How Women Can Get Their Books Published, According to an Accomplished Author

“

Just write! It sounds simple, but it’s the step we so often get stuck on. Let the first draft be terrible.

”

—Andrea Bartz, Author of “The Herd” and “The Lost Night”

Here’s a bit of good news: Female authors dominated 2019’s major literary awards. Both winners of the 2019 Booker Prize were women, as were the winners of the National Book Awards for fiction and nonfiction, and a woman took home the 2019 Pulitzer for general nonfiction. But female authors aren’t just gaining attention from the industry’s leading critics—readers are taking note, too. In fact, of the 10 best-selling books of the past decade, eight were written by women.

To find out what aspiring women authors need to do to get their books published, we sat down with none other than Andrea Bartz, the author of the wildly popular, edge-of-your-seat thrillers “The Lost Night” and “The Herd,” which hit shelves on March 24. Ahead, Bartz tells us what it really takes to go from writing a manuscript to getting your book optioned for a TV series, including how to land a literary agent, overcome writer's block, and stay on top of deadlines along the way.

CREATE & CULTIVATE: You're an accomplished author with two novels to your name (congratulations!)—but can you take us back to the beginning? What does it take to land a book deal? 

ANDREA BARTZ: Thank you! I started working on the manuscript for my first novel, “The Lost Night” (a whodunit that’s a bit like “The Girl on the Train” meets HBO’s “Girls”) in late 2014—at the time I had a full-time job as a magazine editor, but I started working on it in my free time. It took about two years to get it ready to show to agents, and I signed with a literary agent in late 2016. We worked on more revisions and finally landed a book deal for it in July 2017—and then there were more rounds of revisions before it finally came out in February 2019.

For my second book, “The Herd” (a thriller set in an exclusive all-female co-working space), I already had an editor who wanted to work with me again, so I got a book deal based on the idea and a few sample chapters in late 2018 and turned in a first draft a few months later. Now I’m hard at work on my third novel, which should come out in 2021!  

Do you need to have a large audience (a.k.a. a built-in market) to get noticed by agents and publishers? 

Nope! Having a built-in audience certainly won’t hurt, but agents and editors are looking for a great book that they think will fly off the shelves—so even if you’re not social-media famous, if your manuscript is fabulous, they’ll consider publishing it. That said, I think it’s smart to be on Twitter and Instagram, at minimum, where you can connect with authors and bookstagrammers and demonstrate that you’re savvy at self-promotion. But if you don’t already have a ton of followers, don’t let that stop you from trying to sell a novel. 

What comes first: the book or the book proposal? How do you go about writing a book proposal? Are there any mistakes you've learned from along the way that you can share? 

Nonfiction writers start with a proposal—it includes stuff like an outline, sample chapters, and a market analysis. Then, they get a book deal and head off into the world to do their research and write the book. I confess I don’t know too much about nonfiction book proposals, because I write fiction! For your debut novel, you’ll need to write the entire manuscript before you can try to sell it. You’ll query agents with a completed draft, and then your agent will try to find an editor (at a publishing house) to buy it and publish it. That’s how I sold “The Lost Night.”

For my second book, “The Herd,” I was able to sell it on essentially a proposal: I wrote 50 sample pages, plus a one-page “treatment” that gave an overview of the characters, plot, and “hook.” I know other authors go into more detail and sell their editor with sample pages plus a detailed, multi-page outline, but since I write without an outline, the best I could do was share the general idea! By the time you’re at that stage, though, your agent can help guide you on selling book number two. For that first novel, you’ll need to write the whole dang thing.

“Keep in mind that most authors never feel like writing. You can’t wait until you get the urge to write. You just have to sit down and write!”

Both of your novels were published by a major publishing house, how did you decide to go with a traditional publisher? Did you consider self-publishing? Can you talk us through that decision?

I always knew I wanted to go the traditional route: I wanted to see my book in bookstores, which is hard to do when you self-publish, and I wanted to focus on the writing and let other people think about stuff like cover design and ad strategy and publicity plans. When you sell your book to a publisher, they kinda take it from there—but the tradeoff is that you make far less money per copy sold. I don’t know a ton about self-publishing, but I know that those who are successful at it write in genres that sell well online (such as romance), spend a lot of their own money in upfront costs like hiring a copyeditor and getting the cover designed so everything looks professional, and invest tons of time in learning digital marketing so that they can actually find readers and make money. It’s a totally different way to approach publishing.

How did you find a literary agent? What did you look for in an agent and what would you advise others look for? Can you share links to resources for aspiring authors who are just beginning this process?

When I felt “The Lost Night” was in good shape, I started by researching literary agents who were accepting queries. I used Publishers Marketplace’s Dealmakers database to find the agents of authors whose work was similar to mine. I searched for specific terms like “female psychological thrillers” on AgentQuery, and I browsed through the Twitter hashtag #MSWL (Manuscript Wish List) to see what agents were looking for. Here’s an article I wrote on the process, which goes into detail on resources used and even includes my query letter.

How do you manage your time while you’re writing? Does your publisher give you deadlines, or do you create your own? What tools do you use to stay on top of your deadlines? 

My publisher sets my deadlines based on when each book is supposed to come out. But it can be intimidating to think of it in huge terms: In five months, you need to complete a 100,000-word manuscript. So instead, I start by using pacemaker.press to calculate how much I need to accomplish every day; it lets you block off days when you'll do less or no work (e.g., a holiday or trip), and you can keep track of your progress on the site. When it comes to actually drafting, I use the Pomodoro method: I use tomato-timer.com to do 20 minutes of uninterrupted work followed by a 5-minute break. Then I repeat as needed until I hit my word count goal.

Your sophomore thriller, “The Herd,” was recently published on March 24, 2020. Was it more or less difficult to come up with an idea for your second novel after already having published your first?  

Coming up with a second book idea was tough. It took a while to settle on an idea that my editor was into—she said no to my first two ideas, because she didn’t think they spoke to my strengths as a thriller writer or that they’d appeal to readers of “The Lost Night.” I was frustrated at the time, but she was totally right! “The Lost Night” is a mystery set in the warehouse parties of hipster Brooklyn in 2009, and part of the fun comes from taking the reader inside the close-knit, closed-door world of that social milieu. My editor challenged me to find another juicy, exclusive setting that would allow me to go deep on complex female friendships—which is how I wound up setting a mystery inside an elite, all-female co-working space. 

“Don’t psych yourself out or worry about whether your book will fit into the shifting marketplace years down the line”

How do you deal with writer’s block?

I mentioned the Pomodoro method, which definitely helps when I’m stuck—when the twenty-minute writing sprint begins, sometimes the first minute is just me typing I HATE THIS THIS IS TERRIBLE I DON’T KNOW WHAT TO WRITE. But once you get going, real words start to flow. Another tip, if you’re stuck on a plot problem, is to write it in a notebook right before bed. Your subconscious will work on it as you sleep, and the next morning you’ll find you’re much closer to having the answer. Finally: Keep in mind that most authors never feel like writing. You can’t wait until you get the urge to write. You just have to sit down and write! 

Your debut novel, “The Lost Night,” was optioned for development as a limited series by Mila Kunis. Can you tell us about that process? What does it really mean to have a book be optioned and what advice can you share for other authors looking to land entertainment deals?

The two production companies involved, Cartel Entertainment and Orchard Farm, actually reached out to me directly to ask if TV rights were still available. My literary agent had hooked me up with a film/TV agent within the same agency (ICM Partners), so I connected them with her. The production companies made an offer and I requested a phone call to discuss their vision for the book, what they’d want to change, and what role, if any, they’d want me to have in developing the limited series. It was pretty surreal to be on a call with Mila Kunis and to hear her talking about my book!

Getting a book optioned just means a production company has the exclusive rights to try to get it made—there are no guarantees. So right now they’re working to bring other people onto the project, and to find a home for it (such as premium cable or streaming). I’m not super involved—it’s their art form, not mine! As far as I know, the best way to get your book into the hands of a Hollywood production company is to work with a film agent. I inherited my film agent because she’s part of the same company as my literary agent, but if you work with a literary agent at, say, a boutique firm, they can still hook you up with an external film agent.  

What advice do you have for aspiring female writers?

Just write! It sounds simple, but it’s the step we so often get stuck on. Let the first draft be terrible. Don’t psych yourself out or worry about whether your book will fit into the shifting marketplace years down the line. As the old adage says: You can’t edit a blank page. Go ahead and write, and then you can start the long process of revising, perfecting, and finding your path to publication.

The Herd

A novel by Andrea Bartz

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About Andrea Bartz: Andrea Bartz is a Brooklyn-based journalist and author of “The Herd,” which Publishers Weekly called “a smart, twisty thriller.” Her debut, “The Lost Night,” is being developed for TV by Mila Kunis. It was named a best book of the year by Real Simple, Glamour, Marie Claire, Library Journal, Crime Reads, Popsugar, She Reads, and other publications. Her work has appeared in The Wall Street Journal, Vogue, Cosmopolitan, Women's Health, Martha Stewart Living, Elle, and many other outlets, and she's held editorial positions at Glamour, Psychology Today, and Self, among other titles.

About “The Herd,” out March 24: When an exclusive New York women’s workspace is rocked by the mysterious disappearance of its enigmatic founder, two sisters must uncover the haunting truth before they lose their friendships, their careers—maybe even their lives. 

Lede image photo credit: Kate Lord courtesy of Andrea Bartz

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Read Up: Create & Cultivate Book Club Launches with "Her Body and Other Parties"

We're kicking off the new year with a new (old) habit: reading. Good old fashioned page-turning. Every month we'll be picking a new book to read and share across our social channels. We'll be chatting about it in our Facebook Group. We'll be commenting here. It will be positively delightful. The more you read, the more you know. 

To kick it off this January we are starting Carmen Maria Machado's “Her Body and Other Parties," the author's debut book of short stories.   

A finalist for the National Book Award, the eight fables are a startling and at times unsettling cross between feminist fiction, as the stories deal with worlds in which women literally and metaphorically fade away, and science fiction. While unconnected most of the stories feature queer women. The first fable, "The Husband Stitch," will leave you scrambling to understanding and dying to read more.

By refusing to subscribe to one literary genre, Machado is begging us to ask for more. 

Here are some prompt questions to answer as you read: 

What do you think Machado's writing is saying about the current state of women in the world?

How do women in Machado's book take up space, both literally and figuratively? 

How do you see yourself in the stories?

Which tale most resonates with you and why?

What urban legends do the individual stories remind you of? How have they made you rethink your relationship to those legends?

Share your thoughts in the comments below.

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5 Best Career Takeaways from the Joan Didion Doc

Photograph by Julian Wasser / Netflix

If you tuned into the Netflix Doc, “Joan Didion: The Center Will Not Hold,” there were some tearful moments, some revelations about her relationship to her dad and her husband John Gregory Dunne, but there are also some moments that we took as career inspo. 

Here are our five faves. 

1. Everyone takes their lumps in the beginning. But those who stick with it persevere. 

After graduating from UC Berkeley, Didion traveled to New York to work for Vogue. As fellow editor, Phyllis Rifield, explains in the doc, “it would be exciting because it was the pre-eminent fashion magazine.” 

“You didn’t have the luxury of writing and writing and writing,” Rifield shares, bringing up Didion’s editor. 

“I remember she would have this big aquamarine ring,” Didion says in the documentary from old C-Span footage. “She’d violently be crossing things out, yelling ‘action verbs, action verbs.’ Everybody that lasted with her,” she continues, “basically learned to write.”

Didion lasted, but not without taking some serious editing. 

2. You never know where your shot will come from. 

‘Self-respect, its source, its power,’ is the title of Didion’s first published Vogue piece. It had been assigned to a freelance writer, Didion reveals. It never showed up, but the title had already been printed on the that month’s cover. 

“No piece came in,” says Didion, “so I had to write it.”

“People with self-respect,” wrote Didion in the piece, “display what was once called character… Character, the willingness to accept responsibility for one’s own life is the source from which self-respect springs.” 

“Character, the willingness to accept responsibility for one’s own life is the source from which self-respect springs.”

Tweet this. 

She wrote the piece. Got her byline. And the Joan Didion voice officially hit the world. 

3. You don’t have to be a breakout hit, but you do have to break out. 

Even though Vogue was, as previously stated, the pre-eminent fashion magazine-- and still the spot that so many writers vie to work at, it wasn’t the end-all-be-all for Didion. 

She’d work all day at Vogue, come home eat dinner, and work on her novel. “I’d pin up parts on the walls of my apartment. I think ten people read it. I think 11 copies of it were sold,” she laughs. The novel is called “Run River.” 

It was not her best work, but it was her first. 

4. Sometimes you have to give up the day job to become who you really are.

Despite a burgeoning career, Didion knew that it was time to get out of New York. “It’s easy to see the beginnings of things and harder to see the ends. I could remember now with a clarity that makes the back of my nerves constrict when New York began for me. But I cannot lay my finger on the moment it ended. All I know is that it was very bad when I was 28.” 

It was not until she published “Slouching Toward Bethlehem,” in 1968 did she become a cultural phenom. 

Nothing happens overnight. The recognition doesn’t happen at the beginning of your career. That’s why it’s called the beginning. 

5. The middle part is always the hardest and when you need to dig in. 

No matter what the job, there’s always a moment when you have to go straight through the center. 

There’s no other way around it. 

In the doc, Didion talks about how the beginning of a book is the easiest, but once you dig into the middle that’s where the real work begins— for everyone. 

What was your favorite part? Comment below!

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Content Creator: Jessica Bennett

This article is part of our Create & Cultivate 100 List created in collaboration with KEDS, you can view the full Content Creator List Here.   

Leading us into battle. 

Jessica Bennett, gender and culture writer and author of Feminist Fight Club, knew she wanted to be a journalist from a young age— 10, she says, give or take a few homework assignments. After scoring an internship at the newspaper in her hometown of Seattle, Bennett worked at the Boston Globe during college, the Village Voice when she moved to NYC, eventually landing her first staff job at Newsweek. 

It was at Newsweek where she started writing about gender politics, spurned in part she says, by “my own inability to rise up.”

“In the height of that frustration,” Bennett explains, “two colleagues and I stumbled upon the story of a group of female staffers who had sued the company for gender discrimination in 1970.” The lawsuit was the first of its kind and paved the way for female journalists everywhere, but their story had been largely forgotten. (herstory, not herstory.) When Bennett and her co-workers realized that not enough had changed for women at work, they agreed there was an important story to unearth. “We ultimately wrote an oral history of their story, and our own, looking at how much (not enough) had changed.” 

It was a piece they believed they’d be fired for writing. Waving a polite middle-finger to your own place of employment isn’t safest way to climb the corporate ranks, but they were in too deep and hoisted the story up the pole. They wove the stories together, citing underlying gender issues in the workplace, a lack of female bylines and cover stories, and limited though high-profile successes, like that of their boss Ann McDaniel, then Newsweek’s managing editor, that mask the bigger problems. They weren’t fired. 

Instead the piece became the lede for a book, the Amazon original series, Good Girls Revolt (which, Amazon cancelled after one season without one woman present) as well as Jessica’s own book, Feminist Fight Club, released early 2016. “The most important step I took to getting where I am today was saying ‘Fuck it,’” she says. “I'm going to fight for what I believe in -- even if it meant losing my job.” The only thing losing, at least if Bennett has a say, is the patriarchy. 

But why fight, a word and mentality that is easily interpreted as aggressive? A word the media tiptoes around when it comes to women. “Women are too often hesitant to use words like ‘fight,’” says Bennett, “for fear that we'll be perceived as ‘too aggressive.’ But you know what? Aggression is OK, and sometimes it's even necessary.” 

“Aggression is OK, and sometimes it's even necessary.”

Tweet this. 

She also says she’s “sick of hearing people talk about empowerment and then buy a certain brand of shampoo to attain it.”  

“Empowerment is good—but you don’t magically achieve it, you fight for it. To me ‘fight’ implies action, and I believe in action,” Jessica says. “At least when it comes to issues of equality.” When we ask what “female empowerment” means to her, it’s a simple response we’d never considered. “It means feminism,” she says, “but for people who aren’t comfortable with the word."

It’s why she’s focussed her sights on a new position. “Chief Gender Correspondent, New York Times— a job that doesn’t yet exist, but I’m workin’ on it.” 

As for the fight club, both her own personal group whom she credits as her mentors, and the group at large, she’s ready to march. (Which she did this past Saturday at the Women's March.) To charge ahead. To give up, never. “It looks like we are a whole lot further from equality than I thought. But that's all the more reason we have to continue to fight -- this battle isn't over any time soon.” 

Good thing we've found a leader in Jessica Bennett.