct any grammatical errors and improve syntax and flow. Even if you have a strong command of grammar, a copy editor can ensure that your storytelling is as effective as possible. A professional copy edit will result in a more polished final draft.
• Proofreader. It’s a good idea to engage a professional proofreader before submitting your final draft to an agent, publisher, or your layout designer to make sure typos or other errors haven’t made it into your manuscript. 

Many indie authors go without all three, however. Just keep in mind that if your book is rife with errors or typos, you’ll likely see critical comments on Amazon or other online retailers complaining about the amateurish effort.

A note of thanks to the book editors who have contributed to this Author Dashboard, including Olivia Bedford, Katrina Diaz-Arnold, Denver Murphy, Tenesha Curtis, Kelly O’Leary, Elise Chidley, Michelle Rosquillo, David Bushman and Kay Lawson (aka Sorcha). Many of them are included in the directory of editors and book coaches available for hire.