016. who’s your publishing a-team?

writing is a solo sport until it’s not

one of my new author headshots by the lovely erica reade. what do you think!?

I can’t tell you how many authors I’ve talked to who’ve said, “I wish I could go back and re-do my first book launch.” sometimes it’s the plot. sometimes it’s marketing. but most of the time, it’s not knowing that you need a team—who they are, when you need them, and what they actually do. writing feels like a solo sport until suddenly it doesn’t?

for me, a guidebook would’ve saved a lot of stress and second-guessing what I was supposed to do and when. I had no idea I needed a support system, err “team.” most debut authors don’t. what I didn’t know fully at the beginning was -

• who does what on a publishing team

• when to bring each person in

• what not to pay for

• how to tell if someone’s reputable

• how to avoid exploitative services

when my first book came out, I thought I could white-knuckle my way through the whole thing and do everything on my own. and, my first book did really well. but, it was really hard doing it (almost) all on my own. I didn’t know who to ask for help or even what help looked like, and worse: I said yes to things that didn’t move the needle as much as I thought it might. I lost sleep and I sent a lot of unnecessary emails (ala time wasted). I remember thinking, “why does everyone else seem to know how this works?” turns out… they didn’t. they just had people they could turn to (their “team!”).

so, in my very humble opinion, here’s the core team you actually need:

1. literary agent
   I know, I know. I sold my first book without one, which is certainly a path. but I wish I’d had someone advocating for me, negotiating on my behalf, and helping shape the vision for my work and my career. spoiler: this is why I have an agent for my third book. you need this person after you have a polished manuscript (fiction) or tight proposal (nonfiction).
   

2. acquiring editor
   this is the editor at the publishing house who buys your book. you don’t hire them and the publisher pays them. this person becomes your creative partner and your internal champion at the publishing house. you want someone who truly gets what you’re trying to do. they’ll become part of your orbit once your agent submits your project and an editor makes an offer.
   

3. your in-house publishing team
   there are a few people here, so here’s the quick-and-clean version of who’s-who and who does what. This is less up to you and really depends on where your book lands within the house:

• marketing manager: their job is to manage the publisher’s marketing plan, not to run your personal campaign. they focus on things like metadata, retailer positioning, ads the publisher invests in, and cross-promotions with other books.

• publicist: they pitch media tied to the book’s release: reviews, interviews, print, podcasts, event outreach. they don’t run long-term branding, personal PR, or life-coach you through launch week. their window is short.

• sales rep: This person sells your book into bookstores, libraries, retailers, etc. they’re the reason your book shows up face-out in certain stores. they market to buyers, not readers.

• production manager: this is the quiet hero. they oversee cover design, layout, printing timelines, paper stock, all the things that make your book… a book.
  
  

people in your life you will lean on

there are a few more people that you definitely need, but they also aren’t paid.

4. beta readers
good beta readers give honest, grounded feedback about clarity, pacing, confusion points, and emotional impact. bad ones rewrite your book for you or project their own taste over your intent. curate your beta readers thoughtfully.

5-7. your inner circle

• one friend who believes in the book.

• one person willing to read the messy, unhinged draft.

• one person who reminds you that your worth ≠ your writing.

and that’s your core team. you don’t need an entourage. you need the right few people, supporting you on the right things.

if you want to dial things up
you might recall how I had some friends help me in my first and second book.* these roles are optional, but can be game-changing for certain writers. these are people you might hire before you get a deal.

8. freelance developmental editor
   this is great for writers who need structural help or want to level up before querying. generally you’ll want to look for someone who understands the genre you’re writing. Be forewarned that their rates vary widely and while cheaper isn’t always better, expensive isn’t always legit.

9. sensitivity reader
   if you’re writing outside your lived experience, this is a must. they read for accuracy, authenticity, and harm. they also help you avoid unintentionally stepping into stereotypes or misinformation.

10. coach or accountability partner
    some writers don’t need more edits to their first draft, they just need a partner to support them on their journey. if it keeps you writing, it’s a tool, not a crutch.
    
    

who you don’t need
this part is important because new writers waste money out of insecurity. you do not need to spend money you don’t have. most of publishing is slow, unglamorous, relationship-driven work. invest where it actually moves the needle; not where someone is selling you snakeoil and shortcuts. a few examples I see people spending money on their debut where they don’t need to:

• vanity presses

• scammy “publishing consultants”

• anyone who promises agents, book deals, or guaranteed sales

• overpriced “book coaches” with no legit credentials

• PR firms before you even have a deal

• anyone trying to upsell you out of fear

if this newsletter made you panic in a cute, low-stakes way, don’t worry. next month I’ll share exactly how to find and vet your team so you don’t end up paying $700 for someone to optimize your author brand aura :)

see you next month,
nicole

p.s. shout out to my debut dream team <3

• Alex & Tina, who are my publishing champions

• Molly Burford, my first-tumblr-friend-turned-editor

• Kara, my developmental editor