Princes and strategists, martial champions and war heroes, grit, sweat, brawls, and schemes. Since the beginning of time, we have told stories about the best and worst of men – from myths and epics, to action and adventure classics, to modern superheroes and fantasy rogues, such stories have touched hearts across language barriers and millennia.
So why are they hard to find on bookshelves today?
Let’s take a look at the modern publishing market, reader tastes, and my own perspective as a book editor (plus a few obligatory caveats):
These are 8 of my favorite books of all time. Notice any commonalities?
All of these stories are about men (and boys) – clever, dangerous, heroic, stalwart men. Some are written for general audiences, while others go all in on the “bro vibes.”
Each tale contains passion and violence, loyalty and steadfast friendships, promises broken and kept, strategic and psychological contests, and a mix of wit and heartbreak. The ones that have stood the test of centuries reveal great truths about the human condition.
There’s something else I’ll point out though. The most recently published of these 8, Virtuous Sons (read my review) and Theft of Swords, were both self-published first, and only picked up by publishers after finding great success. The same is true of the wildly popular Cradle series by Will Wight and the Dungeon Crawler Carl series by Matt Dinniman.
2 more of my favorites, The Hands of the Emperor by Victoria Goddard (read my review) and Paranoid Mage by InadvisablyCompelled, have continued to gain momentum as self-published works.
It’s not like we have a net shortage of books about boys and men – that’s the majority of what’s been published for all of human history. But, naturally, modern readers gravitate toward books written in a modern voice – we want new ones.
If I, as a female reader, am irritated by the lack, I can’t imagine how frustrating it must be for male readers, especially boys and young men who are developing their taste for reading!
Big publishers don’t want boy books – they’re wrong
But the Big 5 publishers don’t want to publish “boy books” anymore. Many will deny there’s even such a thing as a “boy” book, or that there shouldn’t be (“that’s not inclusive!!!”).
I strongly disagree with all 3 statements:
I want to see boy books published – I want to read them! And edit them. And market them to more readers who will love them.
There’s definitely such a thing as a book by, for, and about men/boys, that male readers enjoy more than female readers (not that girls can’t as well – I’m a woman and you just saw my favorites list). That doesn’t change the fact that at the core, they are bro books.
There should be boy books. Stories that feel like they were written just for you are incredibly powerful! Everyone should have the chance to read stories that delight and resonate with the deepest parts of our soul. If that means reading books about people that are like you… well, duh.
Modern publishing has a chicken and egg problem. They claim they don’t publish as many books about male main characters because male readers don’t buy books as much as female readers.
Male readers respond thusly: “We’ve stopped buying your books because you won’t publish the types we actually want to read.”
There are thriving indie publishers and reading communities online for action and adventure books that are just straight up fun – no identity politics, no need for sensitivity readers – just cool dudes running around with swords. Virtuous Sons, published initially as a web novel on Royal Road, received over 4 million views.
In the past, before the digital age and the advent of self-publishing, books published by the Big 5 were the only option. If you weren’t reading them, you weren’t reading. In their elitism, the Big 5 have refused to adjust their attitude. They blame their potential buyers rather than their own business model. But men are reading. They’re just taking their time and money elsewhere.
And why wouldn’t they, when their tastes are being insulted?
No, I have no interest in reading any of the “adventure fantasy” books on Amazon with grotesquely proportioned anime pinup girls spilling across the covers. No more than I want to read any of the romantasy featuring glowering, glistening, shirtless shifters.
But male readers (and female ones) are told they’re stupid or backward for wanting to read books about male heroes running around killing dragons, clearing dungeons, leveling up with ridiculously powerful magic, sitting around with their comrades swapping scar stories, and chasing (and getting) the girl at the end.
You’re not stupid. Those are great stories. Some are just good stories – that’s ok too.
What I’m NOT saying
Because everyone gets triggered so easily these days, let me tell you what I’m not saying.
I’m NOT saying that girl books are stupid, or that female authors shouldn’t write the stories they want to tell, or that female characters are worse than male characters, or that if a book can’t appeal to a male audience too, it shouldn’t be published, or that female characters can’t compel male readers etc. etc. etc.
I’m certainly not saying that for a book to be truly great, it needs to be by, for, or about men.
But the publishing industry needs to stop saying the opposite. Stop telling (white) male authors that it’s their duty to step aside and “stop taking up the limelight already so that others can have their turn.” Stop telling authors that their stories are “too male-centric” and that unless they have at least one female POV/main character, their book won’t even be considered. Stop telling male authors that strong, masculine, confident male protagonists are inherently problematic.
Write boy books!
I want to read your boy books! Even more so, I want to read your “men books” – with characters worthy of the tag “epic.” So please write them (whether you’re a male or female author)!
If you’re also on the hunt for modern bro books, you’re not alone. Guess what my most popular blog post is? By a massive margin.
There is demand. Don’t let people tell you otherwise.
And if you’re a male author looking for a book editor, but are feeling a bit querulous after discovering that almost all book editors are women, you don’t have to worry that I’m going to treat you like a tasteless jerk for “having the audacity to think a story deserves to be told about a male main character who starts out as kind of a jerk.”
Characters are supposed to have weaknesses. There wouldn’t be a story if your characters didn’t have to grow and change.
Neither does a male protagonist have to be the most profound, unique character ever written in order to make a good story that readers will buy. The female protagonists in most modern books sure aren’t.
I would be delighted to read your story, review it, and perhaps even work with you to edit it into the best it can be.
So keep writing about brave boys and mighty men!
Hi, I’m Caylah Coffeen, a freelance editor and marketer of sci-fi and fantasy books. I love reading and writing and am a follower of Jesus Christ.
I’ve worked for Monster Ivy Publishing and Eschler Editing, and am currently a weekly editor with Havok Publishing. Reach out to chat about books and publishing!
Thanks for stopping by my website! I hope you’ve found some helpful resources about reading, writing, and publishing. If you liked this article, here’s some more free content…
So, your editor has sent you the manuscript assessment for your story, and it’s a good 10+ pages long. It’s packed with useful feedback, some tough suggestions, and market advice you may never have thought of. You’re probably feeling excited, thoughts whirling, but also a little intimidated about where to start. It’s a lot to consider all at once.
The last thing I’d want is to complete a manuscript assessment for an author, only for them to sit and stare at their draft, with no idea what to edit first. And that’s not the author’s fault!
Think about it. You were taught (or learned through experience) how to write and how to accept and incorporate feedback from other writers or beta readers. If no one teaches you how to break down a long editorial report into steps you can implement in page-to-page editing, it’s little wonder you might feel stuck or overwhelmed.
So here are 8 tips for self-editing your book using the developmental feedback found in a manuscript assessment:
Note: if you haven’t received a manuscript assessment, but are reading this article to determine how helpful it might be to acquire one, I recommend you check out this sample manuscript assessment I completed for one of my author clients.
1. Reorganize Feedback into a Simple Checklist
I tend to organize my manuscript assessments by topic:
Character arcs
Plot
Structure and pacing
Opening, mid-point, ending
Writing style
Marketability
More
However, this might not be the most helpful form of organization for you to refer to quickly while editing. You could rearrange feedback into a chronological checklist.
For instance, in my section on characters, I may offer the following feedback: “I immediately related to the characters, but drifted emotionally from them in the middle of the story when they lost sight of their goals, but was moved by how they pulled through in the ending.” I might also say of writing style: “The first half of your story contained a heavy amount of passive voice and some awkward sentence structure, but your writing improved over the course of the manuscript.”
You could then pull out feedback suggestions and organize them into an editing checklist:
Act 1 Edits: – Active voice – utilize a thesaurus to vary verb choice – Sentence structure – sign up for a free trial for a grammar program (like ProWritingAid) to highlight my most common problems with sentence structure – Reexamine my turning point moving from Act 1 into Act 2 – compare it to what I did in the opening hook – how can I strengthen it to propel readers into the middle of the story with greater character clarity?
If another method of organization is more intuitive to you, then go for it! The idea is to pull out the common threads and compile them into a quick reference sheet that you can work through methodically.
2. “Pants” it!
Or, you could just throw organization to the wind and start where you’re most excited! If you’ve already rewritten your opening more times than you want to count and you dread editing it AGAIN, then skip to the part you WANT to write.
Don’t worry about the whole manuscript. Pick one scene that you have a ton of new ideas for, and start playing with it. It doesn’t have to be the chapter that needs the most work, or the scene that’s most important to the story as a whole.
I hope you can still have fun! Even if editing isn’t your favorite part of the writing process. It’s so important to remember why we even do this. Cling onto the joy of your story!
3. Make small edits that affect larger patterns
Complete a read-through with an eye out for small choices that contribute to consistent problems or patterns. For example, if I tell an author that their protagonist often comes across as whiny and disrespectful, I will mention several specific scenes where this problem was most apparent to demonstrate what I mean. But I won’t list every single instance.
That’s what a developmental edit is for – in a full edit I would highlight each time the character’s attitude appeared problematic and offer suggestions for improvement. But after an assessment, it’s up to you to read through your work again, watching for others ways such problems may appear.
The same is true for any issue your editor mentions was consistent throughout your story – the dialogue was drawn out, the descriptions were confusing, the action scenes felt clunky, etc.
This is where an editing checklist can come in handy again. If there are problems you know will come up consistently, write yourself a reminder.
In each chapter, check: – MC attitude and speech – Can I trim dialogue? – Read descriptions out loud to see if I stumble over them. Rewrite and trim for clarity.
4. Brainstorm with Friends
Get a second or third opinion from writer buddies and beta readers, especially regarding feedback that is hard for you to hear. It’s difficult to maintain emotional distance from a story that’s so close to your heart. So how will you know which editorial suggestions you should definitely implement, and where you can trust your own instinct as a writer?
That’s where additional feedback can help! Talk it out with a friend. Share the editorial advice you received and ask them what they think. Even if you can’t find a critique partner for your entire project, you could find people who are willing to look at a few chapters.
When you start hearing the same thing from different readers of your genre (that distinction is vital), you’ll gain more confidence and clarity about the necessary changes.
5. Decide What Feedback to Reject
Decide what feedback you want to accept and what you don’t. You’re not going to agree with everything your editor says, and that’s ok. There may be things your editor doesn’t know about later books in your series, or you could just love the way you have something and not want to change it. Editing is a collaborative process.
Of course, don’t reject professional suggestions out of hand. Some changes won’t feel fun, but really will strengthen your story.
But you might come up with alternate ways to address a problem your editor raises. Suggestions are just that. They’re meant to be helpful, not to pigeon-hole you or kill your creative spirit and voice.
Trust your instinct! Don’t pain over everything. If there are gut decisions you can make after going through the assessment, write them down on a “do” and “don’t” list, and move on.
This is one way that editing with a manuscript assessment can be more efficient than working from a developmental edit! All of your feedback is in one place, so you can read through it and make your “yes”/”no” list quickly, without first having to re-read through individual comments on your entire manuscript.
6. Ask Your Editor Questions
If you’re stuck, feel free to reach out to your editor again! I always invite authors to send me follow-up questions, and surprisingly few do. Perhaps they’re being considerate of my time, which I appreciate. After all, if I ended up offering writing coaching, I should bill for that time. But I consider follow-up questions to be part of the manuscript assessment service. It’s not hard to answer a few questions over email.
I also really enjoy talking about the stories I’ve worked on! Sometimes I’m actually disappointed when the author doesn’t have anything to say after I return my work, because I’m invested in their story and so curious and excited to see how they develop it further! You love talking about your book – so do I!
Of course, you could ask for a one-off coaching session. Or, if you feel like you need more detailed edits on a “problem section,” you could hire your editor to work on certain chapters. Not all editors will agree to edit “a-la-carte” like this, but some do, especially if they’ve already read your entire manuscript and understand the context.
One of my clients, for whom I completed a manuscript assessment, later hired me to edit his action scenes, as that was an area of weakness I had highlighted. He decided it wasn’t worth it to struggle over them – it wasn’t one of his strengths. So we worked on those portions together. It’s a great way to stay within budget, while still ensuring your work meets the standards you want.
7. Allow Yourself to Take Breaks
You might think, “but I’ve already been on a break, waiting to get my assessment back. I should jump back in now.” Not necessarily. You can allow some time for the ideas to percolate.
It’s hard to open yourself up to feedback on your story, which is your precious baby! It’s ok to take a breather, go read or write something purely for fun, and then come back to the assessment once your creative juices are flowing again.
Often, I offer reading suggestions to authors in my assessments – whether standout works in your genre, comparative titles I think could help you pitch your book, or writing resources.
It’s better to do something productive or uplifting than stress yourself out or do nothing at all!
8. Make a Plan Against Procrastination
The longer you put off getting started, the harder it’ll feel to go back and look at that editing list again. Try to set a schedule, set aside a consistent time to write, and make some personal deadlines.
This often works best when you have a writing buddy who can help hold you accountable! Try swapping each newly edited chapter with a critique partner once a week or biweekly. Your speed of editing isn’t important, but chipping away at your project little by little IS – or it’ll never happen.
This is general writing advice. If you had the self-discipline to finish and edit a draft, and send it to an editor, then you’ve learned some great habits over the years! Apply what you know of yourself as you use your manuscript assessment, even if the process feels different from how you’ve worked in the past.
If you’ve edited your novel using the feedback from a manuscript assessment, what worked best for you? What didn’t? Reach out – we’d love to add your advice as an author into this post!
Hi, I’m Caylah Coffeen, a freelance editor and marketer of sci-fi and fantasy books. I love reading and writing and am a follower of Jesus Christ.
I’ve worked for Monster Ivy Publishing and Eschler Editing, and am currently a weekly editor with Havok Publishing. Reach out to chat about books and publishing!
Thanks for stopping by my website! I hope you’ve found some helpful resources about reading, writing, and publishing. If you liked this article, here’s some more free content…
“The Spirit of the Lord is on me, because he has anointed me to proclaim good news to the poor. He has sent me to proclaim freedom for the prisoners and recovery of sight for the blind, to set the oppressed free, to proclaim the year of the Lord’s favor.” Luke 4:18-20
Heavenly Father,
Bless me with confidence in the anointing You have given me to write.
You are the Author and Perfecter of our faith (see Hebrews 12:2), and I pray that You will help me as I author the words you have called me to share that will bring You honor and glory and breathe hope into the hearts of my readers.
Help me to not get distracted by worldly busyness and building my own platform, but to be busy building Your Kingdom and pursuing the calling You have given me, just as Jesus did (see Luke 2:49).
Protect me from the lies and deceit of the evil one. May I rest confidently in your truths and in my calling, rather than getting sidetracked by doubts, insecurities, and distractions. Equip me to write with courage, confidence, and faithful obedience.
Help me to focus on my readers, on their needs, on their struggles and desires. May every word, every message You want me to share flow into my writing.
Holy Spirit, You are welcome here. Strengthen and guide every word I write. Help align my motivations and desires with Yours.
Amen
*This is an edited excerpt from the anthology Prayers for Writers, to which Jenn contributed.
She also loves spending time with her husband and two sons, savoring coffee chats with friends, curling up with a good book, and enjoying a wonder walk through nature.
For additional resources to help you pray for your writing, check out her site Prayer Empowered Writer.
Hi, I’m Caylah Coffeen, a freelance editor and marketer of sci-fi and fantasy books. I love reading and writing and am a follower of Jesus Christ.
I’ve worked for Monster Ivy Publishing and Eschler Editing, and am currently a weekly editor with Havok Publishing. Reach out to chat about books and publishing!
Thanks for stopping by my website! I hope you’ve found some helpful resources about reading, writing, and publishing. If you liked this article, here’s some more free content…
Professional book editing can be pretty expensive. Perhaps you’ve researched standard rates, or have recently received a quote that’s outside your budget. Either way you’re probably feeling pretty frustrated and wondering if there’s a way to save on costs, without sacrificing on the quality of feedback.
I’m here to tell you there is! It’s called a manuscript assessment or manuscript evaluation – a detailed editorial letter summarizing developmental feedback (without in-line edits).
It’s hard to find an actual example of a manuscript assessment on the internet, but I’ve uploaded one (with my client’s permission) here! I’ll also go over:
A manuscript assessment is an 8-15 page editorial letter detailing developmental feedback on:
Characterization
Plot
Style
Pacing
Structure
Dialogue
Openings
Endings
Marketability
Recommendations for next edits
More!
Here is an example of a manuscript assessment which I completed on a speculative fiction novel, shared here with the author’s permission. The complete version I provided to the author was 15 pages, but I have redacted some content and blurred names to protect the author’s unpublished work.
Please note that my author-editor contract specifies that I cannot share any portion of an author’s manuscript or any sensitive details about their work (without permission), which is professional standard. This is why it is difficult to find examples of a manuscript assessment online, and perhaps why this service is not more commonly known by authors.
How a manuscript assessment differs from a developmental edit
A manuscript assessment does NOT include line-by-line edits and comments.
A developmental edit examines characterization, plot, structure and more through in-line comments and notations on the manuscript itself. An editor will include specific feedback throughout each chapter, sometimes even on every page (depending on how much work the writing needs).
As such, a developmental edit takes a lot more time, with much more detailed attention paid to each scene and portion of the manuscript.
A manuscript assessment summarizes the most significant feedback into a single document – saving the editor a lot of time!
How Much a Manuscript Assessment Costs (compared to an edit)
Because a manuscript assessment takes less time, editors can offer the service at much more affordable rates. Which is a huge win for authors!
A manuscript assessment usually costs half or less than half of a developmental edit, while still offering a significant amount of feedback.
The Editorial Freelancer’s Association compiles median editorial rates as self-reported by their members. Please note that since these are median rates, this means an equal number of editors charge above and below these amounts.
Median developmental editing rate for fiction: 3.0-4.0¢/word
Example project: a developmental edit on a 100,000 word fantasy manuscript would cost $3,000-4,000.
Median manuscript assessment rate: 1.5¢/word
Example project: a manuscript assessment for a 100,000 word fantasy manuscript would cost $1,500.
Our Book Editing Rates
If you are interested in working with Creative Cornerstones, my rates are $0.02/word for developmental editing and $0.007/word (a third the cost) for a manuscript assessment.
Example projects: a developmental edit on a 100,000 word fantasy manuscript would cost $2,000 and a manuscript assessment would cost $700.
Beware of excessively low editing rates
You may be thinking, “but it’d still be better to get a full developmental edit than a manuscript assessment. I could find someone online who will do a full edit for a lot less than $3-4K!”
That’s true. But beware of cutting costs too much, or you risk hiring someone whose feedback may actually do more harm than good.
I met a self-published author once who said she found someone on Fiverr to “professionally edit” her whole novel for only $200. That’s barely enough to cover, at a living hourly wage, the time it would take to read the full manuscript. This service may have functioned like a valuable beta read, but it was by no means a professional edit.
If you have to make the choice between hiring a hobbyist to complete a “full edit” and hiring a professional to complete a shorter task like a manuscript assessment, I would absolutely recommend the latter. You will gain more if a professional gives your book 20 hours of their time than if a novice gives your story 40 hours of their time.
Is a Manuscript Assessment the Right Choice for You?
Still, it’s not the right choice for everyone. Unless you are willing and able to put in significant work self-editing your novel, I would not recommend a manuscript evaluation.
A manuscript assessment is a great fit for:
Authors looking to traditionally publish their book who want to make their manuscript as competitive as possible before seeking representation.
Authors intending to self-publish their work who do not have the budget for a full developmental edit.
Authors who are confident self-editors, but are looking for a professional second opinion.
Newer writers who aren’t sure what their manuscript needs and are looking for detailed feedback that still affords room for significant rewriting.
I have worked with all of the above types of authors!
One of my author clients had been working on her story for over 10 years and had re-written it many times. She had reached a point of frustration – not ready to start on the sequel, and not confident enough to explore publication. She opted for a manuscript assessment almost as a way to receive writing coaching for her specific project.
Another of my clients is pursuing traditional publication, but he wanted to make his manuscript as strong as possible before querying agents since he understands how competitive the market is.
Why don’t more Authors know about manuscript assessments?
If manuscript assessments are so great, why is this the first you’re hearing of them?
Even after I started working in the publishing industry and was trained in the differences between developmental, line, and copy editing, I didn’t hear anyone talking about manuscript assessments.
I discovered the term quite by accident, and was astonished that it was not more widely known – because it is a perfect fit for authors looking to self-publish! Indie authors don’t have a huge budget, but still absolutely need to receive professional developmental feedback.
So many authors have reached out to me requesting a sample edit, gotten excited about moving forward, but then felt crushed when they heard my quote for a full edit. In such cases, I’m so glad to be able to suggest a manuscript assessment as an alternative!
I love books! I love authors! I want every writer to be able to afford professional feedback, even in a condensed form!
These authors go from crestfallen and overwhelmed, to delighted. So many have said, “I didn’t even know that was an option!” I feel frustrated on their behalf. The editorial industry has not done a good job of marketing this service.
How many self-published authors have inquired about professional editing, realized it exceeded their budget, and released their work without the benefit of any professional feedback?
I’m writing this article so you know there’s another option!
Yes, the best case scenario is to receive several rounds of editing on your work – developmental, line, copy editing, and proofreading. This is what traditional publishers do. Is this realistic for most indie authors? No. But it doesn’t have to be all or nothing. Getting a manuscript assessment and incorporating the feedback in a final round of self-editing can massively improve your story!
If you’re an author, I’d certainly love to work with you on your manuscript, but I’m writing this article mostly to educate the writing community. I hope you go on to tell all your writer friends that there is such a thing as a manuscript assessment!
If you are serious about your author career, then your books are a business. Every business invests upfront in creating a top-quality product. Your book needs professional developmental feedback to maximize its potential. But that doesn’t have to be out of reach for you!
Hi, I’m Caylah Coffeen, a freelance editor and marketer of sci-fi and fantasy books. I love reading and writing and am a follower of Jesus Christ.
I’ve worked for Monster Ivy Publishing and Eschler Editing, and am currently a weekly editor with Havok Publishing. Reach out to chat about books and publishing!
Thanks for stopping by my website! I hope you’ve found some helpful resources about reading, writing, and publishing. If you liked this article, here’s some more free content…
Are you an author who speaks English as a second language? Welcome! Whether you’re dreaming of publishing your book with a North American publisher, or looking to translate your novel into English to reach a wider audience, our team would love to support you.
First of all, I’d like to enforce the value of submitting your book to the English-speaking publishing market. According to data reports, books written in English make up between 1/3 to 1/2 of all global book sales.
In 2024, book sales in North America accounted for 33% of the global book market’s revenue. Europe accounted for a share of over 25% of worldwide book revenue.
Publishing your book in the English language will position your work in front of the largest demographic of book buyers in the world. A potentially lucrative choice!
Publishers and agents in these marketplaces are happy to accept the work of ESL authors from around the world, as long as your work holds up to industry standards. This means your work needs to be indistinguishable in quality from writing by native speakers.
Common English as a Second Language Errors
English is a hot mess! Native speakers admit it freely. The grammar is confusing, and it’s even harder to get the idioms right – for instance have you heard the phrase “hot mess” before? 😉
As an editor, I often see the same types of mistakes in writing by non-native English speakers:
Omission or incorrect use of articles such as a, an, the
Subject-verb agreement
Incorrect order of adjectives
Improperly used verb tenses
Overuse of passive voice and transitional phrases
Unclear sentence structure
Use of descriptors that don’t quite fit the context
A manuscript that contains basic errors like this will not appear marketable to an agent or publisher. Even if your English skills are exceptional, native speakers might still sense a stiffness to your style.
Working with a native English speaker will transform your novel, eliminating common errors and smoothing out cultural idiosyncrasies that you may not be aware of.
Editing Your Novel
I love working with global authors! You bring a unique perspective and style to storytelling which can be refreshing and exciting for native English-speakers to experience. As a reader, I am so incredibly blessed to have access to books from around the world that have been translated into my native language!
It’s been my privilege to work with authors from:
China
Central America
Ghana
Austria
Ethiopia
Types of projects I accept:
Manuscripts written in English by advanced or fluent ESL authors
Manuscripts that have been professionally translated into English and need a second look
Speculative fiction (sci-fi, fantasy, fairy tale and mythic retellings, etc.) is my specialty. I am also familiar with the mystery and thriller genres.
Projects I do not accept:
Manuscripts written by authors who are at the beginner or intermediate ESL level and still need significant language instruction
Manuscripts that have been translated with Google Translate, other AI, or a non-native English speaker
Nonfiction (excepting memoirs)
I would love to be able to work with all authors, but below a certain level of language proficiency, authors would benefit more from further language and writing instruction. A professional edit is a significant investment – it’s best to wait until your work is truly ready.
Self-Editing Support
I encourage you to take advantage of grammar and editing programs like ProWritingAid (both free and paid options available)! They highlight mistakes, but also explain each error, teach you the matching rule, and offer editorial suggestions. Unlike programs like Grammarly, ProWritingAid is designed for creative writing, not business or academic writing, and so they have better stylistic suggestions.
Running your work through programs like this can help you eliminate a lot of the more common mistakes, like absent articles, which will reduce the amount of time your editor needs to spend on later drafts – saving you money!
WARNING: Please be very careful not to write using AI! That is a sure way to get your work rejected by publishers. ProWritingAid offers suggestions for how to rewrite sentences. Do NOT just copy/paste them into your text. These programs are wonderful as a learning tool, but if you let them think for you, your writing skills will not improve.
How to Get Published in North America
Please note that while my team offers book publishing services to authors, including coaching, editing, self-publishing support, and marketing, Creative Cornerstones is not a publishing house or agency. We also do not offer translation services.
I would be delighted to edit your novel to maximize its quality and increase your likelihood of finding representation. I have worked with 2 publishing companies – Monster Ivy Publishing and Havok Publishing – and can advise you on the expectations of the publishing market in the United States.
Even native English speakers are increasingly hiring freelance editors before querying agents, because they know how competitive the industry is. In an attempt to cut costs, publishers are much more likely to accept a book that has already undergone developmental editing than one that needs significant rewrites.
Traditional publishing in the United States is dominated by the Big 5 Publishers:
Penguin Random House
HarperCollins
Macmillan Publishers
Hachette Book Group
Simon and Schuster
Each company operates many imprints – subsidiary publishing companies that they have acquired or created to specialize in certain sub-genres or audiences.
These companies are businesses looking to profit, so they seek books with mass appeal. They only offer deals for books they think will sell tens of thousands of copies – at least. If you’re seeking publication with a traditional publisher, you will first need to gain the representation of a literary agent.
For more information about finding a literary agent, I highly recommend Gina Kammer’s course on querying – she has over 15 years of experience in publishing and offers exceptional coaching to authors.
Other publishing options include mid-size and independent publishers, and self-publishing. I discuss these different routes in greater detail in the following article.
Ready to take your book to the next level?
I would love to hear more about your story and discuss how we could work together to make your book stand out in the crowd!
You are welcome to send me the first chapter of your book – I will complete a free sample edit on your first 1000 words and provide my recommendation for the type of edit your manuscript needs.
You can find a breakdown of the different types of editing – developmental, line, copy – here. Feel free to reach out to my team with any other questions as well!
Hi, I’m Caylah Coffeen, a freelance editor and marketer of sci-fi and fantasy books. I love reading and writing and am a follower of Jesus Christ.
I’ve worked for Monster Ivy Publishing and Eschler Editing, and am currently a weekly editor with Havok Publishing. Reach out to chat about books and publishing!
Thanks for stopping by my website! I hope you’ve found some helpful resources about reading, writing, and publishing. If you liked this article, here’s some more free content…
Kathy Tyers writes character-driven science fiction with a deep heart and an inquiring spirit. She is the author of the Firebird series – Firebird, Fusion Fire, Crown of Fire, Wind and Shadow, and Daystar – of the Star Wars universe novels Truce at Bakura and New Jedi Order: Balance Point, and of several stand-alones.
She returns to the Firebird universe with her upcoming release Firebreak, which takes place between Crown of Fire and Wind and Shadow. Releasing March 10, 2026 and now available for preorder, with 20% off on Enclave Publishing’s website!
Cover art by Kirk DouPonce at DogEared Designs
Lady Firebird Caldwell returns to the world of her birth, Netaia, intending to introduce her young sons to the noble Electors while her husband, Brennen, conducts a military inspection. When mysterious ships in distress suddenly approach the planet, the Electorate sends her to initiate first contact. Forced to work alongside a vengeful childhood enemy, Firebird uses everything within her power—even her passion for music—to negotiate, only to discover their alien technology threatens all the worlds she holds dear.
Facing ruthless betrayal, Firebird undertakes a deadly journey to salvage the mission. Brennen must make daring use of his telepathic powers to save human life in the galactic Whorl, including that of their young sons. But saving the worlds might force Brennen to give the order that would mean Firebird’s death. In a galaxy poised on the edge of ruin, survival may demand the ultimate sacrifice—from them both.
Caylah: I’m so excited to hear that you’re releasing a new book in the Firebird universe! The new cover looks stunning! Could you tell us more about Firebreak and how the story came to you?
One of the hardest choices an author can make is where to start and end their story – after all, the universe and characters never “end” in our own minds! It’s been quite a few years since your last book in the Firebird universe. How did you decide it was “right” to return?
Kathy: Caylah, thank you for the opportunity to talk about writing Firebird’s story again. If you don’t mind, I’d like to combine my answers to your first two questions.
In 2022, I thought I would never be able to write again. Long COVID had done bizarre things to my brain. Sometimes, I could barely wake up for two or three days, and then I’d have insomnia for most of a week. The worst of it was the sensation that something seemed to be creepy-crawling inside my skull. I barely had the energy to get through a day and cook dinner. Some people thought I was doing pretty well, but I had no energy left to write, which made me feel sad and old.
Still, every second Monday evening, I got together with some new writers from my church and helped them learn the craft. I tried to resurrect an old project of mine, Holy Ground, a rural fantasy novel. I’d written it in third person limited POV, and my writing friends encouraged me to try rewriting it in first person. Week after week, I simply had nothing to bring to the writers group. The passion just wasn’t there. I couldn’t persevere through the long, long process of writing a full first draft, even though the novel was substantially written already.
Finally, Broose–another founding member of that group, and a former Disney animator–challenged me to simply write something that brought me joy and fed my spirit. I had thoroughly enjoyed writing the Firebird series. They filled up something inside of me that had gone empty and dry during COVID. So, out of a sense of grateful nostalgia, I re-read all five of them. I found myself wondering what Firebird and Brennen were doing between Crown of Fire and Wind and Shadow. (Books 3 and 4) The next thing I knew, a new story was pouring out of me. The post-COVID lethargy was gone. Kathy Tyers was alive again.
Caylah: That is wonderful advice – returning to joy when our muse decides to hide under a rock. What did you enjoy most about this story and what are you excited for readers to experience (no spoilers of course!)? I’m personally excited to see more about Netaia’s culture and how it transforms over the years.
Kathy: The characters! I’ve known Lady Firebird for most of my life. Over the years, she has matured into someone who feels very real to me. So does Brennen. Letting them find each other and embark on their adventures together satisfied a hunger in my soul. In our fallen world, we long for a happy ending–but doesn’t a happy ending usually lead to the next challenge?
Caylah: Indeed! Firebird came so alive to me, so I’m excited to see more of her story.
How does your relationship with God influence your writing process and story planning? e.g. perhaps you have a prayer you like to pray as you sit down to write.
Kathy: I try to get to work immediately after my quiet time each morning. One of my favorite C.S. Lewis quotes says, in effect, that who/what you are will come out in your writing whether or not you try to put it there. So I work hard on telling a good story and, occasionally, on bringing forward the faith elements. Lightly but genuinely! The exception to “lightly” was Wind and Shadow, which was written as a Master’s degree project for Regent College, a wonderful theological school in Vancouver, BC. One of the main characters was a priest in training, you see….
Caylah: Amen! Out of the overflow of the heart, the mouth speaks. I remember you published a different edition of Firebird before your deal with Enclave. How did you choose to release a version with enhanced religious themes (is that the biggest difference)? Have you received criticism from fans of your general market (Star Wars) work?
Kathy: My editor Steve Laube had been a fan of my writing before I moved over from Bantam Books to Bethany House publishing, where he worked at the time. During our first conversation, he told me he had suspected for some time that I was a Christian because he’d found hints here and there in my writing (see C.S. Lewis quote above!). Yes, people have left reviews online warning other readers that my books from a Christian publisher have Christian themes. Surprise!
Caylah: Personally, I found the themes of shame, faith, and new life incredibly challenging and encouraging – they make the story have eternal significance. Are there any readers who’ve approached you over the years to share how the Christian message impacted them? All authors want to think that their stories have the power to transform at least one life!
Kathy: One of the most moving experiences in my life was attending the baptism of a young woman who said she’d decided to become a Christian after reading the Firebird books.
Caylah: I love how much you weave music into the chapter titles and into Firebird’s thought processes! In my opinion, that’s one of the elements that takes a character from “good” to “great” – their hobbies and passions actually transform how they view and interact with the world. I actually use your trilogy as an example when I offer this advance to new writers! Are there any other tips for character development that you’d share with budding writers?
Kathy: My characters usually reveal themselves to me slowly. I need to spend time with them, thinking through what they find beautiful, meaningful,or challenging. Often, it’s through the process of writing a first draft that I learn what drives them. I enjoy involving some of my characters in music or other arts because that’s been a big part of my background since childhood. I grew up in a musical family. I might ask a hopeful writer, “What do you enjoy, what do you know something about, besides your fiction? Can you layer that into your story in some way that enriches the plot?”
Now and then, though, inspiration hits in an instant. For example, I first glimpsed one of my favorite characters, Tel Tellai, when he was standing at the foot of a breakaway strip while a space-and-atmosphere fighter took off. He was just standing there in shock and protest, holding both of his arms stiffly down at his sides. “Who in the world is that?” I wondered. Calmly, he told me his name (honestly, that’s how it felt) and that he loved Phoena Angelo. I was shocked. “You love HER?? What???? How could ANYONE….”
Caylah: Moments of “conception” like that make storytelling feel like such a superpower! Since we’re quoting C.S. Lewis, your description reminds me of how his main character in Till We Have Faces says, “I was with book, as a woman is with child.”
The interrogation scene between Brennen and Firebird is one of the most tensely compelling scenes I’ve ever read – the chemistry! I remember the first time I read it, how Brennen’s act of clicking his heels together and shifting forward to begin accessing Firebird’s mind was such a tangible moment that made me physically feel the tension in the room. Then I reread your annotated version and realized you did this deliberately (as good authors do, haha)! You articulated so clearly how physical actions can punctuate energy and emotion and create turning points within a scene without the characters using any words. Are you able to expand upon that idea, maybe going into when this tactic works and when it might not, for some writers?
Kathy: Thanks, Caylah. I love that scene too. I wrote at length about tagging dialogue with action beats in my book for the Christian Writers Institute, Writing Deep Viewpoint: Invite your Readers Into the Story.It isn’t always easy to find the right action beat. I hear my characters speak to each other long before I can see their body language or their surroundings. Every writer’s process is just a bit different.
Caylah: That sounds like a great resource – thank you! It’s encouraging to know that even elements which might not come as naturally or quickly to writers can still become a great strength.
There’s a lot of disagreement about what makes a “strong female character.” Some people have complained that Firebird too quickly gets “shunted into the role of wife and mother,” but I think you did a wonderful job of showing a variety of feminine strengths in Firebird. Being a lethal fighter pilot isn’t the only way to kick butt, which she still does throughout the rest of the trilogy! How would you describe your approach to writing female characters and do you think Christians “should” write women differently than we see in mainstream media?
Kathy: I’m especially glad you asked about this. “The role of wife and mother” is not the end of any story. In and of itself, it’s a high calling for many. For others, it’s a vital step into their unique future. When I brought Firebird and Brennen together, I knew that they both had strong reasons for wanting to create a family.
Still, they obviously weren’t the kind of people to live quietly-ever-after. How, then, would they balance parenting with the other calls on their lives? It’s been a challenge for me, just as it’s been a challenge for them. But they’re doing it! Just wait till you read how they get there in Firebreak.
Caylah: I can’t wait to see the kind of trouble Kiel and Kinnor got into as kids!
Ok, now for my “fan girl” moment. When Brennen first feels Firebird’s mental shout he expects to find brotherhood. Though it didn’t turn out that way, I’ve been fascinated by what that dynamic would look like in their culture. I would LOVE to see a short story about a Sentinel “blood brother” pair!!! Do they have any famous “Gilgamesh-Enkidu” pairs or stories about sisterhood (which is rarer to find in fiction, sadly)?
Can individuals have more than one pair bond? For instance, would a pair bonded husband also be able to pair bond with a brother in arms? Would his bonded wife feel his brother through their connection at all? I then had fun imagining what would have happened if one of the Shuhr assassins had discovered they were connatural with one of the men in the Caldwell bloodline. What do you think would have happened – would they have stayed their hand as Brennen did with Firebird?
Kathy: You may have given me a great subplot idea. Thank you.
Caylah: Ooh, yes! Is there anything else you’d like to share about your story, process, or world?
Kathy: Thank you again for the chance to share a bit about Firebreak, my favorite characters, and my writing process. It was a treat to meet you at Realm Makers, and I hope to see you there again in 2026, when Firebreak is finally available!
Caylah: Thanks! It was lovely meeting you too. And congrats on the birth of your grandson!
Kathy: Thank you!
Follow Kathy Tyers on Facebook for more news and discussions, and find the first book in her Firebird trilogy here. Firebreak, releasing March 10, 2026, is now available for preorder on Amazon or through Enclave Publishing’s website (20% off there).
Amazon links are affiliate links – I may earn from qualifying purchases.
Hi, I’m Caylah Coffeen, a freelance editor and marketer of sci-fi and fantasy books. I love reading and writing and am a follower of Jesus Christ.
I’ve worked for Monster Ivy Publishing and Eschler Editing, and am currently a weekly editor with Havok Publishing. Reach out to chat about books and publishing!
Thanks for stopping by my website! I hope you’ve found some helpful resources about reading, writing, and publishing. If you liked this article, here’s some more free content…
There are many benefits to selling books at in-person, local events, including finding repeat customers, gaining reviews, and selling more books in one day than you can sell in a whole month online! I’ve outlined some more benefits in a previous article: 8 Reasons Authors Should Sell Books at In-Person Events.
But here, I’ll share what I’ve learned from years of successfully selling books at markets, library fairs, and more. Knowing what to do, and just as importantly, what not to do, will ensure you actually make a profit. I’ll explain some vital tips like:
Ask other vendors or the even organizer what you can expect at their event. They won’t be offended and can give you an idea of the type of crowd to expect, and whether the event is worth your time.
High Traffic Events
The most important element to look for is high shopping traffic. If 10 people come to your event and you historically sell to 10% of the people you speak with, you might sell only 1 book at this event. If 500 people come to your event and you manage to speak to 100 of them, you might sell 10 books.
It’s most likely that the traffic will be high if you:
Table up on a Saturday. Saturdays are the very best day for sales events, hands down. Friday evenings are the next best. Sundays are a gamble. Sometimes a Sunday can give you decent traffic and other times the event is a complete ghost town.
Pick an event in a big/medium size city that is close to major highways and civilization. If you table up on a farm in the middle of nowhere in a town having a name you’ve never heard of and has a population of < 5,000, you probably shouldn’t expect much traffic, and you probably shouldn’t table up there, unless you know from experience that this event really does draw crowds. And don’t assume that just because a podunk venue draws a moderate crowd on a Saturday, you can expect a decent crowd on Sunday. Sometimes the switch to Sunday kills shopping traffic.
Sell at established markets with known traffic instead of inviting friends to your own private book signing event. If you invite 20 people to a signing and only 5% actually show up (which is about the average), you might get 1 person to show up! Many authors end up with NO attendees and get discouraged. Unless you’re a big name author, or you invited over a hundred people, don’t do this! Sell at markets that you know get at least 500 shoppers.
Choose a market that happens every week. These are the safest events, because the event organizers typically do much more advertising of the event and the crowds are usually bigger. I make one local farmers market the backbone of my in-person sales—I go every Saturday from 9a to 2p. I do other events on Friday nights/Saturday nights/Sunday afternoons when I find them in addition to my regular Saturday morning market.
Low or no vendor fee
Let’s assume each book you sell nets you $5 of profit and your table fee was $100 for your event. If you sold only 10 books, that nets you $50. After you pay your fee, you just lost $50 to be at that event. On the other hand, if your fee was only $20, you earned $30. If you did a free public library event, you earned all $50.
Organizer doesn’t require vendor insurance
I’ve heard of events that require this, and in many cases that insurance can cost thousands of dollars each year! Avoid those events. Pick ones that only ask you to sign a form saying you accept risk for your own wares.
Close to home
If you have to drive a few hours to the event and a few hours home, you will burn away all your profits in gas expenses. And if you travel far enough, you’ll want to stay at a motel if it’s a multi-day event. If you pay $50 in gas and $100 in hotel fees, plus a $50 table fee for 2 days, that’s a total expense of $200.
How many books would you have to sell just to break even? Assuming from before that you net $5 profit on each book sale, that means you have to sell 40 books that weekend. If you think you can sell at least 20 books each day, you might cover your table fee. If you can’t, then you will lose money.
Simple tactics to sell books – inoffensively
Call out to passersby
If you only smile and wave, the vast majority of people will breeze right past your table. You’d think these people would proactively approach your table because they came to the event to shop, but they have to be drawn over to you.
Often they have dozens of tables to choose from. Even people who love the genre you sell will fail to recognize your books with their very obvious genre-hinted cover art and your large-lettered signage.
What should you call out? I use a variety of lines:
“Free chocolate! Calorie-free books!” while pointing to my candy dish and books
“Science fiction and fantasy!”
“Buy a book and get a free spouse! Erm… I mean a free bookmark!”
Be funny and relaxed. Many will stop and chat because you got their attention. If you keep it silly and lighthearted, people are less likely to be annoyed that you’re hawking them.
Put your book in their hands
If someone stops and asks what your book is about, don’t answer verbally. Instead, put your paperback in their hands with the back cover facing up and say that the book description says it best. This does several important things:
The book has now become real to them. They can feel the texture and weight of it.
By reading your back blurb, they’re getting a sampling of your writing style. If you’ve written it well, you can impress them with your writing skill and intrigue them about the book.
If the blurb gets their attention, they will often start flipping through the book. And if your formatting is top-notch, they will see how professional the product is and their confidence in you goes way up. If you have interesting chapter titles, they may notice those and be drawn in further. They might even start reading the first page!
Every second they spend examining your book invests them further in it. Now they’re spending time. Once they’ve done that, they are more likely to spend money on it. This has now become an event.
While people are reading your blurb, you get to watch their face and see their visceral reaction to it. If their brows rise and their faces glow, your blurb is doing its job. If you never get such a response from dozens of visitors to your table, you know it’s time to rework your blurb.
While people are reading your blurb, you’re also freed up to call out to other people.
If you explain your book’s plot to each person who asks, your voice will get tired quickly. Especially if you have to shout over loud street musicians.
How to Set Up Your Table for Maximum Engagement
Location is Paramount
It doesn’t take much at all to discourage shoppers from approaching your table. They will never tell you the reason. It’s up to us as vendors to figure out what that obstacle is, and remove it.
If removal is possible. You might have to ask the event organizer if you can shift your table over a few feet to avoid something like a tree stump or a narrow part of a hallway, or to move you to a completely different spot along a street.
If you get to choose your table location, think carefully about possible traffic flow. For example, if your vendor area is divided into 3 columns of tables with 2 aisles, pick a spot on the right-hand column. Especially if that aisle is wider than the other! I learned this lesson the hard way at one of my library events:
Remove psychological barriers
Here’s a list of some I’ve discovered:
Distance
Move your table as close to the flow of foot traffic as you can. If visitors are walking in the middle of a street and your popup canopy is 7 feet away, most people will let their momentum drag them right past. And if your table is near the back of your canopy, such that visitors have to enter the canopy and walk a few feet inside to see your book covers, that’s too far.
It presents a subtle psych barrier that discourages all but the most determined visitors. And if you only talk to the most determined visitors, you will not sell many books at your event. I promise you.
Objects
At one event, I moved my table to the front of my canopy, but due to space constraints, one corner of my table butted up against a canopy pole. And my books were sitting on that end of the table. Could visitors easily avoid the pole? Sure. Did visitors let that pole deter them from approaching? Absolutely. Once I moved my books to the other end of the table, more visitors stopped to check them out.
Flooring
At an outdoor event, the ground was muddy from recent rain and I didn’t want someone dropping my books in the mud. So I laid down puzzle piece rubber waffle boards in a 9ft square and set my table on that. It jutted out a good 4 feet from the front of my table and I remembered thinking people might hesitate to approach for fear of tracking their muddy shoes on my clean waffle boards.
Guess what? The very first couple stood a few feet back from those boards and squinted. I immediately removed that layer of flooring and people started coming up to the table.
Turnaround Point
This is the worst obstacle of all. At one event, my table was near the end of a long street. There was nothing exciting at the very end of the street to draw people to walk the whole length. And so, for the first hour, most shoppers would walk to what I called “the turnaround point”.
About 2 tables away from mine, there was this spot on the road where I saw hundreds of people stop, squint down the road, decide they were at the end, turned around, and walked back the way they came. This was the most discouraging experience I’d ever had as a vendor.
At least until the shaved ice truck came and parked at the very end of the road! And then a street musician started strumming a guitar across from that. Then I had shoppers lining up in front of my table for shaved ice on a very cold day. And only then did I sell books.
Smart event organizers are aware of the turnaround effect and will place attractions at the end of hallways and streets to mitigate it.
Wide lanes
Similar to the point about distance, you want to try to avoid placing your table in a section of a path or street that is wider than the other sections. Shoppers will naturally tend to walk at the farthest point in the path from vendor tables, so if you pick a very wide section, shoppers may be too far away to see or hear you, and may feel the distance to be socially acceptable to ignore you from.
If you are able to relocate your table or move other structures (such as a friend’s tent or table) into the path across from you to narrow it down, you may turn a zero sale night into a big night.
What to Bring
Interactive Materials to Make Your Table Memorable
I bring the video game version of my debut novel for visitors to play:
This big monitor and the gaggle of kids and their laughter draw lots of people over (not to mention the parents). But you might not be able to create your own video game.
There are other gimmicks you can try: set up a gumball machine that dispenses slips of paper containing neat one-liners from your books, and make one of them a coupon for a free book. Or dress up in a costume related to your protag or villain. Just make it visually obvious that something about your table is different.
People should be able to say, “his table is the one with the [blank]!”
Ample Lighting
For outdoor, evening events during fall and winter, bring plenty of lighting, including hand lamps that visitors can hold up to your book. Don’t count on general area lighting and lights you string along the top of your canopy to provide enough light for reading your book’s back cover. At some events, they’ll ask you not to bring a popup canopy because it would block the lighting they provide and take up too much floor/ground space.
two tables
Always bring a small table along with your normal, big one. Sometimes events will let you in without prior notice or give you really juicy spots if you let them know you can fit your stuff on a 4ft by 2ft table and don’t need to use your 10ft by 10ft canopy. Some events promise to provide a table and chair for you. I always bring my own just in case they run out or there’s something about their table and chair I really don’t like.
a card reader
I recommend Square. The small reader is free with your account and the thing is durable—it can survive a trip through the washing machine! And don’t sign up for your account right away. Instead, ask another author who already has Square (like me!) to send you a referral email.
Only sign up with that referral and both you and the referring person enjoys a free $1000 of processing fees waived for 6 months, starting from your first card swipe. Just find a dedicated place to keep your square reader (not your pocket) so you don’t lose it and you don’t send it through the wash. Also, you must keep your smartphone charged in order to use the swiper (if you get the free swiper model, that is).
Make sure to ask about WiFi availability ahead of time!
Insider Tips
Chat with other author vendors
Ask them what other events they’re going to next. Be friendly to them—they just might end up inviting you to awesome events you didn’t know anything about. And they might offer to split their table with you. That lets you pay half the fee and gets you into events for which the submission deadline is long past.
I’ve gone to events that I heard about the day before! In order to capitalize on these last-minute event invites, try to keep your weekends open (if you don’t already have events scheduled, that is).
Sell at the last minute
When breaking down your setup, put your books away last. I can’t remember how many times I’ve sold books to passersby while I was packing away other things. One time I sold books after I’d broken down my entire setup because my backpack has a full sales kit in it, and I pulled books and a card swiper out from that.
At my farmer’s market on 10/12/2024, I sold 10 books after I started breaking down my table! All I did was look up for passersby, point to my books, and say, “I still have books out, if you’d like a look.”
Here’s what I’ve noticed: Many shoppers walking around after the official end of an event are happy when a vendor notices them and gives them something to shop for after all other vendors are closed. The last-minute nature can help nudge them to buy something. This is why I pack away my books last. I even bring down my tent and pack that away before I box up the books. I recommend you do the same.
The First Day of Events is the Most Important
If you sell at an event that lasts 2 or more days (of equal duration), and you can only show up on one of those days, pick day one.
Push for early sales on day one of multi-day events. Many shoppers may not feel any urgency to shop until later in that weekend. Always try to encourage them to buy sooner, because they may not return to you later like they promised!
As the event wears on, you’ll start hearing shoppers say things like, “I’ve already spent all my money.” And what they really mean is, “I’ve already spent all my money on other vendors’ goods. You’re too late.” The younger the shopper, the truer this is.
My sales and marketing guide has WAY more content like this. Just email me at dylan.west@dylanwestauthor.com if you want me to share that google document with you for free!
Dylan West writes faith-based, young adult science fiction and fantasy novels. He is a Jesus lover, web and video game developer, former Navy nuclear operator, foreign language nut, and a nut in general.
While other people are busy thinking normal thoughts, he’s crafting corny jokes. Dylan lives in Chesapeake, VA, with his wife and daughter.
For authors struggling to sell a single book on Amazon in a whole month: how would you like to sell 10 to 20 of them in a single day? When you table up at a local sales event, that’s not hard to do. That’s just one reason to vend at regular, local events. Here are some more:
1. Brand awareness
if you hang a big, clear, beautifully designed banner at your table, you let passersby know that your business exists. Because I table up at a decent-sized event each Saturday, over 50,000 people see my books and banner every year.
2. Fan building
When shoppers walk by or visit my table, people take actions like:
Check out my books and ask me questions
Buy my books or sign up for my newsletter (often both)
Buy the related merchandise. If they buy my t-shirt, they may wear it, providing free advertising
Give me donations (sometimes large ones)
In-person events are the best way to increase word of mouth and gain further opportunities. Some people will:
Tell other passersby to check out my books and rave about how good they are – this happens to me quite a bit, and it’s driven lots of sales 🙂
Tell friends about my books. Some may even buy my book as a gift or haul their friend over to my table
Invite me to some other sales event or speaking engagement. One person invited me to speak at a local college, which paid me a $100 speaking fee and bought 3 of my books to display at the front of their campus library!
Seeing you in person will make people remember:
To finish the book they bought from me last year
To buy more books because they loved the first one
To sign up for my newsletter or read the newsletter articles I’ve been sending them
That my books exist – that’s a huge thing. If someone buys a book from you a few years ago, it’s easy for them to forget about you if they didn’t sub to your newsletter
3. Sales Practice
Nothing makes you better at sales than getting hundreds of sales opportunities each month. Each shopper that stops is a live-fire practice session.
4. Steady cash flow
The money I make at my sales events funds my next book. I don’t have to pay anything out of pocket after my initial investment. I use sales earnings to pay for book cover art, ISBNs, formatting, software, copyright filings, business licenses, author copies, web hosting, domain names, paid ads, and a lot more I’m forgetting.
5. Newsletter building
The best way to gain new newsletter subscribers is to collect emails from people who just bought your book(s). They are more likely to open and read your emails than people who signed up for a free novella and then unsubbed right after.
6. Fun
I could go on for hours about all the wacky and funny things I’ve experienced at farmers markets and comic cons while vending. I get to meet neat people, pet cute doggies, crack lots of corny jokes, hear corny jokes in return, see really interesting performers, hear live music, and have the thrill of making big sales.
And I have fans hunting me down at events when they learn that my newest book just came out!
7. Identity
Nothing reminds you that you are, in fact, a published author like going to regular sales events. Many indies who published a book long ago have almost forgotten that they are a published author and that they should be selling their books.
Going to in-person events makes your authorship more real than if you lob an e-book onto Amazon and do nothing more.
8. Reviews
You will get more reviews for your books if you table up at sales events. Especially if you remember to ask shoppers to leave a review!
Now that I’ve persuaded you to table up at local events, let me share some tips for how to run them so you actually sell books – based on my years of experience!
Dylan West writes faith-based, young adult science fiction and fantasy novels. He is a Jesus lover, web and video game developer, former Navy nuclear operator, foreign language nut, and a nut in general.
While other people are busy thinking normal thoughts, he’s crafting corny jokes. Dylan lives in Chesapeake, VA, with his wife and daughter.
Please sign up for his newsletter to get the geekiest science research tidbits that go into the making of his books: https://dylanwestauthor.com/.
That you have given so many in our family a gift of creativity. We lay these gifts before you again. We know you will test all things on the last day. Some will be consumed, while others will be shown to be jewels. Some of what we create will survive in eternity. We ask that our creative labors, and our support of others labors, will have a meaningful impact for the kingdom of God. That is what we desire – to create something that you, our Creator, wants to preserve and keep. As we write, help us to ask ourselves honestly whether what we are crafting is something that will please you and have eternal value.
May it be so on that day, Lord Jesus Christ, the wisdom of God, the true Word.
1 Corinthians 3:10-15
“By the grace God has given me, I laid a foundation as a wise builder, and someone else is building on it. But each one should build with care. For no one can lay any foundation other than the one already laid, which is Jesus Christ. If anyone builds on this foundation using gold, silver, costly stones, wood, hay or straw, their work will be shown for what it is, because the Day will bring it to light. It will be revealed with fire, and the fire will test the quality of each person’s work. If what has been built survives, the builder will receive a reward. If it is burned up, the builder will suffer loss but yet will be saved—even though only as one escaping through the flames.”
About Rich Coffeen
Rich Coffeen is a PCA pastor in the North Chicago area, a classical educator, and former missionary to Japan. He is the author of Christian sci-fi books The Discipling of Mytra and City on a Sea. He and his wife share 7 beautiful children and 1 grandson!
Fantasy as a genre has long captured the imaginations of readers with its thrilling adventures and heroic narratives. But if you’ve spent any time in the trenches of Reddit, BookTok, or even Threads, you’ve likely come across a question echoing throughout the zeitgeist:
Does fantasy suffer from a lack of diversity?
That, however, is the wrong question.
At the heart of this conversation lies a more critical distinction. The real question we should be asking is:
What do we even mean by “diversity”?
Is it simply about including characters of various races and socioeconomic backgrounds?
Or does true diversity dig deeper?
This article explores that very question while offering insights into how diversity can (and should) transform the realm of fantasy. Along the way, you might come to love me, or you might come to hate me. But one thing you won’t accuse me of is being a vapid wanderer with nothing but clouds for thoughts.
What Does Diversity Mean in Fantasy?
When we think about diversity in fantasy, what’s the first thing that comes to mind? For many, in a culture increasingly unmoored from classical philosophical foundations, “diversity” is often reduced to outward traits: ethnicity, gender, or socioeconomic status.
And yes, those factors matter.
But they shouldn’t overshadow what truly makes stories vibrant and enduring: diversity of thought. Because a book, at its core, is a well assembled stream of consciousness. A meditation and confrontation with ideas.
Diversity in My Own Career
This subject is actually quite dear in my own author journey and not for the reasons you might suspect. Whenever diversity comes up, it’s often along the lines of: “Hey, Izaic, why don’t you mention you’re Black? That could really help spotlight you or bring money in the door.” Every time I hear that, it feels like an arrow to the heart.
Why?
Because it screams the bigotry of low expectations. Ideas that stand the test of time are based on merit. To have mine judged by skin tone or assumed hardships might grant me a short‑term dopamine hit but, in the end, would leave me wondering: did I earn X or Y, or was that just the result of someone’s assumption about me?
So, over and over again, I have declined grants or invitations that hinge solely on my skin tone. At times it’s been hard and a challenge to the life of virtue. Undoubtedly I am leaving money on the table, but I have faith that I am more than the base materials of my physical body. What remains, and what is important, is the diversity of my mind and soul, which God made perfectly to His design.
Beyond Biometric Metrics
Reducing diversity to metrics like race, gender, or class oversimplifies a much richer and more vital conversation. Biometric diversity does not automatically guarantee depth or quality in storytelling.
True diversity emerges from exploring nuanced ideas, conflicting beliefs, and different cultural frameworks for understanding universal human experiences.
Imagine a world where fantasy novels challenge readers to see the world differently—to entertain new possibilities and reflect deeply on their own beliefs.
That is authentic diversity.
More Than Skin Deep
Reducing diversity to physical characteristics is a form of tokenism, where characters are included as symbolic gestures rather than meaningful contributors to the narrative.
Instead, let’s consider stories whereideas and beliefs are the defining elements of uniqueness.
For example, a Black author can skillfully craft a European medieval fantasy steeped in knights, castles, and folklore. Likewise, a White author can authentically write a story centered around urban Black youths navigating the challenges of Chicago through the lens of portal fantasy.
The richness of a story stems not from the biometric traits of its characters or creators, but from the depth and clarity of its ideas.
Biological factors ≠ Diversity.
They are merely a potential starting point from which diversity might emerge.
This is not to deny the importance of representation but to elevate the conversation.
Our ultimate goal as lovers of literature should be compelling storytelling that speaks to the human condition. As Dr. Martin Luther King Jr. famously said, what matters most is “the content of their character.”
For fantasy, this means content that challenges, inspires, and transports readers into the vast frontiers of imagination.
The Reader’s Role in Seeking True Diversity
Writers aren’t the only ones responsible for cultivating meaningful diversity. Readers play an equally crucial role in shaping demand for more thoughtful and expansive narratives.
When audiences seek out stories that offer fresh perspectives and complex characters, they help pave the way for a broader, richer literary landscape.
Supporting Authentic Storytelling
Here’s how readers can contribute:
Explore New Authors: Seek out voices from various cultural and social backgrounds. But celebrate them not for their skin or heritage—celebrate them for the merit of their thoughts and craft.
Foster Conversations: Discuss books with others. Unearth the deeper themes and perspectives within a story.
Prioritize Depth: Choose books that offer intricate world-building, moral complexity, and provocative ideas over ones that simply check superficial boxes.
By demanding authenticity and intellectual richness, readers uplift authors and help shape a publishing culture centered on excellence.
Raising the Next Generation of Readers
Creating a culture where diversity of thought thrives doesn’t happen overnight. It begins with nurturing a love for reading in young minds. Exposing children of all backgrounds to a range of high-quality, diverse literature helps expand their worldview and strengthens critical thinking.
How to Foster a Love for Diverse Literature:
Start Early: Introduce imaginative fantasy stories that stretch the mind and expose kids to different ideas.
Align with Values: Share stories that reflect your core values but don’t avoid those that challenge or stretch them.
Create a Rich Literary Environment: Fill homes or classrooms with books spanning genres, cultures, and philosophies.
Celebrate Curiosity: Encourage kids to ask hard questions about characters, themes, and conflicts.
Train for Excellence: Stop paying lip service to mediocrity. If you’re invested in the future of Black youth—or any youth—invest in their craft. Train them rigorously. Push them to be extraordinary.
A sustained effort to introduce children to rich, diverse storytelling shapes a generation that values both creativity and authenticity. Excellence is the only foundation that ensures diversity lasts beyond trends.
Building a Future of Excellence in Fantasy Literature
Fantasy offers endless room for exploration, creativity, and connection. But for the genre to thrive, it requires intentional effort from writers, readers, and publishers alike.
Christian authors, especially, have a unique opportunity to contribute by anchoring their work in faith and reflecting the boundless creativity of God’s design.
The future of fantasy doesn’t rest on superficial representation. It depends on cultivating excellence and allowing the diversity of ideas to compete in all aspects of storytelling.
Yorks spent six years as a professional Track athlete, earning silver in the United States championships, among several other distinguishing awards. Now, he seeks his true passion for authoring fantasy works with a heart for virtues that chase the Good, True, and Beautiful.
Hailing from the Pacific Northwest, Yorks is now happily lost in Hillsborough, living the small-town life and raising a growing family with his wife Courtney.
Check out his book!
Hi, I’m Caylah Coffeen, a freelance editor and marketer of sci-fi and fantasy books. I love reading and writing and am a follower of Jesus Christ.
I’ve worked for Monster Ivy Publishing and Eschler Editing, and am currently a weekly editor with Havok Publishing. Reach out to chat about books and publishing!
Thanks for stopping by my website! I hope you’ve found some helpful resources about reading, writing, and publishing. If you liked this article, here’s some more free content…
