So you want to be published?

The market for black writers is hotter than ever. Here's your guide to landing, your first book deal.

FOR SIX YEARS, WRITER WALTER MOSLEY HAS ENJOYED a successful relationship with his publisher, W.W. Norton. All of the author's Easy Rawlins detective novels have been bestsellers. But in January, Mosley did something that surprised many: he published Gone Fishin', a coming-of-age novel that chronicles the youth of Easy Rawlins and his sidekick, Mouse, with Black Classics Press (BCP), a small black-owned publisher out of Baltimore.

"I want to prove I can publish with a black press and make the same amount of money," says Mosley. The writer chose BCP because he was encouraged by publisher Paul Coates' belief that successful black authors can help to financially strengthen black presses by publishing with them. "When you have [a writer like Mosley] you're able to move the rest of your list and promote other writers," says Coates. Even in an age when major presses have begun to address their neglect of the African American market, most black writers are still published through black presses, he notes.

In recent weeks, news stories about Mosley's decision to work with BCP have appeared in publications as diverse as the New York Times and Publishers Weekly. The existence of these articles not only highlights the unusualness of Coates and Mosley's deal, it also calls attention to the power and cachet that a select group of black authors has gained over the past five years.

Ever since the dawning of what some call the new black literary renaissance, writers such as Terry McMillan, Cornel West, Iyanla Vanzant and Mosley have become household names. But while the number of recognizable black authors has increased, and book purchases by blacks grew from $ 181 million in 1990 to $296 million in 1995, the black literary boom has not necessarily translated into greater opportunities for new writers.

WHO'S REALLY GETTING PUBLISHED?

The major publishers' increased offering of black-authored books has expanded the public's awareness and purchase of these titles, and created the belief that getting published has become easier for black writers. But it's important that we look at who is being published, according to literary agent Marie Dutton Brown, who represents authors Susan Taylor (Lessons in Living, Doubleday) and Herb Boyd and Robert Allen (Brotherman, One World/Ballantine Books). "There is an illusion that black writers are being published in great numbers," says Brown. "What we have to do is distinguish between authors and writers. A lot of people are under the impression that every author is a writer; it's not necessarily so."

Brown notes that many major publishers are offering books authored by black celebrities such as Oprah Winfrey and Dennis Rodman, but ghostwritten by nonblacks. These books, she points out, do little to add to the development of black literary voices. While celebrity authors and select writers such as Mosley are able to pick and choose among publishers, the vast majority of black writers still find that getting their work published is a long, challenging process.

It's unlikely that a new writer will be in a position to pick and choose a publisher. In fact, Brown, who has worked in publishing for 29 years, warns that any new writer who receives interest from a publisher--large or small--should consider themselves lucky. This is a reality that Rohan B. Preston, co-editor of the anthology Soulfires: Young Black Men on Love and Violence (Viking), learned first-hand when he tried to publish his first book, a collection of poetry entitled Dreams In Soy Sauce (Tia Chucha/ Northwestern University Press, 1992)."I had been sending out query letters and getting a fair amount of rejections. It took three years of actively trying to get the book published," says Preston. Eventually he ended up contributing a portion of the grant money he won as part of a literary award he received from the Chicago Department of Cultural Affairs, to publish the book through an independent press.

Since many editors complete only 10 or 11 projects a year, they are limited in how much they can risk on new writers. In addition, an unofficial survey counts only 13 African American editors--the people most committed to signing black authors--within the ranks of the large houses. And, while most black presses are devoted exclusively to publishing African American authors, many issue fewer than a dozen titles a year. Ultimately, the number of black writers wishing to be published far exceeds the number of books issued annually.

CHOOSING BETWEEN A LARGE OR A SMALL PUBLISHER

While a new writer may not be able to pick and choose among publishers, he or she will eventually have to get someone interested enough to publish his or her book. It should be noted that there are some key differences between small black-owned presses and the large presses. One of the most obvious has to do with financing and how it affects a publisher's ability to offer advances, as well as market and promote a book.

Because they have limited cash reserves, the average advance from a black publisher to an author is in the neighborhood of $500-$5,000. But Brown notes that for new writers the sum can be much smaller, or even nonexistent.

Large advances, reserved for best-selling authors, might reach as high as $25,000. At large publishing houses, however, it's not unusual for new writers to receive $15,000-$50,000, and best-selling writers to receive six- or even seven-figure advances. This disparity is even obvious in the deal that Mosley made with BCP to publish Gone Fishin' While he received a healthy six-figure advance from Norton for his last book, A Little Yellow Dog, Mosley agreed to forego an advance from BCP, which could not afford to pay such a substantial sum.

Brown offers this caveat for new writers hoping to sign with a large publisher and reap the big bucks: "It's very hard for a first-time writer to earn out a $50,000 advance." An advance, which is paid against a writer's future royalties, must be repaid to a publisher through book sales before a writer receives a percentage of those sales. If a new writer isn't able to earn out an advance, the publisher may decide that the writer doesn't have an audience, and become leery about publishing him again. According to many in the industry, this is a particularly important fact for black writers to know because most major publishers don't have a real understanding of how and where black readers buy books.

Large publishers tend to focus their marketing on sales made through chain bookstores. But a 1994 Gallup poll survey, commissioned by the American Booksellers Association (ABA), found that 26.7% of African Americans who made purchases through bookstores bought from independently owned stores--most of which cater to black culture. But this figure doesn't even begin to account for the number of books blacks purchased through nontraditional outlets, such as churches, hair salons, street vendors, social organizations and conventions. And while there are no exact figures, industry pundits agree across-the-board that the sales are substantial enough to keep many small publishers in business.

But, what does all of this mean to an unpublished writer, and how should you go about getting published?

PREPARING YOUR MANUSCRIPT

Within the black literary world, in particular, finding an agent and securing a publishing deal has become a much more competitive process over the past few years. The increased interest in black-authored titles among major publishers has led to the awarding of large advances to a handful of black authors. The allure of a big advance has created a rush to publish among first-time authors hoping to cash in on what has historically been a cyclical interest in black culture. In order to sway the odds in your favor, your manuscript or proposal must be properly prepared and presented.

A new writer first develops a manuscript (for a work of fiction) or book proposal (for a nonfiction work), then locates a literary agent to shop the work for a deal. Your manuscript or proposal should be professionally presented, and your query letter original, Brown stresses.

"A good letter should be written in the writer's own voice so I'll get a good sense of his writing style," she says. The letter should briefly give your background, what your book is about and why you think the agent can best represent you. You should also explain briefly, with as many facts as possible, why your book idea will sell in the present market.

Works of fiction should be complete and have gone through at least two rewrites before being submitted for an agent's consideration. Nonfiction should be submitted in the form of a well-researched proposal and an outline of the book's potential chapters. Since nonfiction involves costly research, and is reshaped throughout the writing process, writers of nonfiction books are usually not expected to have completed the work when presenting it to an agent. However, a sample chapter or two should be included; this will show agents and editors your writing style and your approach to the subject matter.

FINDING AN AGENT

An agent's primary job is securing publishing deals for the writers they represent. Agents have regular contact with a range of editors and know who is interested in a particular type of book, and which publisher can best handle your work. Finding an agent, however, can be a test of a writer's patience. To begin with, there are only a few established African American literary agents, and they are overwhelmed with queries from writers.

Starting your search can be as simple as contacting an agent and making arrangements to submit your work. After submitting your work, Brown suggests making no more than two or three follow-up calls to insure that it has been received and reviewed. Beyond that, she suggests contacting your agent--through a note, meeting or telephone call--to discuss the agent's feedback on your work. Even if an agent is not prepared to sign you, she may give you valuable information to improve your work and help you eventually find someone to represent you.

While going with a nonblack agent is an option, some writers feel that they are then burdened with the added duty of making sure that the agent understands and can represent the cultural nuances of their work. But whether or not you choose to be represented by a black agent, many proven agents are now requiring that their new clients have some sort of track record before they'll represent them.

Mark August is a black South African-born writer who has been trying to publish his novel for more than a year. He says that finding an agent has indeed been an issue for him. "I've written a couple, but they've written back to say it's not the kind of work they're interested in," says August. "I've spoken with other writers who say that getting an agent is becoming more difficult. In a perfect world, I'd like to believe that it's because there are a lot more writers. But, I also think that agents are more often representing writers of notoriety."

Before approaching an agent, one of the smartest things a writer can do is research the market. Some agents specialize in particular types of work or have had greater success in certain genres. Knowing this information will help you to decide whom to approach. One good way to identify potential agents is by checking the acknowledgment section in books that are similar to the type you wish to publish.

In addition to securing a publishing deal, an agent will negotiate your advance and other contractual terms, such as whether your publisher will issue both hardcover and paperback editions of your book. You will also be advised throughout the process of working with your editor. Since an agent often sets the tone for a writer's relationship with the publisher, you'll want to research the kinds of deals and relationships that the agent has developed for other clients.

An agent receives 15% of a client's earnings. This hefty cut into a writer's earnings coupled with the fact that finding an agent can be a lengthy process are the two most frequent reasons some writers choose not to use an agent at all. But you should know that the process of getting to print can be shortened significantly once you have an agent; most likely, the agent can negotiate a better contract with a publisher than you. In addition, most editors won't even consider a manuscript or book proposal that doesn't come through an agent. Addison Wesley Books Executive Editor Liz Maguire says she sometimes considers work submitted directly by a writer, but admits that 80% of her authors are signed through agents. If you are unsure about seeking an agent, you may want to check out The Beginners Guide to Getting Published (Writer's Digest Books), Be Your Own Literary Agent (by Martin Levin, Ten Speed Press) or The 1996 Guide to Literary Agents (Writer's Digest Books).

GETTING AN EDITOR INTERESTED IN YOUR WORK

Getting an editor's attention takes savvy. Having an agent helps, but creating awareness of your work in the publishing world is almost equally important. Writers such as Rohan Preston, who wrote for the Chicago Tribune and the New York Times, and Mark August, who wrote for the Dallas Times Herald and Tampa Tribune, were working journalists prior to trying their hands in the literary marketplace. Writers such as Paul Beatty, author of the critically acclaimed novel The White Boy Shuffle (Houghton Mifflin), and Sapphire, author of PUSH (Knopf), made names for themselves performing on the poetry circuit before publishing their novels.

According to Preston, contributing essays, poems or short stories to anthologies is one of the best ways to grab the attention of editors. Several of the writers who contributed to his anthology, Soulfires, have attracted interest as a result of this kind of exposure. In particular, contributor Colin Channer will publish his first novel, Waiting In Vain (Ballantine Books), this fall.

Reading your poetry or excerpts from your work of fiction at local coffeehouses and bars is another way to get linked into the literary network and begin making a name for yourself. Many places offer open-mike nights, and well-known spots such as the Nuyorican Poets Cafe in Manhattan, the Guild Complex in Chicago or Victor's Cafe in Oakland draw editors who are scouting new talent.

ONCE YOU HAVE A DEAL

Once you've struck a deal with a publisher you can expect to spend several months working out the details of your contract. Some of the terms you will want to address are the payment schedule of your advance; book sales royalties; your input on the book's cover design; whether your publisher will retain or sell your book's paper-back rights; and whether you or the publisher will retain foreign, audio and electronic publication rights. While terms such as royalty percentages are standard (10% of the first 5,000 copies, 12.5% of the next 5,000 copies and 15% of 10,000 and over for hardcover sales), others such as who retains foreign, audio and electronic publication rights can be negotiated.

Though most writers rely on their agents to help them understand the terms of their contract and to negotiate one that is in their best interest, it's always good to do your own research. Professional organizations such as the Authors Guild or National Writers Union can help you determine what terms should be covered, and what constitutes a fair contract.

While you are negotiating contract terms with your publisher, it would also be wise to begin developing a relationship with your editor. Your editor will not only guide you through rewrites, she will also help develop support of your book from the marketing, promotions and publicity departments within the publishing house. This is particularly the case at the larger houses, where the number of releases is so great that projects often receive minimal attention. Having a good relationship with your editor can mean the difference between a bestseller and a flop.

Carol Taylor, an editor at Crown Publishers, says that one way of developing a good relationship with your editor is to view the editing process as a partnership, and be willing to work as hard as your editor m ensure the book's success. "The writer and editor should decide together what works best for them," says Taylor. "Should the book be written in batches and edited chapter by chapter, or should the whole book be completed and then edited?"

You should also be open to your editor's suggestions. While a writer certainly wants to preserve his voice, an editor's job is to make the book better. Rewriting is a crucial part of being a writer. If an editor suggests a change that doesn't work for you, be prepared to explain why and make a countersuggestion. You should, however, save the fight for the major changes that will affect your book's message or story.

A writer who has a clear understanding of his market, and can help his publisher tap into that market, will get a lot of support from his editor, claims Taylor. According to Taylor, first-time novelist Dawn Turner Trice, whose book Only Twice I've Wished for Heaven will be published by Crown this February, is someone who understood this early on. "Not only is Dawn a great writer, but she is able to make a case for the things she asks us for," says Taylor. When the author wanted to promote her book at the Book Expo America, a very large and costly convention, she convinced her publisher that it was worth the expense. Trice knew a number of the key booksellers who were attending the convention, and because she lived in Chicago, where the convention takes place, Crown was able to save on transportation and lodging costs.

Taylor highlights two no-nos for writers: never call your editor every day or attempt to go above the editor's head with a problem. Writers need to be sensitive to their editor's concerns, and understand that signing a new author is a leap of faith. "Every time you acquire a new novel you put your reputation on the line," says Taylor. "You spend your company's money, and it's almost like gambling."

Whether or not the current literary boom goes down in history as the age when black writers finally solidify their place in the literary world is, in part, linked to the successful growth of black publishers.

With the release of Gone Fishin', Coates and Mosley hope to spawn some of this growth, and to develop a model that other black publishers and high-profile authors can use in working together. But both are realistic about how much of an effect their venture can have on strengthening the financial positions of black publishers, while creating more opportunities for black authors. Ultimately, black writers, by making smart decisions about who they publish with and the terms of their contracts, will play a major role in securing their place in the literary market--and help open the door for new talent.

RELATED ARTICLE: List of Black Editors

Write for editors guidelines before sending unsolicited manuscripts.

Carol Taylor, Editor Crown Publishers 201 E. 50th Street New York, NY 10022 non-fiction & fiction

Dawn Daniels, Editor Simon & Schuster 1230 Avenue of the Americas New York, NY 10020 non-fiction & fiction

Dawn Davis, Editor Vintage Books 201 E. 50th Street New York, NY 10022 literary non-fiction

Jim Moser, Executive Editor Grove/Atlantic 841 Broadway 4th Floor New York, NY 10003 literary fiction & non-fiction

Cheryl Woodruff, Editor Ballantine 201 E. 50th Street 9th Floor New York, Ny 10022 literary non-fiction

Erroll McDonald, Editor Pantheon 201 E. 50th Street New York, NY 10022

Janet Hill, Managing Editor Doubleday 1540 Broadway New York, NY 10036 fiction & non-fiction

Tracy Sherrod, Editor Henry Holt and Co. 115 W. 18th Street New York, Ny 10011 literary fiction & non-fiction

Malaika Adero, Editor Amistad Press 1271 Avenue of the Americas New York, NY 10020 literary fiction & non-fiction

Carole Hall, Associate Publisher and Editor-in-Chief John Wiley & Sons 605 Third Avenue New York, NY 10158 fiction & non-fiction

Monica Harris, Senior Editor Kensington Publishing 850 3rd Avenue New York, 10022 multicultural romance

Deborah Dyson, Editor Writers & Readers 625 Broadway 10th Floor New York, NY 10012 children's books

Apryl Motley, Editor Black Classic Press P.O. Box 13414 Baltimore, MD 21203 non-fiction & black history

Elios Gebrezgheir, Editor Wanjiku Ngugi, Editor Africa World Press 11-D Princess Road Lawrenceville, NJ 07648 academic & cultural

David Kelly, Associate Editor Third World Press 7822 S. Dobson Chicago, IL 60619 historical, fiction & non-fiction

Cheryl Willis Hudson, Editor Just Us books 356 Glenwood Avenue East Orange, NJ 07017 children's books

Andrea Lockett, Publisher Kitchen Table: Women of Color Press P.O. Box 40-4920 Brooklyn, NY 11240 poetry, fiction & non-fiction