At the age of 15, Amelia Atwater-Rhodes published her first novel and three years later she published her first book in a fairly popular series, called The Kiesha'ra Series. Can other young adults publish their work for profit? This paper will argue that it is possible for young authors to be published. It will present the steps necessary for improving their writing and getting published. For instance, by logging everyday writing and attaining feedback, a writer gains knowledge on what they can improve. The paper will also discuss the importance of the editing process including checking punctuation, grammar, and usage. Finally, after thorough research, a writer begins the publishing process which will start their success.

To begin this process, young writers are encouraged to write everyday. Not only does it give writers a strong sense of accomplishment, it also helps improve their writing. “Daily writing is a type of training ground where you act as your own coach, firm but gentle, rigorous but compassionate (Goldberg, 46-47).” When writing everyday, it is necessary for the writer to keep a log. This log will show their improvement and reoccurring weak spots in their work such as character flaws, plot inconsistency, or inappropriate grammar.

If these or other weak spots are not caught by the author’s own review, peers can shed helpful light. Any writer should attain feedback on their work. Showing work to friends is helpful and encouraging, but they may be too polite to give constructive criticism. Also, friends are more likely to understand jokes and jargon used in the author’s work. Writers need to put their work out there to gain feedback, but it is imperative that they keep a close eye on who sees it. Otherwise, another writer may take an idea and copyright, lay claim to it.

Therefore, joining writers’ groups in the community and posting impersonal work online at a safe site like can benefit the author by allowing constructive criticism from outside sources without the fear of being exploited.

As young writers write, it is crucial to remember to develop characters, plots, and individual style. Characters need to believable and plots can not have a protagonist without an objective to keep the story flowing (Bell). Individual style sets one writer apart from another. “Don’t attempt to ‘sound like’ some famous writer” is John Coyne’s advice to first time writers. Lastly, it is necessary that a writer trying to get published does not procrastinate. The sooner the process is started, the sooner a new book will be published.

More tips for young writers include: ordering words for emphasis by placing strong words at the beginning and end of the sentences; moderating the use of adverbs and -ings so that they do not take away from the overall meaning; establishing a pattern of writing by building parallel constructions before giving them a twist and cutting “across the grain”; paying attention to punctuation to control the pace; getting personal by giving even the dog a name; and varying paragraph lengths to match the intent of the mood. Writing Tools: 50 Essential Strategies for Every Writer by Roy Peter Clark contains these and many other great tips for authors working on the writing process.

As a young author improves their writing, they have the opportunity to start the editing process. When selecting a manuscript for publication, a writer has to be sure the work they choose has a strong plot behind it and is well-written. This selection is important because the writer will be working with this manuscript for a long time revisiting it and breaking it apart day after day. If the writer does not stand behind the story, why would an agent? After choosing a manuscript to edit, the author needs to take time away from it. If the writer has been working on it recently, the manuscript should be put away “for a day or two” so when it is taken out again the writer has fresh eyes (Henderson 24).

When the writer returns to the manuscript, time should be taken to read it out loud word 

for word. This makes it easier to find and fix awkward sounding passages or mistakes in sentence structure (Henderson 23). The author can then start to make edits. Printing each chapter and making visual marks on the paper will show and document the changes made in case the writer ever needs to revisit them. It is critical that the young writer check for punctuation, usage, and grammar so when an agent looks over the manuscript they don’t automatically turn it down because it seems unprofessional.

The tone, voice, and mood an author uses are also crucial to the story. If a reader does not connect with the mood or finds the author’s tone or voice inconsistent, the reader will be less likely to continue reading or purchase the novel. Certainly, they wouldn’t recommend it to others. Ideas need to be thoroughly communicated, but in a creative way. For example, in my manuscript there is a scene where the main character takes a trip to Hawaii. During this trip, the characters fly through different time zones so that a 12 hour trip seems to take approximately 5 hours. At first, this had not been taken into account, but my mentor reviewed my work and pointed out this inconsistency that any agent or reader could have picked up.

This connection to reader is what makes a novel popular. Jargon, actions, and ideas need to be understood clearly. The plot, setting, and characters’ actions also ought to be believable. If the story is set in Los Angeles, the reader should be made to believe that they are in Los Angeles. If the story is set in a make-believe world, the author has more flexibility, but still has the responsibility of setting up the world in a believable way.

When editing the manuscript, the author must keep the reader in mind. The book should be visually pleasing. Readers tend to skim over long chapters and paragraphs and can then lose important information. A reviewer on commented on my first revision, “Chapters are too long for my taste. I did a fair amount of skimming, and you obviously don't 

want that, so I suggest you cut your chapters in half.” Authors should keep in mind the font size too. If their audience is teens, those teens probably will not want to read a book with giant, child-like font, but they will not want to have to squint to read the text either.

Lastly, keeping the audience in mind, young authors should use appropriate language. If the audience is young adult, slang and a moderation of curse words can be appropriate. If the audience is elderly, the slang may be lost and the cursing may seem vulgar. Also, writers need to be aware of age-appropriate language for each character. If a father is included in the story, it is essential he acts like a father and not a teenage boy (unless of course the idea is for him to be immature).

Upon completion of the editing process, a young writer can start the publishing process. Thorough research is needed throughout this process in order to be successful. “For the writer, networking is the process of connecting or getting to know not only other writers, but also publishing house editors and agents (List).” While the writer improved and edited their writing, they should have joined a writers’ group or circle. If any other writers have gotten published, an author can gain valuable insight and perhaps a connection to an editor, agent, or publisher if they ask questions.

While maintaining attendance in one or more writers’ groups, an author should also reach out to writers’ conferences. The Maryland Writers Association hosts an annual conference for writers where they can meet agents and editors, listen to seminars on improving or publishing their writing, and extend their networking. These conferences will be helpful to any writer and can spark an agent’s interest in a writer’s work. Interviewing writers, agents, editors, and publishers before the conference gives the writer helpful information on what and how agents, editors, and publishers want prospective work presented. It also may give inside information on 

what to expect as a writer going through the publishing process.

Young adults that do not have these opportunities available shouldn’t despair. By joining school papers and literary magazines, they can extend their biography of creative achievements, and network on a less professional level first. Clarinda Harriss, a published author and the Director of Brickhouse Book Publishers, believes young authors should submit their short stories and beginning chapters to competitions. “The magazine ‘Poets and Writers’ has huge lists looking for submissions. If they have a competition, don’t hesitate to send your work in”, she said in a 2007 interview.

As a writer networks, they should research their appropriate field. If the writer’s manuscript is fiction, researching nonfiction agents or publishers would be a waste. It is essential that they define the search, research agents and publishers, know what they look for, and know how they expect to be contacted. In the publishing field, it is also key that the writer know what is “hot” in the industry. By searching for and reading work similar to the author’s own, the writer can identify how their work is different and the strength of its appeal. “Becoming a Writer” seminars provide fountains of information for new writers straight from a published author. Local libraries, bookstores, writers’ groups, and writers’ magazines or newsletters sometimes include these seminar dates. Any author, big or small, who has been published can provide some new piece of information or a connection to the publishing path. While young writers are searching these places, they should ask for contests, other seminars, conferences, or workshops for writers.

Scams exploit inexperienced and eager young writers. A “reading fee” charges writers sums of money for “editors” to read their work and edit it or represent it. A true agent who wants to represent a writer will earn their pay by taking 5 to 10 of the profits after a book is 

published, which would be discussed in a contract. Similar scams include evaluation, marketing, and pay-to-publish fees as well as phony contests. A first-time author needs to research a contest before entering any work and be aware of amateur or incompetent agents because agents to not need to meet any standard licensing requirements (“Literary Agents”).

In the business of writing novels, agents are necessary for publication. Agents represent an author’s work and negotiate with publishing firms. A publisher is much more likely to consider work that is represented by an agent rather than a freelance writer with little or no experience. Finding a professional agent who will represent an author who has not been published can be difficult. The 2008 Guide to Literary Agents, 2008 Novel & Short Story Writer’s Market, and Jeff Herman’s Guide to Book Publishers, Editors, & Literary Agents 2008 are great sources for writers to search for agents without the possibility of getting scammed. Also, for young adults The Young Writer’s Guide to Getting Published holds listings of many agents and publishers willing to work with younger talent.

“Agents come in all stripes and colors, and it is impossible to generalize about the work they do or the services they provide,” said Betsy Lerner, author of The Forest for the Trees. “Asking what editors want is like asking what women want. Even if two editors were to say they wanted a literary novel…if they each received the same proposal or novel, there is no guarantee that they would respond the same way.”

But, agents and editors will typically want a query letter first. A query letter asks an agent or publishing head to consider representing an author’s manuscript. The letter should be one page and contain the author’s name, the title and length of the manuscript, what the story is about, any qualifications an author may have, and a thank you to the representative for their time and consideration. Before the description of the plot or the idea behind the story, the author 

should develop a hook. A hook draws in the reader’s attention and gives them a good summary of what is to happen. It is like the written version of a movie premier. The synopsis, (about a paragraph long), expands the one sentence hook without giving too much information away (2008 Guide to Literary Agents 39).

After the hook and synopsis, the writer notes only qualifications they may have for writing and publishing their novel. For example, if a story is set in Memphis, it would be appropriate for the author to note that they were a Memphis resident for 15 years. The biography, also approximately one paragraph, incorporates any awards, positions held, acknowledgments, previously published work, or achievements in the writing or publishing industry (2008 Guide to Literary Agents). If a writer is attempting to publish a first novel, the biography should be kept short. Young writers should include any work published in school literary magazines or newspapers and any writing contests they have won. These accomplishments can be added to embellish the biography.

When writing a query letter, it is key that the writer send only what the agent or publisher asks. No more and no less. The writer should not send any of the manuscript if it is not solicited. They also should not send anything that they do not have a copy of because it will not be sent back. If the agent prefers to use the mail, sending a SASE (Self-Addressed Stamped Envelope) with the letter will provide the agent or publisher with a way to respond. When email is preferred, writers are discouraged from sending the work as an attachment. The attachment may be seen as a virus and get dropped in the trash bin.

After sending out the letters, the young writer should not wait for a response. Publishers get piles of queries and manuscripts to sort through everyday. “Editors are the world's busiest people (Keegan).” It sometimes takes months to hear a response. While waiting, the writer can 

start another article or story, or send fillers to magazines and competitions. This keeps a writer from worrying about rejection. Rejection happens. Some are short and to the point. Others will be more helpful and describe why. When an author receives a letter of rejection, they should not retaliate or “mouth off” to the agent or editor. They also should not take it personally (Teeters 99-101).

Editors have various reasons for rejecting a manuscript. The word limit was exceeded. The magazine already has a similar story. Editors believe the subject is over done (Teeters 101). The theme of the story didn’t fit the theme of the magazine, which may not be open to the public. The editors had finished their selection process. The story is about an editor’s personal pet peeve (Harris). In cases of rejection, it is best the author not give up hope. Authors are encouraged to send out queries to other agents in the same field and start new works.

When an agent is interested in the novel, they normally ask for part of, if not the whole, manuscript. If an agent or editor prefers the writer to send the manuscript via the post, they need to send it in a folder in a large envelope. Before sealing it and marking it with postage, the post office can weigh it so the author knows the correct amount of postage to use. It is expected that the author included another SASE with the manuscript (Teeters 109). Authors should make sure to have a copy of their manuscript because it will not be returned. If an agent wants to represent the author’s work, negotiation of a short contract will follow and the agent will search for a publisher. Negotiation of another contract is in store when a publisher is acquired, so authors are encouraged to find a lawyer to look at the legalities.

The publisher will have the manuscript edited again and the author will need to make more changes. As the process continues, authors may find they have fewer rights. The cover of the novel, although the author can make suggestions, is not decided by the author. Authors may 

also be asked to speak about their novels and make appearances for book signings. Throughout this process, the writer should consult the contract and a lawyer on their rights if any problems arise.

The biggest thing to remember is to persevere. Commit to being a published author, network, and surround yourself with people who believe in your talent (See 65-69).

After following these steps, a young author can successfully put their work into print for profit. By improving their writing, the writer’s individual style matures. A completely edited manuscript suggests to prospective agents and publishers that the writer’s work is professional and the writer is committed. By starting the publishing process by sending query letters and acquiring an agent, a young author insures success in starting a career in writing. When young authors achieve this, a new world of ideas and stories will be open to the public.

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