Earlier this year, I turned to Featured.com for quotes from experts about getting into traditional publishing. I asked what new authors need to know.

Four experts replied. This is what they said.

Getting Traditionally Published: An overview

New authors in the UK must navigate the complexities of publishing, distinguishing between traditional and self-publishing models. Traditional publishing requires securing a literary agent, while self-publishing offers more control at the cost of handling marketing independently. Understanding submission processes and effective marketing strategies is essential for improving an author’s chances of successful publication and promotion.

Michael Kazula, Director of Marketing, Olavivo

Now Michael has succinctly summarised the problem, let us look at the answers.

Getting An Agent

For new authors in the UK, getting their first book traditionally published can be a challenging yet rewarding journey. First, understand that most traditional publishers expect authors to submit their work through an agent. Securing an agent is often the first step, as they help pitch your manuscript to publishers and negotiate the best deal. It’s important to research agents who specialize in your genre and follow their submission guidelines precisely.

Next, focus on writing a strong query letter and a polished manuscript. A query letter should briefly explain your book, its target audience, and why you’re the right author for it. It should also reflect the tone of the book and showcase your writing skills.

Also, be prepared for rejection—it’s a normal part of the process. Persistence and patience are key. Once you get an agent, they’ll help refine your manuscript and guide you through the publishing process, from dealing with editors to marketing.

Finally, networking can be beneficial. Attending writing workshops, conferences, or joining writer’s groups can provide insights and connections that might help you secure an agent or publisher. Keep refining your craft and stay committed to your goal.

Fawad langah, Director General, Best Diplomats

Fawad correctly tells us we need an agent and a good query letter can help with that. What else do new writers need to know about getting an agent?

About That Query Letter

As someone who’s navigated the publishing landscape, I’ve found that the most effective approach for new UK authors is focusing on crafting a compelling query letter before anything else. When I launched my first successful pitch, I discovered that personalization was key – researching each agent’s specific interests and recent sales led to a 40% response rate, compared to the 5-10% industry standard for generic queries.

The query letter needs three sharp elements: a hook that captures attention in under 20 words, a brief synopsis that focuses on conflict and stakes, and relevant biographical details that position you as the right person to tell this story. For instance, my successful query opened with a hook that drew five requests for full manuscripts within a week.

Most importantly, only query once your manuscript is completely polished. In the UK market, you typically get one shot with each agent, and rushing to query with an unfinished manuscript can permanently close doors.

Alexander Weber, Founder, Dein Schriftgenerator

Alexander reminds us to have a finished manuscript before you start sending your letters. Let’s talk about that next.

First, Finish The Book

New authors in the UK should know that getting a traditional publishing deal takes time and persistence. First, focus on writing a strong manuscript, then research agents and publishers that specialize in your genre. It’s important to craft a solid query letter and synopsis because these are often the first things agents and publishers will see. Don’t be discouraged by rejection-it’s part of the process. Many successful authors faced multiple rejections before landing a deal. Building a network with other writers and attending events can also open doors and provide valuable advice. Patience and determination are key.

Adnan Jiwani, Assistant Manager Digital Marketing, Ivacy VPN

What do you have to say?

Did they miss anything? (Silly question, whole books have been written about this). What would you add?

Reply, comment, or WebMention. Let’s hear from you on this.

I’ve been talking to people about the UK book publishing market. I’ve been asking various people in what ways the market has been innovating or failing to innovate. I hoped to hear that it was innovating in all sorts of exciting ways but I fear the exact opposite.

Simon Brisk, Founder & SEO Strategist, Click Intelligence was particularly disappointed with the slow peer review process where papers can wait over a year for the process to complete.

“The UK book publishing market seems to be stuck in a bit of a rut when it comes to innovation,” Simon told me. “The academic publishing system in particular is dragging things down. It’s full of unnecessary delays and red tape that not only slow down scientific progress but also make it harder for research to be commercialized. The government’s continued support of the current system only makes things worse, preventing real change from happening. While other countries like Japan are moving forward, the U.S. is lagging behind.”

In areas like science, it is vital that things move in a timely manner. In the west, we seem to have forgotten some of the urgency involved in the process.

In the UK and the US, a scientific journal that focuses on speed could disrupt and dominate the market.

“One of the biggest issues is the outdated peer review process that can take forever,” Simon said. “Researchers often wait over a year to get their work published, which is a huge problem when time is of the essence in science. On top of that, the system promotes bias and discourages important studies that could lead to better results. This affects industries like pharmaceuticals, where the lack of reliable data can hold back innovation.”

Are there any innovators in this space?

“I’ve been following the recent breakthroughs, like the “Plan U” initiative,” says Simon. “It’s refreshing to see the Chan-Zuckerberg Initiative and the Bill and Melinda Gates Foundation pushing for a change. They’re encouraging the use of preprints, where research is made available to the public before it even goes through peer review. This allows research to be shared much faster, and it’s free for everyone to access. I think this shift could really help increase transparency and get important findings out there quicker, without all the unnecessary delays.”

I also spoke with Takarudana Mapendembe, founder of Best Calculators. Takarudana was keen to point out the innovation of hybrid publishing models.

“The UK book publishing market is definitely innovating in some exciting ways,” Takarudana said, “but there are areas where it’s lagging behind. One of the most noticeable innovations I’ve seen is the rise of hybrid publishing models. I remember talking to an author friend who was able to self-publish an ebook and, at the same time, collaborate with a traditional publisher to release a physical version. It was a game-changer for her career, offering the best of both worlds-greater control over her digital content and the credibility of traditional distribution for print.”

It is tempting to see this hybrid publishing as the obvious future for UK publishing but the older publishers are not so keen to embrace this vision of tomorrow’s publishing.

“However,” Takarudana points out, “while this innovation is exciting, there’s still a lot of resistance when it comes to embracing digital platforms fully. For example, the push for e-books and audiobooks has been slower than expected, particularly among older publishers. I’ve seen how some in the industry still hold tightly to the idea of printed books being the “real” deal, and it’s limiting their ability to reach wider, younger audiences who live on their phones and tablets.”

Inge Von Aulock, Founder & COO of Penfriend agrees that there is innovation in ebook and self-publishing. “The UK book publishing market is definitely innovating in some areas,” Inge said, “especially with the rise of e-books and self-publishing platforms like Amazon KDP, which have opened doors for independent authors to reach readers directly. Publishers are also catching onto sustainability, with more eco-friendly printing methods and print-on-demand services that help reduce waste. Subscription services like Audible and Kindle Unlimited are shifting how people access books, and there’s a growing interest in experimenting with interactive formats.”

One thing is clear, the industry is changing and not all the players are moving at the same pace.

“While there’s innovation happening, especially around distribution and accessibility, the industry’s hesitancy to let go of traditional models sometimes holds it back from fully embracing the future.” says Takarudana. “It’s a balancing act that’s still evolving.”

Inge agrees. “It’s not all smooth sailing. Many publishers are still slow to adapt, sticking with traditional models and missing out on opportunities to cater to younger, digital-native readers. The industry also has a diversity problem, with many new voices still overlooked in favour of safe bets. And the outdated marketing and distribution methods can make it tough for smaller publishers or indie authors to break through. So, while there’s progress, it feels like there’s still a lot of room for change.”

How well is the UK publishing sector keeping up with innovation? Not as well as it could be, seems to be the general opinion.

What is your take on the innovation or lack thereof in the UK?

Did you know that the UK creative sector is a net exporter? I learned this today from reading a report from The Creative Industries Policy and Evidence Centre (Creative PEC) led by Newcastle University.

What is a trade deficit?

The UK trade deficit is the amount of money the country spends importing things less the amount we make exporting things. As we import more than we export this forms a deficit. A large deficit is generally considered a bad thing as it is a drag factor on economic growth.

But, good news everyone, we creatives bring down the deficit.

[…] the latest statistics from DCMS (DCMS, 2023) show that in 2021 the UK exported £9.1 billion of creative goods and £45.6 billion of creative services. In the same year, with a positive balance of trade in creative goods and services of £2.1 billion and £18.7 billion, respectively, the creative industries contributed to reducing the overall UK trade deficit.

UK Trade in a global creative economy, 2024, Giorgio Fazio, Jonathan Jones, Sara Maioli, Daniel Simandjuntak; Newcastle University

It’s a big report that I am still reading. If I find any further juicy or encouraging facts, I will be sure to write another post and share my findings.

Brexit has been a bit of a disaster for the publishing industry. Last year, industry leaders in the book and publishing space called on the new Labour government to turn the page on Brexit chaos.

Charlie Redmayne, c.e.o. of HarperCollins, and other leading figures in the industry, have taken the opportunity of the general election result to reiterate some of the key issues facing book publishing, in the hope that the new Labour government would provide greater support.

Meanwhile, the Independent Publishers Guild (IPG) has called on the new administration led by Prime Minister Keir Starmer to “turn a page on several chaotic years”, with publishers saying they want Labour to “reclaim the ground” lost by Brexit.

Publisher bodies call on new Labour government to ‘turn the page’ after 14 years of ‘chaos’, July 2024, Matilda Battersby, The Bookseller

Small publishers have been struggling with the UK-EU divide negatively impacting book sales. Larger publishers also report a significant drag factor here. For publishing, Brexit it seems, may have been a net negative.

This is why I invited a range of experts and business persons to give their views on the impact of Brexit on the publishing industry.

Brexit Exacerbates Indie Publishing Problems

The industrial shock of Brexit exacerbated problems within the already-tight economies of indie publishing. The impact of the UK’s departure from the EU has been multi-stranded: with rising costs of production, obstacles to distribution, the increase of red-tape, and loss of EU funding streams, particularly damaging to smaller organizations. 

Within an already risk-averse industry, where profit margins are generally small, the outlook for adventurous and diverse publishing in the UK, outside the cultural dominance of “Big Five” publishers, and their imprints, is generally bleak. 

A lesser commented factor is the barrier to European talent; suggesting the likelihood of an increasingly isolated national literature that, at its adventurous best, has looked firmly to the continent for the cross-pollination of new modes and means of storytelling.

Luke Shipman, Ghostwriter and Founder, The London Ghostwriting Company

Brexit Disrupts UK Publishing Sector

Brexit has caused noticeable disruptions in the UK publishing sector, particularly in supply chains and costs. New customs checks and import/export rules for goods like books and paper have led to delays and increased expenses. Smaller publishers have felt this strain most acutely, as higher shipping fees and storage costs eat into already slim margins. 

International collaboration has also faced hurdles. Licensing deals and copyright agreements with EU partners now involve more red tape. This limits the flow of creative content and impacts the diversity of works reaching the market. The result? A slower, costlier process that challenges publishers’ flexibility. Brexit has pushed the industry to rethink logistics, but the added complexity doesn’t come without setbacks.

Fahad Khan, Digital Marketing Manager, Ubuy Nigeria

Brexit Adds Complexity to Publishing Operations

Since the UK left the EU, I’ve noticed some significant shifts in how publishers are handling their operations, especially with content distribution and ad revenue. One major change is the rise in complexity when targeting European audiences. Before Brexit, publishers could easily reach readers across the EU with a unified approach. Now, they need to adapt for different regulations and tax policies, which adds extra work. They’ve had to focus on market research to tailor content more specifically, often splitting their efforts for the UK and the EU. 

Publishers have also had to rethink their advertising strategies. Without the EU’s common standards, reaching a broad European market now means navigating a variety of local rules and guidelines. It’s more important than ever for publishers to stay updated on changes in data protection laws and advertising policies in each country. If you’re in publishing, be ready for increased complexity. Focus on regional content and make sure your ads comply with local regulations to avoid penalties.

Natalia Lavrenenko, UGC manager/Marketing manager, Rathly

Brexit Complicates Logistics for UK Publishers

Personally, I’ve observed that Brexit has complicated logistics for U.K. publishers exporting to the EU. A small press client specializing in art books shared how new customs regulations delayed shipments and increased costs, disrupting their distribution plans. At the same time, I believe it’s pushed many publishers to rethink their strategies, focusing on digital content and fostering local partnerships to adapt to these challenges.

Modestas Mankus, Founder, Talks Grow

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Over to you

I’d love to hear from writers, publishers, self-publishers, agents, authors, promoters, and anyone else in the industry on how Brexit has impacted you and the part of the publishing industry you are connected to.

I’d also love to hear from readers on how you feel about Brexit.

Comment, reply, or mention – I look forward to reading what you have to say.

How many words should a novel have? That’s a question I’ve seen many times. Just recently, user Burty Burtman asked in the forums, “How long is a novel?“

The answer is that for novel word counts it depends. Any numbers you can get are, at best, rule-of-thumb with many exceptions.

To give you a better answer, I asked Google, “How long should my novel be by word count?” I asked follow-up questions for some genres. Below is a summary of what the Internet says about how long a novel should be. There was generally little consensus and so a lot of notes.

For the average, I took the mean of the upper and lower limits and then the mean of those two values.

I did NOT ask AI. As far as I know, all sources were written by humans.

Novel size for…	Word Count Range	Word Count Average	My Estimated Ideal (best guess)
Novels in general	70,000 to 120,000	85,000	70,000 to 90,000
Genre romance (13)	50,000 to 100,000	79,000	80,000 to 100,000
Genre romance: Harlequin/Mills and Boon	50,000 to 60,000	55,000	50,000 to 55,000 (1)
Women’s Fiction (13) (2)	70,000 to 110,000	85,833	80,000 to 100,000
Family Saga	100,000 to 250,000	156,250	100,000 to 125,00 (3)
Crime/Suspense/Thriller/Horror (13)	40,000–135,000	82,500	Horror: 40,000 to 50,000 (4) Otherwise: 55,000 to 90,000 (4)
Historical Fiction (13) (5)	75,000 to 180,000	97,000	75,000 to 100,000
Fantasy And Sci-fi (6) (7)	60,000 to 200,000	121,429	90,000 to 120,000 (8)
Literary Fiction (9) (5)	45,000 to 100,000	78,750	70,000 to 100,000 (8)
Memoir/Biography (10)	45,000 to 100,000	98,500	70,000 to 80,000
Young Adult Fiction (11)	30,000 to 90,000	62,334	60,000 to 70,000
Picture Books (12)	0 to 800	290	100 to 250 (8)
Self Help & How To (13)	30,000 to 120,000	60,000	40,000 to 70,000 (11)
Children’s (12) (13) (14)	200–3500	1300	300 to 3500 (8)
Short Story (14)	3,000 to 30,000	13,500	7,500 (8)

1. This genre is strictly defined by word count must be within 50k-55k
2. This genre was somewhat nebulously defined with fewer suggestions
3. If this is your first novel aim nearer 100k but if established 250k may be possible
4. Make every last word count – established writers may get away with longer novels
5. Not really a single genre
6. hard sci-fi may run as little as 60k
7. Genre Fantasy tends to run longer
8. Your Mileage May Vary
9. The shorter, the better it must be
10. Celebrity memoirs can be (much) larger
11. If you are really good and it is justified, higher word counts may be available
12. Varies by reading age
13. Varies by sub-genre/topic/niche
14. Varies greatly – do your homework first

Please share your thoughts, comments, questions, and examples that fall way outside the range in the comments.

If I get more than 25 comments, I’ll do a deep-dive examining niche and sub-genre word count ranges. There might be a spreadsheet. If you want, I’ll do a separate post just for short stories.