The Creative Capitalist:

My agent Andrea Somberg is a champ. She’s tough but not terrifying, critical but not brutal, eminently supportive of her little brood of wordsmiths, and consistently responsive to requests–even those that her peers might deem superfluous and time-wasting. Without that final quality, this particular Q&A could not exist.

Below, I give you Andrea’s detailed, candid and thoughtful “Nonfiction Publishing 101″ treatise. I asked her every question I could think of on your behalf–and I’ve already thanked her effusively (though you’re welcome to post further thanks in the comment section). Not only has she shared valuable information, but she’s also proved that there are still some people who do nice things even when there’s nothing in it for them.

Before we start, Andrea’s professional bio:
Previously an agent at Vigliano Associates and the Don Maass Agency, Andrea Somberg joined Harvey Klinger Inc in the spring of 2005. She represents both fiction and nonfiction, including memoir, pop culture, how-to, self-help, humor, interior design, cookbooks, business, and health and fitness. Some recent sales include Devin and Cameron Lazerine’s Rap-Up: The Ultimate Guide to Hip-Hop and R&B (Grand Central, February ‘08), Heather Maclean’s Baby Gear Buying Guide (Rutledge/Nelson, February ‘08), Kyra Sundance’s The Dog Rules (Touchstone/Fireside, spring ‘09), Kent Sayre’s Unstoppable Confidence (McGraw Hill, fc), Marcelle Karp and Pauline Wall’s Knitchicks (F&W, fc) and Eva Nagorski’s The Down and Dirty Dish on Revenge (Thomas Dunne, fall ‘08).

And now…the yummy stuff…

1. How important is it for an aspiring nonfiction author to have previous clips and/or published titles?
I do look to see if a client has published previous clips, in part because it establishes the writer as a professional and an expert in their field, but also because it helps me get a handle on whether an author has some sort of promotional platform. I can’t stress enough how important a promotional platform is for nonfiction writers. If I see that an author is a regular contributor to several magazines, I can then assume that they have relationships with these publications and will be able to parlay it into future promotion.

As for published titles, they can be a good thing, but they can also work against an author. Bookstores decide how many titles to order of a specific book in part based on the author’s previous sales. If those sales are weak, they’ll be less likely to buy as many copies of the author’s next book. Publishers know this, and so one of the first things they turn to when deciding to take on a project is Bookspan.

Authors sometimes come to me with their self-published book, telling me that it’s been carried in major bookstores. Unless that book has sold thousands upon thousands of copies, this will actually work to to the author’s disadvantage–the bookstores now have a record of previous sales and, if sales are low, it will be an automatic strike against them.

That being said, nonfiction can be a bit more forgiving than fiction. If the topic of the book is strong enough, it can sometimes overcome previous poor sales.

2. As an agent, what do you look for in a query/new author?
An engaging narrative voice, a promotional platform, and a book idea that has a strong marketing hook and fulfills a need in the market.

3. What can someone do to impress you right off the bat (in their approach, query, follow-up, etc.)?
Professionalism is always impressive.

4. What mistake would you caution would-be authors against making?
Don’t be rude or obnoxious! It sounds obvious, but you’d be amazed how many people cross the line.

5. What categories are the easiest to break into right now? What are the toughest?
Each category is challenging in its own right. Whatever the subject matter of your book, the two questions you need to ask yourself are:

• Who is my audience? Sometimes a book is too niche for a major publisher (for example, a book aimed at auto mechanics), in which case you’d be better off focusing on smaller, specialty presses.
• Does my book fulfill a need in the market that hasn’t been met by other books out there? There are so many books being published each month, it is not enough for your book to be well-written. It’s got to distinguish itself, either by fulfilling a gap in the market or by having a strong marketing niche. Preferably both.

Memoirs vs. practical nonfiction come with their own separate challenges. For practical nonfiction these days, it is really important to have a promotional platform. Cookbooks, self help/relationship books, interior design, health/fitness, parenting, business–publishers are looking for authors with a national presence. Humor books are a bit of an exception, in that it is possible to place a title without the author having one. Memoirs on the other hand are marketed more like fiction. An engaging story and narrative voice can be more important than platform.

6. What do you feel is the biggest misperception about the publishing industry, and could you clear it up for us?
This is a business. So if an agent or a publisher rejects your book, it’s not necessarily because they don’t like it–it’s because they don’t think they can make money on it. On the other hand, I will sometimes take on a project that I absolutely love, even if I think it will be a tough sale. But these are few and far between. I really have to fall hard for it.

7. A lot of people who aren’t writers feel that it would be either a pivotal career move or a significant personal/career milestone to publish a nonfiction book. Do you honestly think it’s worth the stress, legwork, time and tears?
In terms of a career move, in many situations, yes. Publishing a book can be a great way to expand your brand, and/or to increase your audience/business. In terms of a personal milestone, it can be very fulfilling. But it can also be frustrating. When authors think of publishing a book, they tend to daydream about the bestseller list. The vast majority of books are published, spend a few weeks in bookstores and then are quickly remaindered.

8. How do you feel about e-books or self-publishing houses?
The problem with self-publishing is a lack of distribution. How do you get your books to customers? Some people who self-publish do meet with great success, but it’s rare. Usually the author is on the lecture circuit, gives seminars, is skilled at web marketing, etc. E-books are still in their infancy. It will be interesting to see how that market develops over the next few years. But still, you run into the challenge–how do you make customers aware of your product?

9. What scams should newbie and/or aspiring authors be wary of?
Never pay an agency a “reading fee.” Also, don’t jump at the first agent who wants to sign you. For the most part it’s an unregulated business, so make sure you find out whether the agency is legit or not.

10. Please list three great writers’ conferences open to beginning authors.
Pike’s Peak, Writers League of Texas Conference (in Austin), Surrey Writers Conference. …There are a lot of good ones. One thing to look out for is, check out who the “faculty” will be. Make sure that they handle the type of books you write, and that they’re from legitimate agencies and publishing houses.

11.In your professional opinion, what does the perfect nonfiction query look like?
Short and sweet. I want to know the premise of the book, I want to know your bio, and I want to know what you can do to promote it. It’s sometimes good to include the “overview” as well, so I can get a sense of your narrative voice.

The whole subject of “getting press” seems to inspire a lot of questions, discussions and general bewilderment–not just on Entrepreneur.com, but everywhere in the business world.

Small business owners, in particular, see “press” as this mysterious, unapproachable, possibly malevolent entity. Which is soooo not true. If you’re a celebrity or a big business, press is dangerous. If you’re just a little guy, then they’re actually quite likely to be on your side. They’re just people, looking for good stories. And they’re more than willing to write about you–if you let them know you’re there.

Rather than write about the whole PR shuffle myself, I did a Q&A with Marcia Gagliardi of Tablehopper and got the journalist’s perspective on all things PR and marketing. I hope it’ll be helpful. (Note: yes, it’s from a restaurant-industry perspective, but a lot of the information can be applied to just about any retail business.)

How do you find restaurants to cover?
A combination of publicists, word of mouth, knowing people in the industry, reading food blogs. … Also, it’s a little unconventional, but I ride a bike to stay in shape, and I just look around a lot while I’m out and notice what’s going on. A lot of my column is finding out what’s new, so I’m always talking to people: restaurant owners, waiters, cooks, bartenders and so forth. I’ve lived in the city for 13 years, so I know folks from different walks of life, and that helps me keep up with what’s happening.

If someone doesn’t have a publicist, will it hurt them?

No, but I think they should familiarize themselves with local food writers. Write a press release, partner [or owner] bios and a fact sheet. That way if anyone inquires, you can send everything off to them so they have details. Enclose a menu, too. Or make the initial contact yourself. In a couple days you can figure out the writers of all your local magazines, newspapers and websites. I wouldn’t discount neighborhood papers either.

How can someone get all the writers’ contact information?

Usually on the company website, or on the masthead [for print publications]. A lot of magazine restaurant coverage is handled in-house. For freelance writers, run a search on their name.

How do you feel about receiving phone calls?

I feel it’s too pushy unless I’ve given someone my card, or unless it’s a friend of a friend. I prefer an email because I can answer it on my time. I’m a social person, but in this day and age writers get pitched so many things…

Is there anything you wouldn’t cover?

I don’t want to cover chains. There are nice restaurants that have multiple locations in multiple cities, but unless it’s something that stands out, I don’t feel a strong pull. I cover everything from taco trucks and small ethnic joints–even street food– all the way to high end dining. I think people love stories about family businesses. I love hearing stories about immigrant families who bring authentic food to a neighborhood. It’s something I seek all the time. Just ‘cause it’s not a big flashy restaurant with a full bar and valet doesn’t mean I don’t want it. I think most food writers feel the same way.

There are so many businesses. How/why would one stand out from the competition?

Writers are hungry for news. We’re looking all the time. But the restaurant business is really competitive—so yes, you have to do your part. Writers want stories. Is this an immigrant family? Are you making your own pasta? What is it about the ingredients that’s different? Really highlight your uniqueness. Or talk about how you’re providing something to a neighborhood that’s not being served. What makes you stand out?

I also think it’s smart to invite key media people in for dinner. Some press do accept comps. Offer to send a gift cert, or set them up. (Ed note: Even if they don’t accept, the gesture is always appreciated… and as any PR person will tell you, it’s standard procedure.)

Also—be nice to people in the industry. Sometimes, it’s something as small as calling back a writer who’s called your establishment. It drives me crazy when people don’t call me back. If I’m spending the time to hunt them down—especially if I stopped by—and they can’t call me back, I’m not going to be able to write about them. I know you’re busy, but I am too. Be respectful.

Pinpoint who the key communications person is. If your place is a mom-and-pop shop, just decide internally which person will answer questions. It keeps messaging consistent and gives the press a consistent contact.

When is the right time to talk to the press?

There are two phases. I think it’s good to have buzz before it’s finalized. People are hungry to know what’s moving in–it gets people talking. So even if you don’t have all the details ironed out yet, don’t be afraid to release prelim info. Pinpoint key people to release buzz to. Look at who writes buzz columns in newspapers, magazines and online

Start the second wave maybe a month before you open, to accommodate for print mags’ lead time. Make sure everyone knows when you’re opening. Let them know the concept, the chef, the hours, etc.

But if I promote things too soon, mightn’t it get me a negative review?

Reviews will start happening a month after you’ve been open—and that whole stage depends on whether you did your homework first. Do these publications even know you opened?

After the opening announcements, follow up with new info: menu changes, new features, staff changes, etc. Don’t inundate them every week, but I appreciate it when restaurants let me know they’ve changed things. Remind people you’re around, and give them reasons to write about you.

What can I do about bad press?

It’s a learning experience. The key thing is, the first month, get lots of feedback. Put your pride aside. Don’t just get friends who will say everything’s good. But maybe get them to write anonymous feedback. Your friends don’t want to say anything mean, but maybe it will save you from getting a negative magazine review that goes out to 250,000 people.

I think Yelp is a useful tool, though painful at times. There is some good info on there. Some people don’t have educated palates, and it’s easier to be negative than positive, but if you see consistent things in Yelp reviews, pay attention. Monitor constantly. The same goes for Citysearch, Zagat. etc. Also, I know some restaurateurs will contact posters from public forums directly. They’ll say, ‘Sorry you had a bad experience, come back and let us make up for it.’ It’s extra-mile stuff, but can go a long way in reversing negative feedback. People will sometimes revise what they’ve written online.

It’s one of life’s great ironies, isn’t it? “Creative” types are legendarily bad at business—or maybe just loathe to get involved. We (yes, I’m one of them) would much rather focus on our art, be it writing or music or pot-throwing or creative cake icing. Yet the minute that art starts turning a profit, the artist lands smack-dab in the business world—do not pass “GO;â€? do not receive $200 unless you negotiate ahead of time, invoice for it, and have a contract on file.

If you take a corporate job, your muse is on loan from 9-5, Monday through Friday. And if you decide to take the plunge and go freelance, or start your own company…well, that’s when you end up on a site like this. Because like it or not, building a successful creative business is 20% about the �creative,� and 80% about that thing we love to hate.

We’ve all heard that before. However, perhaps some of you haven’t seen it in the practical, day-to-day sense. University courses don’t teach it, and I’m sorry to say, neither do those “special seminars� that charge you $1500 and promise that you’ll soon be living on a tropical island.

That’s where I come in: As a columnist, corporate creative consultant and digital content maven, I’m constantly working on cool projects for Disney, Sony, MGM and various other big names. I do not live on a tropical island; I live in LA. And I do not work while lounging under a palm tree on a white sand beach. Sun on the monitor + white sand in the keyboard = BAD.

Maybe you’ve already guessed this, but I am here to deliver a mechanical, unromantic and decidedly un-creative account of my so-called glamorous job, from the proposal writing to the cold calls to the health insurance questions to the ongoing search for the perfect CMS tool. Sections are outlined below.

Strategery – Yes, I’m borrowing from an SNL skit. But this topic is serious. Pitching, follow-ups, networking, promotion, packaging, branding, the whole nine.

The Client Speaks – Interviews with decision-makers. These are the people who can give you the contracts. Contrary to what you think, they do not reside in ivory towers.

Laptop Meditations – I am opinionated. Sometimes I like to rant. Sometimes I like to lecture. This is the section where I get to do it. (My blog, my prerogative.)

Nuts & Bolts – The stuff we all hate, but have to deal with anyway. Health insurance, taxes, telecom, filing software, Web site management, money matters.

Meet My Network – They say you can judge a woman by the company she keeps. That’s why I’m so proud to know, and work with, amazing people all over the world. Here’s where I get to brag on their behalf.

Resources – We live in an age of information overload. Happily, I’ve spent roughly one zillion hours sifting through it, and am happy to pass the good stuff (and the “danger zone� warnings) along to you. ‘Cause I’m nice. And I enjoy making lists.