Our Articles

Folks, a couple of weeks ago we celebrated International Pennebaker Day, which has nothing to do with baked pasta, and which, for some reason, still lacks proper international recognition.Today, and in that same uplifting spirit, we celebrate International Csikszentmihalyi Day. The word in between “international” and “day” may look like a really terrible attempt at an anagram, or what happens when a Slovakian and a choose to double-barrel their surnames, or just what you get when you put a couple of alphabets into an ordinary domestic liquidiser and hit the Blitz button.In fact, of course, the name is (a) an example of a nice, straightforward Hungarian name, and (b) one belonging to the US-Hungarian psychologist, Mihaly Csikszentmihalyi (roughly, “Cheeks Sent Me High”).Csikszentmihalyi is best known for his work on flow, a mental/emotional state that’s characterised by total immersion in the activity concerned. He says the state takes place when you are:“Completely involved in an activity for its own sake. The ego falls away. Time flies. Every action, movement, and thought follows inevitably from the previous one, like playing jazz. Your whole being is involved, and you\'re using your skills to the utmost.”Writers achieve this state. So do painters and musicians. But sportspeople do as well. I’ve known it, myself, when rock-climbing, but I imagine that the followers of other, lesser sports feel it too.When Emma Raducanu says of her US Open win, ‘At one point mid-game, I just let my racket go because I just didn’t believe I made that shot,’ you sense the presence of flow in action. That shot wasn’t exactly the consequence of a consciously willed action, but nor was it involuntary or unconscious.Csikszentmihalyi elaborates the state thus:Complete concentration on the task;Clarity of goals and reward in mind and immediate feedback;Transformation of time (speeding up/slowing down);The experience is intrinsically rewarding;Effortlessness and ease;There is a balance between challenge and skills;Actions and awareness are merged, losing self-conscious rumination;There is a feeling of control over the task.I’ve known all of that when writing. Most often when writing fiction, but I’ve certainly known it with non-fiction too. I get it (a bit) when I write these Friday emails.The merging of actions and awareness is certainly a leading feature for me. So too is the intrinsic reward. So is the complete concentration. So is the loss of time.When I write, time just vanishes. I can easily miss an appointment by an hour and feel amazed, because I thought I still had ages to go. More weirdly, when I’ve been at peak fitness, I’ve felt it rock-climbing. I’ve had the sense of jumping for a hold and – instead of my normal desperate, failing lunge – I’ve found that I’ve had more time to locate and grasp the hold than I expected. When I see really good climbers climb, the thing that always strikes me isn’t how much stronger they are, but how much more time they always seem to have.Now, I don’t think you really need me to tell you about flow, because I’m pretty sure you already feel it and understand it from within. So here are some further thoughts or questions that occur to me:Do you have to have flow to write?Once you’ve experienced flow, it may seem that it’s the only way to generate quality words on the page. That if you’re not in flow, you should just walk the dogs or fix a shelf or perform some other displacement activity until you feel ready to try again.I don’t think that’s right, or at least it’s only about half right.I strongly suspect that a book written entirely by force of will and without the aid of flow won’t ever be entirely satisfying. It may have craft, but won’t have magic, and without the magic, honestly, what’s the point? That’s why I always have a mental reservation about the 2,000-words-a-day brigade, those folks who point out that you should be able to write a 100K thriller in two months, even allowing a bit of time off along the way.But at the same time, the single best way to bump-start your writing is simply: write.If you feel locked out of writing, then just forcing yourself to do it – going through the motions, if you like – is still the best way to unlock that inner blockage. That approach has worked often enough for me in the past. If you feel any blockage at the moment, then the same basic approach will work for you.(Except that if days and weeks go by and you’re still not feeling right, you need to question things more broadly. Is all well in your life? Maybe there’s some deeper issue that needs addressing. Or is all well with the book? Maybe your inability to get into it is because there is some fundamental issue with the project that you need to acknowledge and tackle directly. Writing, like caustic soda, solves most things, but ...)Can a reader tell the difference between flow-words and non-flow words?I tend to know, even years afterwards, which pages of a book came awkwardly for me and which came smoothly. It’s as though I still feel the ghost of that early awkwardness haunting the text.At the same time, I can honestly say that no agent, editor or reader has ever called attention to those patches and suggested that they’re lesser than the rest. I think a book needs, as far as possible, to be written in a flow state, because that’s what lets the magic in, but once the magic is there, it disperses through the text. There may be better scenes or worse scenes, but magic is a quality that adheres (or not) to a book as a whole.In short: if some scenes just come awkwardly and brutishly onto the page, you don’t need to worry about it. No one else will ever know.Editing can be a flow state tooFor me, this is critical.Actual writing probably brings the greatest joy. (My very greatest joys have been placing my character in extended peril. Oh, how I loved almost freezing Fiona to death in the Black Mountains. I adored bricking her up at the side of a church in the Brecon Beacons. And I had a rare and deep joy when I sank a trawler, with her on board, in the midst of an Atlantic gale.)That said, editing has always been a deep, absorbing pleasure for me. I think writers should train themselves to expect flow in editing as well as writing. The rewards of editing are a little different and, OK, perhaps a little shallower too, but they are real for all that.I love editing so much, it’s always a little grief to hand over a book. I’d like to spend more time with it. If you don’t find editing utterly absorbing, it’s almost certain that you’re cutting corners you don’t really want to cut.__That’s it from me. I’m on holiday next week – as in, really, truly, on a beach somewhere warm – so you won’t get a real email from me. You’re going to get a short “best of selection” that you can sneer at, then tear to shreds.Normal service will resume the week after that.Oh yes, and the header photo on this page? That\'s not me. It\'s James Pearson on The Quarryman, which is the most dazzlingly beautiful climb in the UK - and about a million miles beyond my pay grade. In my next life, I\'m going to come back with the balance of a ballet dancer and forearms like Pop-Eye. I once met Jonny Dawes, the revolutionary who first climbed The Quarryman and I almost fainted with adulation. He\'s a god.

How using certain online tools can improve your writing Any writer will tell you that writing is hard. Although it’s something we can all relate to, we are only as good as our tools. Which is why it’s important to know what novel writing software is available for when inspiration strikes. Some of the best apps for writers are made specifically for novels or screenplays. It can be hard to choose and determine the best creative writing app for you, which is why I’ve compiled this handy guide. In this article, you’ll get to know what you might be looking for in creative writing apps as well as a list of my top recommendations for software for writers. Writing/editing software doesn’t have to be complicated, or expensive. Read on to learn more about some of my top picks for your writer’s toolbelt! Selecting the Best Novel Writing Software First thing’s first: choosing the best writing app for your needs and expectations. There’s an ever-growing abundance of software tools and apps available for writers, both for editing grammar and clarity, as well as structuring or formatting your writing.  Having so many choices can be bewildering, especially if you consider yourself a dabbler or a writer of multiple genres or styles. However, there’s an app out there for everyone, whether it be outlining software, proofreading software, or simply an aesthetically pleasing writing platform! Before we dive into these top 10 writing apps, take some time to determine your own needs and wants. For example, are you looking for an app that is just for story planning, or are you looking for a technologically advanced screenwriting software? Depending on how specific your needs are, some writing apps are better than others. One of the most determining factors when shopping for author software is knowing the platform on which the app or software is required to run. Do you have a Mac or Windows computer? The best writing apps for Android or iPad may vary. Are you hoping to work on your phone or tablet? These questions will help you select the best writing software. You should also think about the various capabilities and features that many creative writing apps can provide. These include: TemplatesMany apps offer novel or screenplay templates, a perfect feature for new or structured writers looking for assistance in their formatting.Cost / LicensingOn a budget? Some of these writing apps on this list are free, but many others have fees, including monthly subscription options.Ease of use / easy to learnOften writing apps can feel like you are learning an entirely new language; choosing a more simplistic app could be beneficial if you are searching for something that you can write on right away.Additional useful featuresAre you hoping for formatting tips or assistance with your overall grammar and sentence clarity? Some writing apps offer these features, and many more. If you are looking for something specific, keep an eye out for that!File formatsHaving an app for writing that will save in a variety of formats can be extremely valuable for writers, especially those of you submitting your work under very precise guidelines.Collaboration capabilitiesIf you are working on a writing project with a group or other collaborators, you may want to find an app that allows you to work on the same project with multiple writers, however remotely.  I have selected and examined the following software for writers, considering budget and needs. 6 Best Book Writing Software Programs These are some of my top choices of software to write a book, including manuscript software. While these apps are listed under ‘book writing’, they might also be used for playwriting, screenwriting, or other various writing forms.  Scrivener My own personal pick for writing projects of all shapes and sizes, Scrivener is one of the most popular writing apps out there today. With fantastic template options and digital sticky notes for organising, the sky’s the limit for your writing projects. You can choose manuscript outlines with front and back matter formatting included, screenplay outlines for your next pilot, or even outlines for simple essays or formal documents. You can organise the app however you like, with theme colours and a wide array of content analysing features. While Scrivener has a lot to offer, there is an extremely steep learning curve. It took me a few days of consistent use to master it, and even now I know that I have just barely scratched the surface. However, the app has tutorials that you can follow at any time, should the writing app be confusing! Scrivener works on Mac or Windows systems, each costing £47 ($65) per operating system, and you may also consider purchasing a £20 ($28) app for Android and IOS devices. This allows all devices to sync so long as you have a Dropbox account, updating your writing projects across all platforms, wherever you are!  Read more about Scrivener here, and feel free to download its 30-day free trial so that you can get a feel for it. Microsoft Word The most classic of writing platforms, Microsoft Word still has a lot to offer a writer, no matter your genre or specialization. Microsoft Word will no doubt feel familiar to most any writer, as it is set up similarly to most document programs, such as Google Docs or even Scrivener. Microsoft Word offers an annual subscription fee that includes Microsoft’s entire suite (Word, Excel, Powerpoint, etc.) as well as 1 terabyte of storage for single users. The fee is a bit steep- around £60 ($70) for the year.  However, their programs work across multiple devices, and offering cloud storage solutions is a great perk for writers with a lot of content or documents. Microsoft Word has grown a lot over the years too; their spell check and grammar tools have only gotten better, and Word can look at your documents for its overall flow and feel. You can check out all that Microsoft has to offer here, as well as compare each and every product that they offer. If you live in a house with multiple aspiring writers, a Microsoft subscription may suit you well. Google Docs A mainstay for many people, Google Docs is a fantastic free writing software available to anyone with an internet connection. You can work on a document both online and offline, with free storage from Google. Oh, and did I mention this writing tool is completely free to use? While Google Docs may not have all of your favourite fonts and editing options, it has a comprehensive grammar and sentence structure editor as well as standard formatting options found in Microsoft Word.  Like Microsoft properties, Google Docs is a part of an entire suite of useful apps and writing tools, such as Sheets, Slides, Drive, and many more. Google Docs is also ideal if you plan on collaborating with people across time zones or otherwise remotely. You can chat in real time in the document or leave comments for people to see later. Multiple people can edit a Google Doc at once with an internet connection, and you have the option to suggest edits that can be rejected or accepted and applied by your peers. A great tool for collaborations and teams. Plus don’t forget it’s totally free! Check out Google Docs here, if you haven’t done so already. Evernote Do you have a big project to tackle with images, deadlines, and more? Evernote may be the app for you, a perfect writing tool for the busy author. Much more than just a writing document, Evernote brings all of your organization needs into one streamlined writing app. With Evernote, you can sync your documents and notes across all devices, no matter the operating system or product, from a Mac laptop to a Samsung phone and back to an iPad. You can organize your documents and notes to your heart’s delight or leave everything in chaos. Because Evernote’s ingenious search system can find the document that you’re hunting for. Do you take a lot of screen captures for your writing? Evernote allows you to annotate and edit screencapped PDFs, images, and more. It can search handwriting, images, and any document type for keywords, giving you access to everything you have saved with a quick search. Evernote keeps any writer’s business sorted and all in one place, no matter how busy you are. And the best part about Evernote? They offer free plans as well as monthly subscriptions depending on your usage and needs. Plans range from £6 ($8)/month to no more than £11 ($15)/month, per person. Check out all that Evernote has to offer here. Hemingway App Are you a writer known for being verbose, and prone to long, rambling sentences? Then you may be a writer that could benefit from the Hemingway App, named after no other than Ernest Hemingway. Import your latest novel and watch Hemingway light up, highlighting your work in various colours that correspond to different editing tips. Hemingway is designed to point out boring words, wandering or passive sentences, and those pesky adverbs. It’s like having a line editor in your own home for just $20 (£15) in total. It can be a great backup writing app, especially once your manuscript is complete. Hemingway works on Mac and PC operating systems, with or without an internet connection. You can format your document and write directly in Hemingway, a simple and focused editor leading to a more concentrated work environment. You can also publish directly to WordPress or other websites from the app. Check out Hemingway here. Grammarly Let’s say that you have your favourite document program, but you just wish the spelling and grammar checker was a bit more informed. Enter Grammarly, a free program that you can use with most popular word document creators, including Microsoft Word and Google. Grammarly is capable of working in tandem with your favourite document editor, pointing out not only your spelling mistakes, but also any sentences lacking in clarity or engaging points. It’s a great free app for anyone to try, and you can download it as a browser add-on here. 4 Best Screenwriting Apps If you are a budding screenwriter looking for apps more directly geared for your work, you’re in the right place. While all of the apps and software I’ve already listed will still work wonders for your screenplay, the following writing apps are made exclusively for plays or screenwriters alike! Fade In Beloved by many Hollywood hotshot writers for its ease of use and comprehensive features, Fade In is a wonderful app for screenwriters at any level. Available for any operating system, including mobile app features, Fade In is your writing companion, whether it be a full-length play or short pilot episode. Fade In is a complete application for writing motion picture screenplays, including tools for outlining, organising, and navigating, plus extensive screenplay formatting and robust tools for managing rewrites and revisions. The app’s appearance is unfussy and simplistic, allowing you room to write and organise as need be. With many templates and the option to collaborate, Fade In is a great app for screenwriters. You can try it for free for a trial period, or buy it for a flat rate of $80 (£60). Learn more about Fade In here. Final Draft If you consider yourself more than a beginning scriptwriter, you might consider purchasing Final Draft. Apparently used by 95% of movie and television writers, Final Draft has been the industry standard for many years. Its price tag may be high for budding writers, but it could also take your work to the next level. Working on Windows or Mac desktops as well as offering a mobile app, Final Draft is key for those of you submitting your writing frequently. With over 300 templates across multiple disciplines, Final draft paginates and formats your writing to industry standards, saving you loads of time when submission deadlines loom. It has story planning and outlining capabilities, and real-time comments just in case you need to make a note and come back to your work later. It has a simplistic, non-distracting design, as well as many formatting options and tutorials included. Final Draft offers a 60-day free trial for those of you on the fence; it’s fair, given that it costs £183 ($250) upfront. You can look at Final Draft’s many additional features here. ScriptBuilder If Final Draft’s features feel daunting, I highly recommend checking out ScriptBuilder. Just like its name implies, ScriptBuilder is perfect for the budding screenwriter, offering both outline and character builders, scene formatting, and more all from your phone or other device. Costing less than £4/$5 to unlock all of the app’s features, ScriptBuilder is ideal for those of you who get ideas for screenplays while you’re out and about but don’t want to forget them. You can easily jot them down on your mobile device, and format using the app later. While it is simple, it is also effective for fleshing out the overall arc of scenes and screenplay plots. You can even build your characters. Keep in mind that this app is only available for Apple products at this time, but you can learn more about it here. Celtx Pro Writing for television, video production, and game production? Celtx may be a great choice for you, especially considering its many collaborative features. By housing familiar screenplay-style script editing within a branching sequence-based structure, Celtx Game & VR editor enables writers to easily create nonlinear, decision-oriented narratives of unlimited scope. Celtx brings your key creatives together in a single, secure, cloud-based workspace that facilitates seamless collaboration at every step of the narrative design process – including project-wide communication powered by an internal commenting and tagging system. This isn’t for the average writer, but it could be perfect for a team of writers and developers, especially if you want to produce games! The cost? It depends on what features you’d like, but pricing begins at £11($15)/month and scales up to £20 ($27)/month. However, they have an introductory first year price that you can check out here. Conclusion Finding a writing app that suits all of your needs is possible, though the search can be daunting. I encourage you to check out the many excellent software apps and programs available to aid authors and screenwriters found on this list.

As a new author, there’s nothing more important than a properly edited piece of writing. It can make or break your submissions, and editors on any level, for any project, will no doubt have notes to give you! While many writers use the Track Changes function on Word, or apps that can add changes or allow for suggestions from editors, there are still some writers opting for old-school hand-written edits. But why do proofreaders use all sorts of symbols and silly markings to edit your work? More than that, what do all of these marks mean? These unusual red scribbles are a necessary evil when it comes to your work being edited, and they can mean a variety of things. Let’s go over what proofreading marks are, and how you can best decipher them before your next big round of edits. What Are Proofreading Marks? These special signs and symbols relate to sections of your work that need editing or adjusting. This can range from spelling errors to grammatical errors to formatting preferences. These forms of corrections may be less frequently found these days, due to the progression of “track changes” and “suggestions” in many word processing applications. However, some of the symbols are widely used so every writer should familiarise themselves appropriately. It\'s also worth noting that some editors that have their own special characters too - so it\'s important to reach out to your proofreader should you not understand their corrections. How might these marks be used, and what are some marks that have been universally accepted by editors and proofreaders? Let’s go over these now... How Proofreading Marks Are Used Proofreading marks are used by editors to point out changes that need making in your document. They are typically located in the right and left margins of a printed document with pointers to where in the text changes are recommended. Both copy editing symbols and abbreviations will be found along your margins or in your text and various sentences, and they can mean anything from improper sentence spacing to transposing your sentence in an entirely different way for clarity.  You will have slashes through words (which means please remove) and abbreviations for formatting changes (such as italics and bold). You will encounter odd squiggles (often meaning “delete” or “transpose”), and your proofreader may even rewrite whole sentences in your margins. Yes, proofreading marks can be overwhelming, especially if you weren’t expecting so many specific edits! These shorthand symbols took me a while to learn and were more complicated than I expected them to be, so be patient with yourself. Once you\'ve gone through multiple rounds of edits with the same proofreader you\'ll soon get the hang of it. What Are The Common Proofreading Symbols? Here\'s a comprehensive list of proofreading marks. Note that there are two types - abstract symbols and abbreviations. ^   - Insert something, most likely an edit found in your marginsㄉ - Delete this word or section; usually this symbol will appear in the margins of your work while there will be a diagonal or straight line through the specific word, letter, or sentence that needs deleting[  - Move your writing left]  - Move your writing right] [  - Center your text#  - Add spaceeq#  - Make the spacing equalbf  - Bold a section of textItal  - Italicise a section of text(/) - Insert some parentheses[/] - Insert some brackets=  - Insert a hyphen;/ - Insert a semicolon! - Insert an exclamation point? - Insert a question mark~  - Transpose (meaning rewrite the sentence, usually)❡  - Begin a new paragraphfl  - Flush left, or align the text with the left marginfr  - Flush right, or align the text with the right marginAWK  - Something about a particular phrase or sentence is worded awkwardly or strangelyWW  - This refers to “wrong word”, such as using the wrong form of “there”WDY  - A particular sentence is most likely too wordy, complicated, or overstated This is only the beginning of the many possible symbols and proofreaders’ abbreviations. Communicate with your proofreader so you don’t misunderstand any specific symbols. You may also wish to refer to a professional proofreading mark guide, such as this helpful list. How To Use Proofreading Marks While they may seem daunting and sometimes discouraging, these corrections are necessary for writers at any stage. No matter how many copy-editing marks you receive, know that you are on track to make your work the best it can be, with the help of a skilled proofreader! Try our proof-reading service here.

We writers are always looking for ways to strengthen our storytelling. One of the most impactful techniques to do this is using literary devices, which are effective techniques used to hint at different ideas, themes and meanings in a story. Literary devices are used across different genres, and each one serves a specific purpose. They are tools that will take your writing to the next level – making it more impactful and engaging for your readers, hooking them in from the first page until the last. In this guide, we\'ll examine the definitions of literary devices and examples of different literary devices. It\'ll be everything you need to know to maximise the effect of literary devices and use them to strengthen your storytelling.  Understanding Literary Devices A literary device is a technique that writers use to express their ideas and hint at larger themes and meanings in a story. These devices are excellent ways to enhance writing, strengthen the narrative and engage readers, helping them to connect to the characters\' themes.  There are many different styles of literary devices, and most are used in tandem; some are used at sentence level, looking at flow and pacing, while others are a broader approach, serving the story as a whole. Understanding different literary devices and maximising their impact can significantly improve your writing and a reader\'s experience.  Let’s take a look at popular literary devices in more detail and see if there are any you recognise… List Of Literary Devices Allegory An allegory is a literary device that uses plot and characters to express and explore abstract and complex ideas. This might be used to present issues in a way that is understandable and approachable for the reader. We see many allegories in fairy tales and Biblical stories.  A literary device similar to this is \'anthropomorphism\' – a type of personification that gives human characteristics to either objects or non-humans, such as animals.  George Orwell\'s Animal Farm is one of the most famous allegorical novels (and is also an example of anthropomorphism in literature). Using animals to represent different political beliefs and the rise of communism, it’s a multi-layered commentary with a strong message beneath the story\'s surface. Alliteration Alliteration is a literary device that is a collection of words or phrases that reflect repetition, and all begin with the same sound. It gives more stress to the consonants and creates something memorable in your writing, particularly when choosing the title of your book. For example, Jane Austen\'s use of alliteration in her book titles, Pride and Prejudice and Sense and Sensibility, made them memorable at the time and classics today. Allusion An allusion is a literary device (not to be confused with \'illusion\') that references something in the real world, whether a person, a place or an event. This device can connect with your readers and paint an accurate picture of a situation. An allusion example is referring to someone as ‘a total Scrooge’. This reference (thanks to Dickens famous work) would immediately paint an accurate picture in a reader\'s mind without elaborating further. They would know this person is tight with money and is miserable and grumpy.  Anachronism An anachronism is a literary device that can portray an intentional error in the era of a story. This device can be used to comment on a theme or even for comedic effect. For example, a character appearing in a different time period, using speech from a different era, or technology appearing before its invention. William Shakespeare used anachronisms in his writing, like the dollar currency in Macbeth and the clock in Julius Caesar (mechanical clocks were not invented in 44 AD). Anaphora Anaphora is a literary device used to emphasise a phrase or words to reinforce meaning and feelings for the reader. This is when a word or phrase is repeated, typically at the beginning of successive sentences or phrases.  The perfect anaphora can be found in the novel The Help by Kathryn Stockett - \"You is kind. You is smart. You is important.\" This quote reinforces the relationship between the two characters. A famous example in speech is Winston Churchill\'s ‘We Shall Fight on the Beaches.’ He rallied the troops and the British people in this speech, and throughout it, repeated the phrase \"we shall fight\" – invoking strong responses and stirring emotions.  Anthropomorphism We touched on anthropomorphism earlier when we discussed an allegory. To anthropomorphise is to ascribe human traits, emotions or behaviours to non-human beings, like objects, animals or phenomena. This literary device differs from personification, which creates imagery, as anthropomorphism is literal. For example, Cogsworth the clock and Lumière the candlestick in Disney\'s Beauty and the Beast are household objects that act and behave like humans. And Pinocchio was anthropomorphised when he gained the ability to talk, walk, think, and feel like a real boy. Archetype An archetype is a literary device that brings familiarity to a story – it\'s typically a \"universal symbol\" with qualities or traits that readers can easily identify. This literary device is used to reveal characters, images or themes that are instantly recognisable to any audience. The literary Hero Archetype, for example, is typically noble, courageous, self-sacrificing and will right wrongs and fight injustice. Cliffhanger A cliffhanger is a classic literary device used as an effective way to keep your reader\'s attention – such as the revelation of who Luke\'s father is in The Empire Strikes Back. It marks the end of a part of the story (the end of a chapter or TV episode), but with the purpose of keeping an audience engaged. A common way to do this is through shock factor, an abrupt ending offering no obvious resolution (until the person turns the page, buys the next book, or watches the next episode).  Colloquialism Colloquialism uses informal language and slang, and when used as a literary device, it can build a character\'s personality and authenticity through their dialogue. A colloquialism is a word or expression common within a specific language, geographic region, or historical era. Therefore, it can also indicate the setting of a story in the context of time and place. The language Holden Caulfield uses in Salinger’s The Catcher in the Rye is a great example of colloquialism.  Dramatic irony Dramatic irony is a literary device used to create situations where the audience knows more than the characters. Therefore, the actions of the characters have a different meaning for the audience. Typically, this device often lends itself to tragedy, as demonstrated in Shakespeare\'s Romeo and Juliet, when the audience knows that the lovers are both alive but the characters think the other is dead.  Dramatic irony is not to be confused with situational irony (when readers expect a certain outcome and are surprised by an unexpected turn of events) and verbal irony (when the intended meaning of a statement is the opposite of what was said). Exposition Exposition is a crucial literary device – it is when the narrative provides background information about events, settings, characters or any other relevant element to help the reader understand what\'s going on. It is typically used in conjunction with dialogue and description, offering a richer understanding of the story.  Exposition is presented through many methods, including dialogue, a protagonist\'s thoughts, a narrator\'s explanation or in-universe media, such as letters and newspapers. For example, in the Star Wars movies, the opening title sequence gives the audience the information they need to understand the upcoming events in the film: \"A long time ago in a galaxy far, far away….\" Beware, though, that too much exposition runs the risk of undercutting the emotional impact of a story. As we all know, ‘show’ don’t ‘tell’ where possible. Flashback A flashback is a literary device used to split up the current scenes in a story and look back to something that has happened in the past. It is typically used to build suspense. Flashbacks can also present exposition (revealing information or context about something that\'s happened in the past). Examples of flashbacks include memories and dream sequences. In Gone Girl by Gillian Flynn, the alternate chapters in the first part of the book are flashbacks through the medium of diary entries.  Foreshadowing Foreshadowing is a literary device that can create and build suspense by indicating or hinting to readers that something will happen later in a story. It creates dramatic tension and can often be used in conjunction with flashbacks. However, the difference between the two is that a flashback directly offers readers exposition or background information. In contrast, foreshadowing is a little more subtle and gives just a hint or a sense of what is to come. The symbolism of Harry Potter\'s scar is an excellent example of foreshadowing.  Frame Story A frame story is when the main or supporting character tells part of the story or narrative. The frame story essentially \"frames\" another part of it. This device supports the rest of the plot – it is typically used at the beginning or the end of a story, or in small interludes in-between. The movie Titanic is a great example of this. The main plot is set in 1912, but Rose frames the narrative when she looks back over what happened and tells a story within a story.  Humour Humour is a literary device to make readers laugh or keep them amused. It can be difficult to do, as it relies on instinct, making it harder to teach or learn. But there are different techniques, tools and words that can bring funny situations to life and achieve the goal of making an audience happy. Different types of humour include slapstick, surprise, sarcasm and hyperbole, among many others. Humour isn\'t only present in contemporary writing, as Jane Austen used humour throughout Pride and Prejudice, especially in conveying the relationship between Mr and Mrs Bennet.  Imagery Imagery is a literary device that evokes a sensory experience for the reader by using highly descriptive language. Strong imagery will paint a picture by following the rules of \'show, don\'t tell.\' It means playing to the reader\'s senses by describing sights, tastes, sounds, smells and feelings to bring a scene, character or situation to life. An example of this in Shakespeare\'s work is in The Taming of the Shrew: \"If I be waspish, best beware my sting.\" In Medias Res In Media Res is a literary device used when a narrative begins without exposition or contextual information. It is a Latin term that means \"in the midst of things\". Therefore, the story launches straight into a scene or in the middle of an already unfolding action, creating suspense and tension immediately. Odyssey by Homer is a famous example of this. Irony Verbal irony is when the intended meaning of a statement is the opposite of what was said. It is not to be confused with situational irony; a literary device used when readers expect a certain outcome and are surprised by an unexpected turn of events. There is also dramatic irony, a literary device used to create situations where the audience knows more than the characters. An example of irony in a plot is demonstrated in The Wonderful Wizard of Oz, when the characters already have what they are asking for from the wizard. Juxtaposition Juxtaposition is a literary device used to place different themes, characters, or concepts and highlight their differences. Instead of being overtly comparative, juxtaposition is an implied comparison, allowing the reader to discern how both entities are different. Juxtaposition can take many forms, such as human instinct and animal instinct in Life of Pi, and kindness and selfishness in Cinderella. Motif A motif is a repeated element, whether it takes the form of an image, idea, sound or word that has symbolic significance in a story. The defining aspect of this literary device is that it repeats frequently. Through repetition, the motif helps develop the narrative\'s theme and illuminates the central ideas, theme or deeper meaning of the story. Motifs are not to be confused with symbols, which may appear once or twice and help understand an idea in the narrative. An example of a motif is in the Godfather series, through the repetition of oranges featured on screen before a character dies. Another example is in Tolstoy\'s Anna Karenina – trains are a repetitive motif that ultimately symbolises death and destruction. Onomatopoeia Onomatopoeia refers to words that imitate the sound of what they\'re referring to. It can be used as a literary device to make descriptions more expressive and, therefore, more effective. For example, words such as buzz, snap and grunt are frequently used in children\'s books to add action and emotion to a story.  Oxymoron An oxymoron is a figure of speech that pairs two words together that are either opposing or contradictory. It can be used as a literary device to allow writers to take a creative approach and play with the use and meaning of words. As a result, it can create an impression and entertain the reader. An oxymoron is about words, not to be confused with juxtaposition, which contrasts two opposing story elements. An example of an oxymoron is in Shakespeare\'s Romeo and Juliet: \"Parting is such sweet sorrow.\" Paradox A paradox is typically a statement that might appear contradictory at first but makes sense after reflection. It\'s a literary device that asks people to think outside the box by questioning the logic and provoking readers to think critically. A paradox can also elicit humour and illustrate themes, such as in Scarface: \"Me, I always tell the truth. Even when I lie.\"  Personification Personification means assigning human traits to describe non-human entities or inanimate objects to express something creatively and imaginatively. It is not to be confused with anthropomorphism, which actually applies these traits to non-human things – whereas personification means the behaviour of the object or entity does not change – it\'s personified in figurative language only. This literary device might be used to create life and explore abstract ideas and themes within inanimate objects and animals by applying human behaviours and emotions. For example, Shirley Jackson\'s The Haunting of Hill House turns the house into a living entity through personification.  Point Of View Point of view is a vital literary device, as it\'s the angle of perspective in the narration of a story. It\'s a crucial decision because each point of view will have a different impact on the story and the reader\'s experience. The point of view effectively governs the audience\'s access and determines how much they will know as the story develops.  The most common points of view in literature are the first and third person. Both have their advantages and disadvantages. The first-person narrative (using pronouns I/we) allows the writer to connect with the reader, as this perspective means the reader has access to the narrator\'s inner thoughts and feelings.  An example of a first-person point of view is To Kill a Mockingbird by Harper Lee, when the story is told by Scout. From a storytelling perspective, the third person narrative (using pronouns she/he/they) is flexible because it allows you to write from multiple characters\' perspectives and show their actions and thoughts. An example of the third-person (omniscient) point of view is Middlemarch by George Eliot. The second person point of view is less common, as it uses the pronoun \"you\" to bring the reader into the story, for example, The Night Circus by Erin Morgenstern. Repetition Repetition means intentionally repeating a word or phrase two or more times. While you don\'t want to overdo it, occasional repetition can be an excellent tool to bring clarity to an idea, make something memorable for a reader, drill home a point or create an atmosphere. The best example of this is in horror stories, as horror writers use repetition as a literary device to make readers feel trapped. For example, in The Shining, Jack repeatedly types out \"All work and no play makes Jack a dull boy.\" This reveals Jack\'s downward spiral as cabin fever takes over. It is not to be confused with anaphora, which is specific in its intent to repeat, and the repetition is typically at the beginning of consecutive sentences, phrases, or clauses.  Satire Satire is a literary device used to make fun of human nature or society to expose or correct it. It is typically done through exaggeration, amusement, contempt, ridicule or irony, usually with the hope of creating awareness and subsequent social change. Satire can be overt or subtle but is common throughout history and popular culture. Examples of this in film and T.V. include Deadpool (satirises the superhero genre), Shrek (satirises fairy tales) and Family Guy (satirises American middle-class society and conventions). Situational Irony Situational irony is a literary device used when readers expect a certain outcome and are surprised by an unexpected turn of events. This is not to be confused with verbal irony or dramatic irony, which we already covered. An example of situational irony in a plot is demonstrated in the T.V. programme Schitt\'s Creek when a wealthy family is catapulted into a less privileged life.  Soliloquy A soliloquy is typically a speech or monologue involving a character speaking their thoughts out loud and usually at length. These are frequently in theatrical plays. The purpose of this as a literary device is for the character to reflect independently – they\'re not speaking for the benefit of other people. It\'s an effective device because it offers insight into a character\'s internal thoughts, reflections and emotions. Shakespeare\'s Hamlet\'s \"to be or not to be\" speech is a classic example of a soliloquy.  Suspense Suspense is a vital tool that writers use to keep their readers interested throughout the story. There are many ways to use suspense as a literary device. For example, raising questions and withholding information. The purpose of suspense is to create a feeling of anticipation that something exciting, risky or even dangerous will happen. It helps readers to engage with characters and evokes emotions, such as sympathy, towards them.  In Gillian Flynn\'s Sharp Objects, the dark atmosphere creates questions about what is happening in her hometown and how the complex protagonist will deal with it when she\'s already struggling with complex personal issues. Symbolism Symbolism means using symbols – a word, object, character, action or concept – in a story. These symbols can represent abstract concepts and ideas beyond the literal meaning and evoke additional meaning and significance. This is not to be confused with a motif, which is an element that\'s repeated frequently to develop the narrative and illuminate the central themes or ideas in a story. An example of symbolism would be The Great Gatsby, when Fitzgerald uses the eyes of Doctor T.J. Eckleburg to represent God and his judgment of the Jazz Age. Tone The tone of a story is crucial for any writer, as it refers to the overall mood and message of the story. Tone is a literary device that sets readers\' feelings and can be established broadly through voice, themes, characterisation and symbolism. The techniques can be even more specific through word choice, punctuation and sentence structure. Tone can range from cheerful and humourous, to melancholic and regretful. Through tone, the writer essentially creates a relationship with the reader, which influences the intention and meaning of the words. This is why tone is so important. For example, the tone of Charles Dickens\' A Tale of Two Cities demonstrates that the story is serious due to the formal, rich language he used. Tragicomedy A tragicomedy is a blend of both tragedy and comedy that typically helps a reader process darker themes by adding humour and helping them laugh at a situation, even when the circumstances are bleak. When using this literary device, the characters are typically exaggerated, with jokes throughout the story, and sometimes there might be a happy ending. An example of this is Lemony Snicket\'s A Series of Unfortunate Events, which uses bizarre situations and over-the-top characters to provide light in an otherwise tragic story. Make Your Story Stronger Strengthening our storytelling abilities is something we writers are always working on (our blog is an excellent resource for this) and a good grasp of the most effective literary devices is certainly beneficial for authors. Literary devices are tools that will take your writing to the next level – making it more impactful and engaging for your readers, hooking them in from the first page until the last. This is exactly what we want to do when telling a story, so these techniques are worth bearing in mind when writing. 

The relationship between an engaging protagonist and a compelling antagonist against the backdrop of an intriguing plot is what ensures a reader will continue to turn the page. But should your protagonist be an anti-hero – an underdog who goes against the grain of the typical \'hero\'? And what about the antagonist in the story – the character who will stop your protagonist from getting what they want? Is your antagonist somebody morally ambiguous, like an anti-villain? Or are they purely a villain, through and through? In this guide, we\'ll look at these two character types, what they are, how they differ and how to use them in your writing to strengthen your stories and engage your readers.  What Is An Anti-Hero? The definition of an anti-hero is somebody who lacks the virtues and traits of a traditional hero, such as courage and confidence. They can be morally ambiguous in their thinking and actions. However, when it comes to the anti-hero, the audience is rooting for them anyway. That\'s because they do the right thing, but maybe not for the right reasons. They have good intentions, but how they arrive at their conclusion or results can be questionable. An anti-hero typically lacks some of the attributes conventionally associated with traditional heroes. There are several anti-heroes in books, films and TV. Tony Montana in Scarface is an iconic character who ticks all the boxes of a classic anti-hero. Initially, he\'s the good guy, but he develops less than heroic traits throughout the film, as crime and drugs see him descend into a whirlwind of violence and greed. Despite this, he\'s still a character the audience can get behind because he does immoral things for moral reasons (his motivation is strong: getting his family out of poverty). Still, his life of crime escalates his downfall. Al Pacino\'s portrayal of Michael Corleone in The Godfather is another excellent example of an anti-hero. The film is widely regarded as one of cinema\'s greatest masterpieces, thanks to the protagonist\'s gripping character arc and his journey through the world of organised crime. It\'s a superb example of how the \"bad guy\" can be the hero.  Types Of Anti-Heroes One of the most important aspects to bear in mind when writing an anti-hero is that they\'re typically flawed but are usually engaged in doing good. So, now that we\'ve looked at what an anti-hero is and some examples of famous anti-heroes, let\'s explore the traits and characteristics that make up the different types of anti-heroes.  The Corrupt Protagonist Example of the corrupt protagonist: Thomas Shelby, Peaky Blinders. A corrupt protagonist will typically act out of self-interest and might be obsessed with motivations such as power, wealth and fame. For the reader to understand and sympathise with this type of anti-hero, the reasons for their corruption must be clear and logical. Another example is Walter White in Breaking Bad. He\'s a normal guy with a normal life at the start of the series - but his obsession with money and power, instigated by his cancer diagnosis, leads to his downward spiral. The Classical Anti-Hero Example of the classical anti-hero: Frodo Baggins, Lord of The Rings.  A traditional hero is confident and intelligent, with few flaws and weaknesses. Therefore, the classical anti-hero is the opposite and is plagued by self-doubt and a lack of confidence. Readers enjoy the complexity that comes with a layered character who is flawed and conflicted. Traditionally, the story arc will follow the classical anti-hero conquering their fears and coming to terms with themselves and their faults to fight and conquer whatever is threatening them. The Pragmatic Anti-Hero Example of the pragmatic anti-hero: Harry Potter. This type of anti-hero recognises their role in the greater good, and they see everything through a \'big picture\' viewpoint. For example, suppose the story means this pragmatic anti-hero must kill or sacrifice other characters. In that case, typically, this anti-hero will recognise that it must be done so that they can achieve the higher goal. For example, in Harry Potter\'s pursuit of Voldemort, he carries out actions that would be considered wrong (such as using curses) to ensure Voldemort\'s ultimate demise that\'s for the greater good. The Unscrupulous Hero Example of the unscrupulous hero: Jack Sparrow, Pirates of the Caribbean.  Heroes in this category have good intentions, and they\'re morally good. However, they don\'t care how much collateral damage they cause when they fight to achieve their goals. If your hero is unscrupulous, they\'ll be motivated by revenge and will typically be distrusting. Jack Sparrow is a great example of this as he\'s ultimately fighting on the good side.  Hero In Name Only Example of a hero in name only: Dexter Morgan, Dexter. These protagonists tiptoe along the line of a hero and a villain. The reader will still be on their side and root for them, but they won\'t necessarily agree with all their actions and decisions. These characters are on the side of good, but they\'re not entirely good themselves.  What Is A Villain? The best definition of a villain is simple: a villain is a character opposite of a hero. A villain\'s role in a story is vital, and every villain must be compelling enough to be believable while holding a reader\'s interest. A villain is an antagonist who will place obstacles in the protagonist\'s way and drive forward the story. Creating a great villain is just as important as creating a great hero – and the best villains help define and drive the character arc of the story\'s hero. Writing a good villain means examining different villain ideas and villain traits to see which type of character fits into your story.  What Makes A Great Villain? There are some key characteristics that you can use to create a villain. Arguably, the most important is the backstory. Without it, villains feel one-dimensional and inauthentic. With it, you can create a sympathetic villain that feels real – which is exactly what you want. A villain\'s background will ultimately explain their motivations and help a reader sympathise with them. It will demonstrate why they act the way they do due to past experiences and situations that they\'ve been exposed to. Even better, if a villain backstory is connected to the hero, the story and character arcs are even more compelling for readers. The perfect example of this, and the relationship between a hero you\'re rooting for and an engaging villain, is Harry Potter and Lord Voldemort. They\'re connected through a shared backstory when Voldemort murdered Harry\'s parents. But they\'re also physically connected; Harry\'s scar on his forehead serves to remind both the characters (and the readers) about their connection throughout the story.  But how to write a good villain? It\'s important to remember that a great villain character design should include some likeable qualities. They can\'t be bad through and through because a reader needs to understand them and even empathise with them to an extent. Typical characteristics of a villain include them being intelligent, capable, persuasive, proud and deceitful. They might occasionally reveal aspects of their personality that are good and perhaps even kind, but creating a villain ultimately means creating a ruthless character at their core.  Anti-Hero Vs Villain To distinguish between an anti-hero and a villain, there are certain elements to look at. The first is motive. Villains are typically motivated by something dark and even evil. Their ultimate motivations are not sympathetic as they will usually involve the protagonist\'s demise (even though a villain\'s backstory might encourage empathy from a reader). However, an anti-hero\'s motivations are sympathetic. A reader might not agree with why they\'re doing what they\'re doing, but they will understand and sympathise with their reasons why – for example, revenge and vengeance. The second characteristic is big picture balance. What would the world look like if the anti-hero won? And what would it look like if the villain won? The hero will ultimately restore balance and normality, with good prevailing. In contrast, the villain\'s victory would see the complete opposite. It\'s understandable that the lines might blur, as both types of character can be morally ambiguous. But you can readdress the balance by keeping in mind who the audience will naturally sympathise with – the anti-hero who\'s the underdog with redeeming qualities, rather than the villain who may encourage a little sympathy but ultimately reveals themselves to be purely acting in their own interests or against the protagonist. A typical character arc of the anti-hero is that they grow into becoming a better person, but a villain will go in the opposite way.  What Is An Anti-Villain? While we\'ve explored anti-heroes and villains and how they\'re connected, it\'s worthwhile looking at another type of character: anti-villain. An anti-villain is somebody who isn\'t completely evil (unlike a typical villain). They\'re much more complex, and their actions don\'t necessarily have to be particularly wicked.  Types Of Anti-Villains Now that we\'ve looked at what an anti-villain is, let\'s explore the traits and characteristics that make up the different types of anti-villains. The Sympathetic Anti-Villain Example of the sympathetic anti-villain: Benjamin Barker, Sweeney Todd. The sympathetic anti-villain is a character that the readers feel sorry for, and if some of their actions weren\'t so villainous, the readers might even root for them. The character\'s backstory is key here, as it must garner sympathy from the reader and tug on the heartstrings. It must reveal that the anti-villain is acting the way they do due to past circumstances outside of their control and because they don\'t see any other options open to them. The Well-Meaning Anti-Villain Example of the well-meaning anti-villain: Inspector Javert, Les Miserables. The reader can see that this character\'s heart is in the right place, but they take things a step too far in pursuit of their goal. They are driven by what they deem is the \"greater good\" and will stop at nothing to reach their goals, making them ruthless and morally questionable. Ultimately, the character is making the situation worse, but they might not even be aware of it because they\'re too focused on what they think is right and wrong – thinking purely in black and white, with no room for a grey area.  The Situational Anti-Villain Example of the situational anti-villain: Carrie White, in Stephen King\'s Carrie. This character might find themselves in a set of circumstances that set them against the protagonist. Or against themselves if they are the protagonist. For example, they might have started as a good person, but they\'ve come up against something that has pushed them to the brink of their limits, and now they\'re out for revenge. Or they might be simply in the wrong place at the wrong time. The reader will understand that their acts and motivations could be justified, but they won\'t get away with it.  Choosing Between Your Anti-Hero And Your Villain There are some great characteristics and traits that can create compelling anti-heroes, villains, and anti-villains. Ultimately, the anti-hero does the right thing, but not necessarily for the right reasons. Whereas the anti-villain does the wrong thing, but their reasons are often understandable. And the villain is there to make life hard for your protagonist every step of the way. By incorporating these strong character types, you\'re making the story even more interesting for the reader.  For more writing support visit our blog or join Jericho Writers - the world’s leading writing community. With our membership you get access to resources including 100+ hours of video content and masterclasses, live online events with top authors, one to one with agents and publishers, as well as editorial and mentoring support.

We usually look at the world through the eyes of authors – and quite right too – but I recently saw an interesting article by literary agent Kristin Nelson, which evaluated the changes she’s seen over twenty odd years on Planet Agent.The gist of the article was that agenting has become a tougher business than it was. I’m going to look at her fourteen reasons why … but first:Oh ye people.Last week, I told you that the Summer Festival of Writing is, from now on, going to be free to Jericho members. This week, I tell you that we’ve also tossed in an extra event, for free. October sees the launch of our Build Your Book month (info here). We’ve got twelve events aiming to help you turn your book into a masterpiece. In effect, it’s the self-editing complement to our super-successful Getting Published and Self-Publishing months, which take place in spring.All this stuff is, and will remain, completely free to Jericho members. If you’re not a member yet, we’d absolutely love to have you (how to join). You also get full access to all our 1000+ literary agent profiles on AgentMatch. You also get access to our 400+ films and masterclasses (info). You also get access to our amazing (and expanding) range of video courses (info). You also get free weekly events throughout the year (info). We’ve also got further yumminess coming up, but I can’t tell you about that now, because I’m bound by the terrifying code of Jerich-o-merta …Okiedoke. Back to Planet Agent. Here are Nelson’s fourteen reasons why agenting has got tougher:1. More agentsNelson reckons there are more literary agents around now than there used to be. I can’t quantify the degree to which that’s true, but certainly there don’t seem to be fewer agents, even though most publishers have cut the size of their frontlists.Verdict: she’s got a (smallish) point here.2. Agents as editorsBack in the day, agents used to be able to hawk a manuscript that had clear potential – and clear editorial needs. These days, with the competition as it is, it would be a dumb agent and a dumb author who took that approach. Instead, agents have tended to get involved in editorial work prior to submissions.(And if you think that because your agent has given you editorial feedback, you won’t need an extensive editorial process with the publisher – well, think again. Everyone gets to give their thoughts; you get to do the work. The good news: books usually get better as a result.)Verdict: She’s right3. Less agent visibilityNelson comments that, years back, it was quite easy for an agent to be noticed via your blog or Twitter feed, just because so few agents did anything like that. Well, that may be the case, but you don’t find many agents complaining about a shortage of submissions – and I know plenty of successful agents who don’t spend any real time on social media.Verdict: Hmm.4. Agent as publicistNelson writes, ‘In today’s publishing landscape, agents have to do so much more marketing/publicity management to optimize client success.’Really? Aren’t publishers doing that? And how many agents are actually pro publicists? And if they are, why are they selling manuscripts for a living? I think most agents do take on real editorial work. I think the good ones do a lot to manage a career and guide the author/publisher relationship. But honestly, most agents don’t do a ton of marketing work and they probably shouldn’t. It’s not their skillset.Verdict: Hmm.5. Email mountainsNelson comments that ‘three hundred emails is a light day’. Jeepers. There’s no question that email volumes have vastly increased – and it can’t actually be healthy or make for efficient business that any one person has 300 emails to deal with in a day. (Before they’ve actually read a word of their clients’ work, or anything from the new submissions pile.)Verdict: I’m very sympathetic.6. Indie PublishingWhen I started writing, traditional publishing was the only meaningful route to making money and finding a relationship. That’s no longer true and that also means agents are aware that their clients can scarper sideways into a game that’s fertile for the writer and arid for the agent.Nelson writes, intelligently, ‘I’m hugely supportive of authors and indie publishing, but the loss of talent to the indie sphere does impact an agency’s bottom line.’Verdict: She’s right, of course. Not a big problem for authors, though :)7. Publisher paymentsBack in the day, advances were split into two or three chunks – typically, on signature, on hardback publication, and on paperback publication. These days, some publishers insist on four or five instalments, and have pushed some payments back to well after publication. (So they’re not advances any more – perhaps ‘late payments’ would be a better term.)Nelson notes that this practice makes life harder for agents, which is true. I also note that it’s effectively a way for billion-dollar companies to boost their cash flow at the expense of authors, which doesn’t seem very graceful to me.Verdict: She’s right again8. The Great Contract SwampPublishers have always been slow in negotiating contracts, which is pitiful when you consider that the vast majority of contracts deal mostly in boilerplate. But they’ve got slower.I’ve known authors with roots in more businesslike professions write to me concerned when they haven’t seen a contract within two or three weeks. What’s going on, they ask, is there a problem?And the answer is no, there isn’t a problem, except that publishers understaff their contracts department and deliver too little authority to editors to sort out issues. I once wrote an entire book in between agreeing the deal (orally and by email) and the publisher actually delivering the contract. And which do you think ought to take longer: writing a 100,000 word book, every word of it original, or writing a contract of about a dozen pages, with almost every word of it boilerplate?Verdict: I’m with Team Nelson here. And I think the publishing industry should do a lot, lot better.9. Then there was onePublishers keep eating each other. First Penguin and Random House married. Now they’re going all menage a trois with Simon & Schuster. Meantime, Hachette is currently gobbling Workman, its sixth US acquisition in eight years. And so it goes.The fewer big publishers there are, the less the competition for authors. And yes: there are some terrific micro-publishers and they do a great job. But if you want cash in your pocket, you need one of the big guys. And there aren’t as many as there used to be.Verdict: Team Nelson all the way10. The Great FloodEditors see a lot of submissions. They say no to a hell of a lot. And because they see a lot, and say no a lot, it takes longer for editors to get back to agents.That makes it harder for an agent to mount an effective auction and means a lot more chasing to get anywhere at all. Nelson comments that that’s made life harder for agents and, since trad authors have their fortune yoked to Planet Agent, that means it’s worse for writers too.Verdict: Yep, right again11. The death of the editorYea, verily, back in the time when the flood waters receded from the earth, editors were allowed to choose books because they liked them. These days, editors are second-guessed by acquisitions committees and marketing folk who sit on those committees, with the result that the whole process has become more tangled, more bureaucratic and (I bet) no more effective.I’d like to say that Nelson is right about this, but remember marketing people and other execs were deeply involved in acquisitions even twenty years back. So if she is right, she has a longer memory than I do.Verdict: Hmm.12. Blockbuster or bustBack in the day, there were authors like Ian Rankin whose first books didn’t sell especially well and weren’t perfectly formed. But they grew into their careers and became serial bestsellers.These days, publishers lack the patience to grow an author in that way. If an author’s debut two-book deal doesn’t pretty much earn out, there’s every chance that author will simply be discarded. That’s nuts.Verdict: I’m Nelsonian – one-eyed and one-armed.13. The Death of the Mass Market FormatNelson writes, ‘Back in the day, so many agents got their start representing authors in romance, mystery, and urban fantasy—all genres traditionally launched in the mass-market format. Fantastic glory days were when I would sell in a debut romance author for six figures.’ These days, she says, mass market editions have subsided in favour of e-books, which haven’t given publishers anything like the same income.That’s all true – but also a misdiagnosis.The reason e-books haven’t given trad publishers a huge payday, compared with the mass market editions of the past, is that the areas concerned – romance, genre mystery, YA paranormal, SF, and much else – have been very largely colonised by indie authors, who have made a killing.So, on this topic, the impact for authors has been highly positive – so long as they’ve gone indie.Verdict: I know what she’s saying, but …14. The Change that Wasn’tOh Jeepers. Nelson also says this: ‘Publishers, despite emphasis on social change in the last couple of years, have not expanded their readership outreach or marketing to reflect the current cultural landscape. This continues to mean fewer opportunities for agents and authors of Color. This should be the one area where it’s better for the agents of today, and it’s not.’This is real head-in-hands stuff. If not now, then when? As it happens, I think a change that has been very long overdue really is beginning to happen – but it probably won’t finally bed in until the mid- to senior ranks of publishing start to resemble the cities that house them: the highly multicultural London and New York.I’ve been publishing work for more than twenty years. I’ve had more editors, publicists, marketing people and others involved in my books than I can easily count. But, from memory, only one of them – ONE! – was a person of colour. Ye Gods. It really is changing though. It really is.Verdict: She’s horribly right.Don’t forget to check out our Build your Book month. And n\'oubliez pas that the Summer Festival is now free to Jericho members. Interested in joining us maybe? Course you are.Oh and you don\'t know what I mean, one-eyed, one-armed? Tush and pish. Inform yourself.

When it comes to creative writing, the protagonist and antagonist characters are often the main focus and essential in telling the story. These are the characters with depth and complexity, the ones that move a story on, the ones we champion or that we want to see defeated. The conflict between the two is age-old – it creates tension, action and consequence, and, if done correctly, brings great satisfaction to the conclusion of a story. So how do we define a protagonist and an antagonist? How do we write them? What Is A Protagonist? A protagonist is a character who, in most situations, a reader will be rooting for. This character differs from other main characters because they are the ones that drive a story forward with their decisions and actions, and their goals reflect the goals of the story. Consider Lord of the Rings for example.The goal of the trilogy is good triumphing evil, and its protagonist, the big-hearted Hobbit Frodo, has the goal of destroying the ring and thus destroying Sauron who embodies evil. In most cases, a reader follows the protagonist throughout the story, however sometimes we see the protagonist through the eyes of someone else – a supporting character or through a third person narrator. Consider the famous play Blood Brothers by Willy Russell. The narrator is an enormous part but isn\'t the protagonist – the audience care only about the two brothers, Eddie and Mickey. Types Of Protagonists There are three types of protagonist: HeroThe classic good, morally upstanding, saves-the-cat-on-the-way-to-save-the-world kind of character. The hero will have flaws, but readers will have a fair inkling about who\'s going to come out on top in this conflict from the word go. Think Harry Potter, Scout from To Kill A Mocking Bird, Luke Skywalker from Star Wars. Anti-HeroA deviation from the classic hero, often a reluctant or ill-equipped character who needs to navigate a situation thrust upon them. These characters may not be classic heroes, and they might also have some major flaws, yet they still evoke empathy and affection. Think Scarlett O\'Hara in Gone in with the Wind who, although spoilt and hotheaded, survives through wily means even when her glamorous southern belle life falls apart. Other examples are Becky Sharp from Vanity Fair, and Lyra from His Dark Materials VillainYes, you can still have a villain as a protagonist because a villain can still lead and decide the events of the plot. Think Jordan Belfort in The Wolf of Wall Street, Villanelle from Killing Eve, Grinch in The Grinch (who, OK, turns out good but man, in the beginning he\'s downright mean). Keep in mind when writing a protagonist that they need to be relatable. Your reader needs to care about what happens to them. If they\'re not flawed in any way, they won\'t feel real and therefore the reader won\'t care what happens to them. If they\'re too powerful, the reader will assume they can overcome anything and therefore the story will become boring – Superman maybe a classic hero but thanks to Kryptonite he still has one weakness. Yet, if they\'re too weak, the reader will feel annoyed at the character’s lack of gumption and won\'t root for them. And if they\'re too nasty, they won\'t feel like a protagonist. No one will want to see if they make it to the end of the book. What Is An Antagonist? An antagonist is a character working against the protagonist who, in most cases, the reader wants to see foiled. The antagonist creates the conflict and is generally seen as the \'bad\' one but, like the protagonists, there are different types of antagonists. Types of Antagonists There are four types of antagonists: The villainThis antagonist example is all about the evil-doing and often just for the sake of being evil (how liberating to be so horrible!). They live for the destruction of the protagonist and as such, they are mostly found in fantasy and sci-fi writing where the primary goal is ‘good triumphing evil’. Classic villains are The Emperor and Darth Vader in Star Wars, Voldemort in Harry Potter, the shark from Jaws (who still torments me to this day, so well done Peter Benchley for ruining swimming pools for me). The conflict-creatorThese antagonists are not necessarily a bad character. They are still very much human and have their own fears, hopes and dreams, but their goals work in conflict with the protagonist’s. They may also inspire the protagonist to act against their better judgment. Examples of a conflict-creator are Severus Snape in Harry Potter, Buzz Lightyear in Toy Story, or Willy Wonka in Charlie And The Chocolate Factory (he’s not an out and out bad guy, but he doesn’t make things easy for the children).Sometimes the antagonist in a story isn\'t even a person. Let\'s take a look at the inanimate forces that may challenge your hero... NatureThe antagonist in the Tom Hanks film, Castaway, is the relentless sea who won\'t let him leave the island. The antagonist in Bethany Clift\'s The Last One At The Party is the deadly virus that sweeps the world and leaves one woman pitted against the odds to survive a post-apocalyptic world. The supernaturalThe Shining is a perfect example of this force working against a protagonist. ObjectsThe ominous giant lighthouse in Emma Stonex\'s The Lamplighters causes three men to disappear. It\'s the perfect, atmospheric, antagonist. The protagonist themselvesThis internal conflict, for me, is the most satisfying antagonist, and which also brings the most rewarding conclusion to a story. A character starting a story at A, overcoming a flaw within themselves, and arriving up at B is my absolute favourite thing. The old man in Disney\'s Up is a great example of this – his antagonist is his own emotions, the grief for the loss of his wife which keeps him anchored in the past and unable to enjoy his life. Nudged by Russell, the boy scout, he discovers the joy and freedom of living again. As the saying goes, it’s often simply ourselves who are standing in the way of where we wish to go. It’s important to keep in mind that an antagonist must be as three dimensional as the protagonist. Their backstory should be just as important and relevant as that of the protagonist, and consequently their motivation should be something the reader can understand – even if they don’t agree. Voldemorts\' motivation to kill Harry in Harry Potter is because his broken and mutated soul got stuck in seven different places when he tried to kill Harry as a baby, so you know, if that\'s not motivation for a demise, what is?! Jaws was simply trying to score a meal. Making Your Antagonist Unforgettable Being creative with your antagonist can be a lot of fun and ensures they won’t be forgotten in a hurry. Let’s face it, everyone loves a baddie! They don’t have to be ‘ugly’ or scary or always in hiding, often the most dangerous can be loved by many. Look at giving them redeeming features to make them even more unsettling and unpredictable. Bond villain Blofeld was always cuddling his cat. How can a guy who loves his cat be all that bad? Let your protagonist find out! The Difference Between A Protagonist And An Antagonist A protagonist and antagonist are opposites – antonyms. The protagonists are generally the good guys (even it means that sometimes they are antiheroes) while antagonists are generally the bad guys. Look at the protagonists and antagonists in Disney films or in classic children’s fairytales. They are always perfect examples of clear conflict and well-matched foes. Basically, readers tend to empathise and relate to a protagonist, whereas they won\'t necessarily want to with an antagonist. However, they need to understand both these characters. Their friction needs to be relatable, or at least plausible. If we, as authors, want to hook readers into our stories, we have to make them care. And the only way they are going to care is by relating to our characters and understanding their motivations which drive the decisions they make. It\'s important that a writer addresses this for both the protagonist and the antagonist, not just to drive the plot forward but to connect with the readers. Whichever types of protagonist and antagonists you have in your story, always make sure they are worthy of each other. Opponents need chemistry in order to make a convincing and gratifying conflict. Think Clarice Starling and Hannibal Lecter in Hannibal who are very different characters but matched in an intelligence in which they find a mutual respect. Batman and The Joker are matched perfectly for their abilities to bring out a madness and darkness within each other. Sherlock Holmes and Jim Moriarty are matched in the depth of their intellectual game playing. Can A Protagonist Also Be An Antagonist? This is an interesting question with some conflicting points of view. For me, certainly a protagonist can be an antagonist. Villanelle from Killing Eve is the antagonist to Eve (the other protagonist) and slips her grasp constantly. However, the plot of the story is very much dual led. Villanelle is funny, unpredictable and wears outrageous clothing, and we find ourselves charmed by her despite her psychopathic, murderous ways. You can have real fun with this sort of protagonist. The appeal of writing someone who says and does questionable and outrageous things so far out of our normal everyday lives is big (at least it is for me, so I wonder what that says about me?!). As a reader, being thrust directly into the mind of someone villainous can be exciting. Not to mention it makes the baddie hard to forget. Also, the antagonist of the story can also be inside of the protagonist – such as the old guy from Up battling against his grief. Woody from Toy Story is another great example of the antagonist within the protagonist. He was Andy\'s most beloved toy until Buzz Lightyear was bought. His presence had a knock-on effect to the internal conflict within Woody – his insecurities and fear of being replaced meant his \'good guy\' persona was rattled and he had to work hard throughout the film to overcome it. Protagonists And Antagonists Make your Story Establishing a strong understanding of the roles played by antagonists and protagonists is essential for all writers. Develop your protagonist and antagonist alongside each other, keep their goals and motivations clear, keep their conflict electric, keep them real, but above all, ensure you enjoy writing them and your readers will be sure to love reading about them.

Ever been to a bookstore and wondered what all the little images on the book spines mean? All those H\'s, penguins and sowers lining the shelves? Well, they are the logos of the publishing companies who have published that book. Take a look at the rows of books in any bookstore and you will most probably be looking at the emblems for the Big 5 publishers and their many imprints, as well as a smattering of independent (indie) publishers. With so many amazing publishing houses out there, the perfect home for you book may well be out there, but how do you know where to look, and who are the most reputable? In this article we will be looking at the very best book publishers, how publishing companies work, and how to get published by a traditional publishing house. The publishing industry can be a little tricky to understand, but by the end of this article you will be armed with all the knowledge you need when it comes to choosing the best book publishing companies for your work. How Do You Search For A Publisher? Finding a book publisher can be hard, especially if you\'re hoping to be traditionally published by some of the top publishers in the business. Where do you begin, and what information is important for you to know before you start submitting your manuscript to some of the largest book publishers? Is there anything to be said for self publishing, and what types of publishing should you avoid? Do I Need A Literary Agent? Yes, you will most likely need to be represented by a literary agent before you (via your agent) can start submitting to bigger traditional publishers. Nevertheless, there’s no harm in window shopping; it might even provide you with a focal point if you are still working on getting an agent. For more information on how to find a literary agent, read more here. Where To Start If you’re feeling overwhelmed by the number of book publishers out there, I’ll be listing the top five biggest publishing houses, some of the best educational publishers and those who publish children’s books, as well as some of my personal favourite independent book publishers.Read on to discover the very best publishers, covering all book genres across the globe. The Big Five Book Publishers While aiming high can be daunting to some authors, literary agents will often wish to submit your manuscript to the top publishing companies first. After all, not only do they have the most power and influence, but they also know what they\'re doing - most of them have been publishing books for over a hundred years! Who Are The Big Five? The biggest and most successful traditional publishers in the world are often referred to as \'The Big Five\'. So I will be starting with them. These are the five powerhouse trade publishing houses which are most well known and widely recognised. Within them you will find many other recognised imprints (publishing houses owned by them) whose logos appear on the spine on the book. Let’s take a look at them in more detail. Simon & Schuster Simon & Schuster is where we begin our big five journey, as this publishing company holds an annual revenue of $830 million. They have over 35 imprints, including notable ones such as Howard Books, Scribner, and Touchstone, and they release over 2,000 books a year! Some of their biggest titles as of late are Salt, Fat, Acid, Heat by Samin Nosrat and The Institute by Stephen King. Founded in 1924, Simon & Schuster remains a prominent publisher today, publishing a variety of genres along with big names such as renown authors F. Scott Fitzgerald, Jodi Picoult and Philippa Gregory. They also offer many opportunities for those wanting to pursue a career in publishing and are one of the biggest names in the industry to work. HarperCollins With an annual revenue of $1.5 billion, HarperCollins has no shortage of good books and authors. Their notable imprints include Avon Romance, Harlequin Enterprises, Harper, and William Morrow, and their titles range broadly. Some of the top books as of late are Girl, Stop Apologizing by Rachel Hollis and The Last Romantics by Tara Conklin. Authors published originally by Harper include Mark Twain, the Brontë sisters, H. G. Wells and Agatha Christie. A book deal from this giant will most certainly help with book sales! With over 100 imprints, this publishing powerhouse also offers a great opportunity to learn about the industry from the best.  Macmillan Publishers Established in 1843, Macmillan Publishers is still going strong. With $1.4 billion in annual revenue, there are many publishing routes and imprints available through them, namely Farrar, Straus and Giroux, Picador, St Martin\'s Press, and Thomas Dunne Books. Some of their biggest titles from the recent past that you may have heard of include The Great Alone by Kristin Hannah and Me by Elton John. With an eclectic list of authors under its belt (from W B Yeats to Leigh Bardugo), and a global market with countless possible genres to publish under, you’d be wise to consider them an ideal place for your book to end up.  Penguin Random House Everyone recognises that little penguin on book spines in bookstores, and everyone is familiar with the orange Penguin Classics books, but what else do you know about this iconic publisher? With over 15,000 books published a year, not only is Penguin Random House one of the top five, it may well be the top of the top five. Their annual revenue exceeds $3.3 billion, and they have countless notable imprints such as Knopf Doubleday, Crown Publishing, and Viking Press. They also have many famous authors under their wing, including books like The Testaments by Margaret Atwood, and The Guardians by John Grisham. As of 2021, Penguin Random House employs approximately 10,000 people globally and has published 15,000 titles annually under its 250 divisions and imprints. Hachette Livre Looking for a European based publisher with more published books a year than Penguin? Then take a look at the Hachette book group. Hachette Livre has an annual revenue of $2.7 billion and nearly 200 imprints. Some of these include Grand Central Publishing, Little, Brown and Company, Headline, and Mulholland Books. Their biggest titles in the recent past include Talking to Strangers by Malcolm Gladwell and Little Weirds by Jenny Slate. they have also published names such as James Patterson, Martina Cole, Donna Tartt, and Celeste Ng. Growing steadily since their merger in 1992, Hachette Livre has a lot to offer both you and your book. Best Educational Book Publishers Looking for a reliable and quality educational book publisher, or someone who specialises in nonfiction titles? This can be more difficult than you think, but thankfully I’m here to shorten the list for you. These publishers are looking specifically for educational books, quality hardback textbooks and the like. This won\'t be helpful if you\'re looking to get your fictional manuscript published, but if it\'s educational materials you write, then read on! Bertelsmann Education Group Bertelsmann is a media, services and education company that operates in about 50 countries around the world. The online education and service offerings are primarily in the healthcare and technology sectors, as well as in higher education. With an annual revenue of around $300 million, this group has no shortage of educational texts, resources, and reliable online connections. Scholastic I can’t recall how many Scholastic book fairs I went to as a child. Perhaps you went to some as well, given that Scholastic is both an educational publisher and a popular children’s publisher. Their book sales are always consistent and their annual revenue is roughly $1.7 billion. Their notable imprints include Arthur A. Levine, Klutz Press, and Orchard Books. While their educational books are extremely popular for grades K-12, their YA fiction remains the most popular (no doubt you’ve heard of Harry Potter and The Hunger Games, right?). Pearson Education Have you ever used DuoLingo for your language learning needs? Did you know that Pearson Education has recently partnered with them? There’s a lot of other notable mentions surrounding Pearson, such as their annual revenue of $1 billion, and their well-known imprints (Adobe Press, Heinemann, Prentice Hall, Wharton Publishing). Their most popular publications are always subject textbooks for higher education, and for good reason. McGraw-Hill Education One of the largest publishers in American education is Mcgraw-Hill. Their annual revenue often exceeds $1.7 billion, and they are well known for their many editions of test prep books (SAT and ACT) and elementary school math textbooks. Their most notable imprints include Glencoe/McGraw-Hill, Macmillan/McGraw-Hill, and McGraw-Hill Higher Education, no doubt familiar to you if you’ve been involved in any American education system. Wiley While Wiley has a lot to offer in terms of non-educational publishing, their For Dummies series of educational books is one of their top sellers. With an annual revenue of $1.7 billion, their various instructional titles are big hits in the publishing world. Their most notable imprints include Bloomberg Press, Capstone, Hungry Minds, and Wiley-Blackwell, and they continue to publish a large variety of titles, both educational and otherwise. Cengage Learning Publishing both hard cover print books and maintaining a dedicated digital library can be difficult, but Cengage learning can do it all. From imprints that publish specifically for grades K-12 as well as books for higher education learning, Cengage is a wonderful publisher to consider. Cengage is also the owner of the National Geographic Education division, made to bring excitement to classrooms worldwide. With an annual revenue of $1.7 billion, it’s safe to say that this publisher is one of the educational publishing powerhouses. Houghton Mifflin Harcourt You may have already heard of Houghton Mifflin Harcourt, or HMH for short. This publisher specializes in different disciplines including business and economics, biography and memoirs, children’s books, cookbooks, health and wellness, and more. They make more than $1.4 billion annually, with many notable imprints: Clarion, Graphia, John Joseph Adams Books, and Sandpiper among them. Their largest and most recent titles include elementary school textbooks in all subjects, as well as cookbooks. Best Children’s Book Publishers Some of the top selling books published today are for children or young adults. However, writing and publishing for children and young adults can be a lot harder than you would think! Although young adult novels have really flown off the shelves in the last twenty years, and often offer the most variety in terms of diversity, content and audience, young adult fiction, middle grade fiction and picture books still remain one of the most competitive markets in the publishing world. Here are some of the best choices for children’s book publishing today, and how you can reach out to them (via your literary agent, of course). Bloomsbury With offices around the world and prominent publishing houses in both the US and the UK, Bloomsbury Books is a top contender for children’s book publishing (they also publish a vast array of nonfiction books including political nonfiction). Established in 1986, Bloomsbury has many popular children’s book authors across every age group. With an annual revenue of $150 million, Bloomsbury USA Books for Young Readers was established in 2002. Their YA fiction has grown increasingly popular, their authors often topping the New York Times Bestseller list. If they\'re good enough for the likes of J K Rowling, Sarah J Maas, and Samantha Shannon, then I\'m sure your book will be more than happy in this home. Ladybird Books It\'s impossible for anyone over the age of thirty to not have fond memories of their first Ladybird hardback book as a child. Who doesn\'t remember their favourite fairytales presented in that iconic little book with a plump ladybird on the cover? UK-based and another division of the Penguin Group, Ladybird books is perfect if you’ve got a bedtime story to tell. Their lineup of children’s books is primarily geared toward younger audiences, from toddlers to roughly age ten. They have many award winning series published under their name, including many Peppa Pig books, as well as an educational division with their famous Peter and Jane reading guides and other titles where they have teamed up with names such as BBC Earth. Their annual revenue is roughly $17 million. Chronicle Books San Francisco-based favourite Chronicle Books, with a $10 million revenue, has a wonderful eye for the unique and aesthetic storyteller. Their children’s books are beloved and unique, and this small independent publisher receives more than 1,000 submissions a month for their young adult department alone! They publish most type of children’s books including activity books, art books, board books, picture books, chapter books, middle grade, games, and gift and stationery items. Hogs Back Books Hogs Back Books publishes fiction books aimed at children up to 10, as well as early readers for children up to 14, and teenage fiction. Amongst its most notable titles, Boris the Boastful Frog was recommended by The Telegraph in 2013 as one of the best books of the year for young children. They are a small family-owned and independent publisher, and the small selection that they choose to publish is beautiful and heartfelt. Arbordale Publishing With just about $1 million in annual income, Arbordale Publishing isn’t the largest in US children’s publishing. However, their books are aligned to Common Core, Next Generation Science Standards (NGSS), as well as state education standards. Arbordale books are vetted by experts and professionals from a variety of organizations including NASA, JPL, Project Learning Tree, USFWS, SeaWorld, the Cherokee Nation and others. They publish an average of 20 books per year. Immedium Based in San Francisco, CA, Immedium is influenced by an increasingly diverse world. While they are a small company and make an average of $150k in annual revenue, they have wonderful illustrations and ideas for children’s books.  Immedium publishes subjects range from eye-catching children’s books to contemporary non-fiction, including commentaries on art, popular culture, and multicultural issues. Kids Can Press Kids Can Press is a Canadian-owned publisher of children’s books, with a list of over 500 picture books, non-fiction and fiction titles for toddlers to young adults and an estimated annual revenue of over $10 million.  The Kids Can Press list includes characters such as Franklin the Turtle—the single most successful publishing franchise in the history of Canadian publishing, which has sold over 65 million books in over 30 languages around the world. Quirk Books Looking for a smaller publishing agency for your unique and captivating children’s book? Publishing only around 25 books a year, Quirk Books is based in Philadelphia and is searching for the most original, cool, and fun ideas out there. Is your book creative enough for Quirk? It’s one of my favourite publishing companies, having taken the helm on series such as the Miss Peregrine anthology by Ransom Riggs, which has won many literary awards. August House Publishers A more traditional publishing company, August House Publishers are seeking children’s book authors committed to folktales, diverse and memorable. They enjoy stories from many diverse backgrounds, as well as stories that work well as oral tales, stories meant to be passed on from generation to generation. They also have a soft spot for scary stories and stories that can be used in a classroom environment. With an annual revenue of roughly $10 million, they produce beautiful children’s books. ABDO Publishing With almost $50 million a year in revenue ABDO is a formidable children’s book publisher. Based in Edina, Minnesota, this family-owned book publishing company specializes in non-fiction books for the school library market. From engaging nonfiction to illustrated titles, ABDO has both educational and fantastical book titles for children of all ages. Best Independent Book Publishers Are you looking for a smaller company to publish your book? This is a better option if you are still seeking a traditional publishing company, but want to work with them directly There are many benefits of working with an independent book publishing company. Smaller companies often accept unsolicited submissions (ie you don\'t need to have a literary agent and can approach them yourself), especially if the submission is more unique and experimental in nature. Plus, independent publishers often offer a more hands-on approach for new and inexperienced authors. the downside is that their budgets and reach may not be as large as that of the big five, so you are less likely to get an astronomical advance or become an international bestseller. But it\'s not impossible! Let’s check out some of the best in the business... Autumn House Press Autumn House Press is an independent, non-profit literary publishing company based in Pittsburgh, Pennsylvania that was founded in 1998. They began as a publishing company strictly for poetry, but they have since expanded to include fiction and nonfiction. Autumn House Press’s especially notable titles include Anxious Attachments by Beth Alvarado and Not Dead Yet and Other Stories by Hadley Moore. Tupelo Press Tupelo Press is an American not-for-profit literary press founded in 1999. It produced its first titles in 2001, publishing poetry, fiction and nonfiction. Tupelo Press publishes the winners of its national poetry competitions, as well as manuscripts accepted through general submission. Awards given by Tupelo Press include the Dorset Prize, the Berkshire Prize for a First or Second Book of Poetry, and the Snowbound Series Chapbook Award. They have a lot to offer as an independent book publisher. Influx Press Hackney-based London independent publisher, Influx Press, was founded in 2011. They focus on site-specific literature closely linked to precise places across the UK and beyond. They have printed unique books such as How Pale the Winter Has Made Us by Adam Scovell and A Door Behind a Door by Yelena Moskovich. Fledgling Press Fledgling is an exciting and innovative publisher founded in Edingburgh, Scotland. Their focus is primarily on Scottish talent, but they still consider writers from other parts of the world. Founded in 2000, Fledgling Press have have launched the writing careers of award winning authors including Helen Grant, Philip Caveney and Alex Nye. Graywolf Press Graywolf Press is an independent, non-profit publisher located in Minneapolis, Minnesota. They publish fiction, non-fiction, and poetry. Graywolf Press currently publishes about 27 books a year, including the Graywolf Press Nonfiction Prize winner, the recipient of the Emily Dickinson First Book Award, and several translations supported by the Lannan Foundation. Their published work is bold and award winning. New Directions New Directions was founded in 1936 and they publish about 30 new titles a year. They publish anything regarding literary fiction, poetry, memoir, nonfiction, and their annual revenue is roughly $1 million per year. It was the first American publisher of authors including Henry Miller, Vladimir Nabokov, and Jorge Luis Borges, among others. Tin House Books Publisher of award-winning books of literary fiction, nonfiction, and poetry; home to a renowned workshop and seminar series; and partner of a critically acclaimed podcast, Tin House champions writing that is artful, dynamic, and original. While they only publish about two dozen books per year, they are all astounding, and you can learn more about their small operation here. Europa Editions Europa Editions is an independent trade publisher based in New York. The company was founded in 2005 by the owners of the Italian press Edizioni E/O and specializes in literary fiction, mysteries, and narrative non-fiction. They have a few imprints, namely Tonga Books, and a series for mysteries known as Europa World Noir. City Lights Publishers Known for publishing Howl and other poems by Allen Ginsberg, City Lights Publishers is a great independent publishing option. Founded in 1955, with nearly 300 books in print, City Lights publishes cutting-edge fiction, poetry, memoirs, literary translations and books on vital social and political issues. For over fifty years, City Lights has been a champion of progressive thinking, fighting against the forces of conservatism and censorship. Forest Avenue Press Forest Avenue Press, founded in 2012 in Portland, Oregon, publishes literary fiction on a joyride and the occasional memoir. While they are currently a small-scale operation, they are growing in popularity in the Pacific Northwest. And That\'s Not All Of Them... And that is just the tip of the iceberg when it comes to the best publishers to consider! The best thing to do, when looking at what publisher to approach or consider, is to look at the books you love or that are most similar to your own and look at who publishes them. You may well be surprised, and they may well not even be on this list (which doesn\'t make them any less fabulous). A Publisher For Every Writer Writing a book and finishing it is a huge achievement in itself. Choosing whether to self-publish, look for an agent, or approach indie publishing houses yourself is the next step..and a large one. So take your time and choose your route to publication wisely. While I hope you found a few excellent book publishers to consider from this list, do keep in mind that there are many more that are worth your consideration. And however you choose to get your book out into the world (and all options come with a list of pros and cons) they all ultimately all lead to the same thing - holding your book in your hand one day and having others enjoy your words. Frequently Asked Questions Who Are The Big 5 In Publishing? The big five publishers in the world are: Harper Collins Simon & Schuster Macmillan Hachette Penguin Random House These five publishers make up over 90% of hardback book sales in the US and over 80% of paperbacks sold. What Is The Most Prestigious Book Publisher? In terms of the most established book publisher, Cambridge University Press, dating back to 1534. But in terms of revenue, iPenguin Random House generated revenues of 3.8 billion euros in 2020, up from 3.63 in the previous year. Which Publisher Is Best For First Time Authors? The best thing a first time author can do is find a great literary agent that specialises in whatever genre they write. Through that agent they will then have access to the very best publishers. Without an agent, you can\'t get near the Big 5! How Do You Pick A Publisher? To have access to the top publishers you need a literary agent, and they will know who to approach. But if you want to approach smaller publishers without an agent, or just curious as to who you\'d like publishing your book, then simply take a look at books that are similar to the one you have written and see who publishes them.