Enjoy this Q&A with Alec Loganbill, Acquisitions Editor of Plainspoken Books—the bold new nonfiction trade imprint from the University Press of Kansas!

Alec is a lifelong Kansan and proud Midwesterner on a mission to amplify authentic voices from the heartland. He’s actively acquiring strong, concept-driven books about the politics, cultures, and environments of the Midwest—think narrative journalism, sharp political commentary, inspiring memoir, zeitgeisty history, and stories with a powerful sense of place that deserve a national stage.

Whether you’re an author with a Midwest story, a writer crafting a nonfiction proposal, or simply curious about what editors are really looking for right now, this is your chance to get rare, behind-the-scenes insight straight from the source.

Check out this Q&A with the lovely Tricia Thomas! There’s some real talk here, and I so appreciate Tricia’s vulnerability and authenticity.

https://www.writingdayworkshops.com/blog/writing-through-the-real-tricia-thomas-on-shame-struggle-and-finding-freedom-as-a-creative

Tricia has so much to offer the writing community, and I look forward to seeing her shine in all the places.

I love the way Tricia blends her past experiences with her future hopes . . . and then uses all that to encourage everyone on the journey.

Enjoy this! And then let Tricia know what resonated with you.

I came across this article from Mark Gottlieb, literary agent and executive vice president of Trident Media Group, and there’s a lot to consider here. Especially if you work in publishing, or you’re curious about why things are so slow or what’s been going on recently.

Why Publishing’s Labor Reckoning Could Change Books for the Better: Trident Media Group’s Mark Gottlieb Declares The Passion Tax Comes Due

Read the article here:

https://www.ibtimes.com/why-publishings-labor-reckoning-could-change-books-better-trident-media-groups-mark-gottlieb-3803158

Some key points:

• Wages have stagnated while living costs (especially in New York City) have risen sharply, making publishing careers increasingly untenable.

• High turnover is harming authors: editors and publicists leave mid-project, institutional knowledge is lost, and books receive less sustained attention.

• The industry struggles with socio-economic diversity because lower-income or first-generation workers are often steered away from low-paying creative roles.

• Additional pressures include unclear hybrid-work policies and anxiety over how AI will affect jobs.

And I might add that there needs to be a solution for literary agents to make a living wage. Most agents have to work another job just to pay the bills. Building a client list and then selling books takes years of unpaid work. In my three years of being a literary agent I’ve seen a lot of agents quit. The reason is simple: they can’t afford to live. For many, it’s not a sustainable job and the passion only goes so far.

THIS is one of the biggest reasons why hearing back from an agent takes so long. They are simply busy trying to survive and make a living wage. For most, agenting work is often done in the evening hours or on the weekends. Consequently, there’s no time for rest and agents get burned out.

When I realized this I was blow away! When I was only on the writing side, I assumed most agents worked full time with proper support (and they all drove sports cars – haha!). The ugly truth is that for many it’s a side hustle.

Here’s some stats:

Latest Data (AALA Biennial Membership Survey, 2025 Responses)

• Workload realities: 57.7% of agents work more than 40 hours/week; 91% work weekends. 62.2% hold multiple roles within their agency (19.5% hold 4+ positions), and many lack dedicated assistants.

• Income from agenting:

  • Just under 39% earn under $50,000 annually.

  • 21.2% earn under $25,000.

• Financial supplementation: 75% have secondary income streams; nearly half depend on an additional job (inside or outside publishing) to make ends meet.

Something needs to change.

There’s a lot of facade in the publishing world. Writers wait months for what often ends up being a form rejection because the agent is burned out and the query pile is enormous (I regularly receive 1,000–2,000 queries a month when I’m open). It’s no wonder some writers lose hope and step away from writing altogether.

The industry side must evolve—perhaps the unionization efforts Mark discusses will help push things in the right direction. I’m genuinely curious to see how it develops and would love to learn more.

At the same time, as writers we can strengthen ourselves right now. Our mindset can be built up, emotional resilience can grow, and we can set realistic goals and timelines. One powerful tactic is focusing on filling up your creative well instead of dwelling on what isn’t happening yet. Do what feeds your soul.

Pour energy into enriching your life and building community around your writing. These things keep the joy alive and make the waiting more bearable.

And before you get too discouraged about your chances at a traditional book contract, remember this: traditional publishing has always had issues—slow responses, high turnover, and tough economics have been part of the landscape for decades. Yet great books are still getting published every single year. Realize that much of the frustration you’re feeling is not a “you” thing. It’s often just a publishing industry thing. The system is imperfect, but talented writers with persistence and a strong manuscript continue to break through.

AND there are some really wonderful people still working in publishing!

Keep writing. Keep creating. The right story, at the right time, still finds its way.

What do you think? Have you felt the effects of these industry pressures as a writer (or as someone working in publishing)? How do you protect your creative well and build resilience while you wait?

New Story Consultation Options Now Available! 📖✨

Hey friends!

I’m excited to announce that my one-on-one story consultation sessions are now open on Calendly!

As a literary agent with Barbara Bova Literary Agency, award-winning author, and former International Publishing Specialist, I’ve spent more than two decades in publishing. I’ve reviewed thousands of manuscripts and queries, mentored hundreds of writers, led writing conferences, and spoken at numerous others around the country. I’ve also helped shape stories that have reached readers in 160 nations around the world. My own novels, The Covered Deep (featured in USA Today and Writer’s Digest) and Within the Veil, have earned national awards—including a $20,000 prize—and glowing reviews from Romantic Times and Publishers Weekly.

Whether you’re stuck in the middle of your novel, need fresh eyes on your opening chapters, want to deepen your characters, tighten your plot, polish your prose, or get honest market feedback, these sessions are designed to give you practical, encouraging, and highly specific guidance tailored exactly to where you are in your writing journey.

If you’ve been wanting professional insight from someone who sees thousands of manuscripts every year and truly understands both the creative and commercial sides of publishing, this is your chance.

Important Disclaimer: These story consultation sessions are completely separate, paid services offered only to writers who are not my agency clients. If you are seeking literary representation by me, or hope to query me in the future, please do not book a consultation. Consistent with AALA guidelines, I do not charge clients or potential clients any reading, evaluation, or other fees for services related to literary representation. Additionally, I am unable to represent authors who have received a paid story consultation from me. My agency work is compensated solely through standard commission on sales.

However, if you’re not seeking representation and would simply like expert, one-on-one feedback to take your story to the next level, I would love to work with you!

Spots are limited and filling quickly!

👉 Schedule your consultation here: https://calendly.com/brandyvallance

I can’t wait to dive into your story and help take it to the next level!

Let’s make your writing dreams a reality,

Brandy Vallance

I loved this Q&A with Elizabeth Byler Younts! I especially love this snippet:

“Not long after my first contract I began to recognize more and more what it looks like to trust the process. There will be a point in pretty much every book that feels like you’re better off never writing again . . . but from all the writers I know or read about, this is an extremely common and normal feeling. Even the most successful writers out there when interviewed mention this phenomenon.”

I first met Elizabeth at an ACFW conference. MAYBE it was in Dallas? She had the most beautiful red hair back then (before she went to her amazing natural silver) and after the conference she taught me how to use henna to dye my hair. It was a fun phone conversation. 🙂

Elizabeth is just all kinds of nice and amazing. Such a gem!

https://www.writingdayworkshops.com/blog/rewiring-the-writers-mind-elizabeth-younts-on-faith-creativity-overcoming-fear

What part of her Q&A resonated with you?

Check out this Q&A with Alec Loganbill, editor at Plainspoken Books. He’s got some great insight here on how to gain an editor’s interest.

My live event with Alec is coming up next week!

You can join our live Zoom conversation on May 27th at 6PM EST. The link to register is below. Bring your questions!

Pitching the Midwest: A Live Conversation with Alec Loganbill of Plainspoken Books

https://us02web.zoom.us/meeting/register/u7aOjBMzTqadmHD-24JCqA

If you haven’t seen this before, this is how book sales are categorized. It’s rare that an advance will be paid in a lump sum. Usually it’s spit up into payments and that pay schedule will be in your contract. Sometimes it’s upon signing, upon delivery of edits, acceptance of edits, and upon publication, etc.

Here’s some recent analysis:

Typical Ranges (Recent Data, ~2024–2026)

These are aggregates and estimates from industry reports, author surveys, and analyses:

• Debut/Little-known fiction authors (most common): $5,000–$25,000 (often $5k–$15k baseline for many traditional print deals). Many fall in the low-to-mid five figures.

• Adult fiction overall (including some established authors): Average around $65,000 (data from sales ~2016–2021, still reflective).

• Literary fiction: $7,000–$20,000+ for debuts; higher for buzzy titles.

• Romance/Genre fiction: $3,000–$12,000 typical for debuts; romantasy and strong commercial can go much higher (six figures reported for hot titles).

• Six-figure deals: Possible for strong debuts with auctions, platforms, or high commercial potential (e.g., viral buzz or clear comps). Not the norm.

• Seven-figure+ deals: Rare, usually for established bestsellers, celebrities, or exceptional debuts with massive hype (historical examples include some in the $1M–$2M+ range).

Averages/medians are pulled up by outliers. Many deals are modest, and advances are recoupable against royalties (typically 7–15% depending on format), meaning the author earns more only after “earning out.” Payments are often split across signing, delivery, acceptance, and publication.

Recent Examples/Context (2025–2026)

• Surveys of debut authors on Instagram (e.g., around 2025) mention averages like two-book deals around $50k total.

• Publishers Marketplace reports “major deals” (often six figures) for titles like historical novels or multi-book genre deals, but exact figures aren’t public.

• Self-pub authors crossing to traditional have seen six-figure multi-book deals in growing numbers (2025 trend).

• High-end: Romantasy and commercial fiction with strong hooks can command six figures even for newer voices due to market demand.

Notable High-End Deals (Six- or Seven-Figure)

• Shen Tao’s The Poet Empress (debut fantasy epic): Sold in an eight-way auction for seven figures to Monique Patterson at Bramble (North American rights). Foreign rights sold in seven territories. Publication winter 2026.

• Olivie Blake (NYT-bestselling author): Next three untitled novels + one novella to Lindsey Hall at Tor in a major deal for seven figures (four-book deal).

• Rachel Schneider’s Metal Slinger (self-pub to traditional): Three-book major deal for seven figures at auction to Bloom Books.

• V.E. Schwab (earlier but relevant context): 7-figure two-book deal reported in 2024, with ongoing impact into recent years.

Six-Figure Deals

• Daniel G. Miller’s Tree of Knowledge series: World English rights for six figures to Mary Altman at Sourcebooks (multi-book).

• Richard Swan’s The Infinite State: North American rights for six figures (exclusive three-book deal) to Robert Davis at Tor.

• K.M. Moronova’s Leave Me Behind (previously self-published dark military romance) + six new titles + two backlist: Six-figure deal to Christa Desir at Bloom Books.

• Leslie Rene’s Maggie and Arthur’s Magic Moment (cozy romantasy): Six-figure deal (two-book, pre-empt) to Sarah Blumenstock at Berkley.

• Karisa Tell’s Hello, World: North American rights for six figures at auction to Ruoxi Chen at Putnam.