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Think it’s hard to get a novel published? For most writers, it is - but it’s certainly not impossible. I’ve had two hit the shelves-in 10 countries, and with book club and movie rights picked up. People often ask me how I did it, and the truth is simple. All it takes is, 1) talent, and 2) actually writing the thing.

As much as I hate to admit it, the second is the more important factor.

Fact is, plenty of great novels go unfinished. The statistics are staggering: of those who start writing a novel, only about 3% will finish. And unless you’re the child of a rock star or Shakespeare’s long-lost descendent, no agent or publisher will look at your novel unless it’s complete. Only in rare instances will a publisher make an offer to a newbie novelist based on a partial manuscript.

On my first novel, Flip-Flopped, I actually did have interest from an editor at a major publishing house before I was finished. I’d been taking a writing class, and the teacher passed along a short description of my book to an editor acquaintance of hers, who professed interest. I’d written about 100 pages at the time and was elated - that is, until my teacher added, “Of course, she doesn’t want to see it until it’s done.”

It may seem unfair. If your novel starts with a bang, why can’t you just give a few chapters and an outline? Surely that’s enough to prove your mettle. But publishers want evidence of more than writing skills. They need to see you can go the distance. In the world of writing, a novel is the marathon. A finished manuscript is the only way to show you can cross the finish line in the same sort of shape you started.

It took me two years to write my first novel. Even with an editor waiting - and knowing she wouldn’t wait forever - I nearly gave up many times along the way. A single mom with a full-time job, my only writing time was in the early hours before work and during my son’s naptime on weekends. I not only had to learn novel basics like how to plot and create strong characters, I had to learn how to stick with it.

If you’re struggling with finishing your novel, these tips may help:

1. Tell yourself a little white lie: that you have a real deadline. One of the main reasons writers give up is because they begin to question whether anyone really cares. Pretend there’s an editor or agent waiting, drumming his or her fingers, eager for that completed manuscript to arrive.

2. Set a daily goal. I set a minimum of two hours a day, every day. You may prefer to designate a certain number of pages, such as three to five. Writing is a lot like dieting: people who approach it reasonably on a daily basis are more likely to meet with success than those who try a crash program.

3. Don’t write a novel - write a first draft. A first draft can be imperfect - and in fact, it will be. That’s okay. Just get the pages down. You can fix it on the second draft.

4. Be careful whom you show it to. It can be helpful to get feedback as you go, but choose your readers carefully. Giving your precious pages to someone who is frustrated at their own inability to write a novel is like handing them a gun … pointed right at you.

5. Spend more time writing than you spend planning. It can be helpful to have an outline and some basic research, but typically writers who mire themselves in creating lengthy drafts of what they’re going to write rarely get around to actually writing.

6. Feel the joy. Remind yourself why you’re writing a novel. Few people if any set out to write a first novel because they have to. They do it because they have something to say…a passion for the written word…a dream of seeing their name on a shelf next to writers they admire. Hard work may be the backbone of a writing career, but it’s the joy of creating something amazing that keeps us going.

So keep going!

Think it’s hard to get a novel published? For most writers, it is - but it’s certainly not impossible. I’ve had two hit the shelves-in 10 countries, and with book club and movie rights picked up. People often ask me how I did it, and the truth is simple. All it takes is, 1) talent, and 2) actually writing the thing.

As much as I hate to admit it, the second is the more important factor.

Fact is, plenty of great novels go unfinished. The statistics are staggering: of those who start writing a novel, only about 3% will finish. And unless you’re the child of a rock star or Shakespeare’s long-lost descendent, no agent or publisher will look at your novel unless it’s complete. Only in rare instances will a publisher make an offer to a newbie novelist based on a partial manuscript.

On my first novel, Flip-Flopped, I actually did have interest from an editor at a major publishing house before I was finished. I’d been taking a writing class, and the teacher passed along a short description of my book to an editor acquaintance of hers, who professed interest. I’d written about 100 pages at the time and was elated - that is, until my teacher added, “Of course, she doesn’t want to see it until it’s done.”

It may seem unfair. If your novel starts with a bang, why can’t you just give a few chapters and an outline? Surely that’s enough to prove your mettle. But publishers want evidence of more than writing skills. They need to see you can go the distance. In the world of writing, a novel is the marathon. A finished manuscript is the only way to show you can cross the finish line in the same sort of shape you started.

It took me two years to write my first novel. Even with an editor waiting - and knowing she wouldn’t wait forever - I nearly gave up many times along the way. A single mom with a full-time job, my only writing time was in the early hours before work and during my son’s naptime on weekends. I not only had to learn novel basics like how to plot and create strong characters, I had to learn how to stick with it.

If you’re struggling with finishing your novel, these tips may help:

1. Tell yourself a little white lie: that you have a real deadline. One of the main reasons writers give up is because they begin to question whether anyone really cares. Pretend there’s an editor or agent waiting, drumming his or her fingers, eager for that completed manuscript to arrive.

2. Set a daily goal. I set a minimum of two hours a day, every day. You may prefer to designate a certain number of pages, such as three to five. Writing is a lot like dieting: people who approach it reasonably on a daily basis are more likely to meet with success than those who try a crash program.

3. Don’t write a novel - write a first draft. A first draft can be imperfect - and in fact, it will be. That’s okay. Just get the pages down. You can fix it on the second draft.

4. Be careful whom you show it to. It can be helpful to get feedback as you go, but choose your readers carefully. Giving your precious pages to someone who is frustrated at their own inability to write a novel is like handing them a gun … pointed right at you.

5. Spend more time writing than you spend planning. It can be helpful to have an outline and some basic research, but typically writers who mire themselves in creating lengthy drafts of what they’re going to write rarely get around to actually writing.

6. Feel the joy. Remind yourself why you’re writing a novel. Few people if any set out to write a first novel because they have to. They do it because they have something to say…a passion for the written word…a dream of seeing their name on a shelf next to writers they admire. Hard work may be the backbone of a writing career, but it’s the joy of creating something amazing that keeps us going.

So keep going!

Whether you’re an author publishing through traditional means or delving into self-publishing, you are going to want the feedback of a good editor or perhaps more than one. The difficulty for authors, especially those choosing self-publishing is when do you take an editor’s advice and make changes and when do you determine you’ve gotten enough feedback? This can be a tough call, and it often comes down to the author finding a happy medium.

The first thing writers need to consider is how many editors are too many? In writing and researching Shades of Darkness, Shades of Grace, over the duration of the project seven editors reviewed the manuscript. Some of them were extremely helpful, taking an objective approach and offering suggestions that made for a better book. Others seemed to check objectivity at the door, letting their personal likes and dislikes influence how they felt the story should develop. By the time the book was completed, I felt as though I had let too many cooks into the kitchen, all fussing over the same pot, either adding spices or removing them.

What I learned from the editors I consulted were two simple things. One, you cannot make everyone happy. It’s just not possible, so you write the best work you can, one that as many reader’s as possible can relate to. Number two, as an author you ultimately have to decide if the suggestions editors make are enhancing your work, or turning it into the work of someone else. Again, it goes back to the idea of authors finding a happy medium that improves the work, but is still your own.

The first editor I contacted was probably the most beneficial. Prudy loved the book, but thought it should begin with the wedding because she believed this was where the story truly started. She also suggested plotting the story on a calendar over the specific number of years the novel took place. In this way, real life events could be woven throughout the narrative, giving the reader not only a sense of place and time, but information that might arouse their interest in other areas related to the story.

Another editor’s feedback was more helpful regarding ways to improve my writing, rather than this particular story. She pointed out little tics in my style &ndash for example using the same word too often, advice which I didn’t just apply to the novel, but every other piece I’ve written. Her observation helped me expand my vocabulary and fine-tune my work. Two suggestions I took issue with was the fact that in the novel Kay and Tim don’t have any children, and that as a minister’s wife, this editor felt Kay should be shown in church more. I thought both points had nothing to do with the story and verged on stereotyping. I made this decision from my own experience of knowing childless couples where a spouse works in ministry.

One positive aspect of consulting multiple editors is that enough voices may convince an author to make a significant change. Out of seven editors, six wanted to see the ending beefed up providing the reader with an enhanced sense of satisfaction and closure. The one holdout was a good friend and her argument was that by expanding the ending, the author was taking the reader by the hand, when she felt their imagination could do the rest. Of all the decisions I made regarding Shades of Darkness, this was by far the toughest. Eventually I relented and significantly revised the ending.

Authors may also find themselves confronted with one editor who changes something, only to encounter another who changed it back. This was particularly true when dealing with the grammatical aspects of the book. The second editor was an old-school English major, so her placement of commas was more extensive. The fifth editor removed what she believed were too many commas and thus we had a full-scale “Comma War.” When the last editor reviewed the manuscript, edited commas were being replaced. What I strongly recommend is authors select a specific grammatical style (such as the Chicago Manual of Style or Modern Language Association) and stick to it.

Ultimately, regardless of what an editor suggests, as the author you need to remember this is a subjective process. The final editor made a suggestion that would have entailed rewriting the entire manuscript in a way that I felt was not beneficial to the story. But because I thought the suggestion had some merit, I compromised and trimmed the scene to a point where I felt comfortable, thereby finding a happy medium.

Whether you’re an author publishing through traditional means or delving into self-publishing, you are going to want the feedback of a good editor or perhaps more than one. The difficulty for authors, especially those choosing self-publishing is when do you take an editor’s advice and make changes and when do you determine you’ve gotten enough feedback? This can be a tough call, and it often comes down to the author finding a happy medium.

The first thing writers need to consider is how many editors are too many? In writing and researching Shades of Darkness, Shades of Grace, over the duration of the project seven editors reviewed the manuscript. Some of them were extremely helpful, taking an objective approach and offering suggestions that made for a better book. Others seemed to check objectivity at the door, letting their personal likes and dislikes influence how they felt the story should develop. By the time the book was completed, I felt as though I had let too many cooks into the kitchen, all fussing over the same pot, either adding spices or removing them.

What I learned from the editors I consulted were two simple things. One, you cannot make everyone happy. It’s just not possible, so you write the best work you can, one that as many reader’s as possible can relate to. Number two, as an author you ultimately have to decide if the suggestions editors make are enhancing your work, or turning it into the work of someone else. Again, it goes back to the idea of authors finding a happy medium that improves the work, but is still your own.

The first editor I contacted was probably the most beneficial. Prudy loved the book, but thought it should begin with the wedding because she believed this was where the story truly started. She also suggested plotting the story on a calendar over the specific number of years the novel took place. In this way, real life events could be woven throughout the narrative, giving the reader not only a sense of place and time, but information that might arouse their interest in other areas related to the story.

Another editor’s feedback was more helpful regarding ways to improve my writing, rather than this particular story. She pointed out little tics in my style &ndash for example using the same word too often, advice which I didn’t just apply to the novel, but every other piece I’ve written. Her observation helped me expand my vocabulary and fine-tune my work. Two suggestions I took issue with was the fact that in the novel Kay and Tim don’t have any children, and that as a minister’s wife, this editor felt Kay should be shown in church more. I thought both points had nothing to do with the story and verged on stereotyping. I made this decision from my own experience of knowing childless couples where a spouse works in ministry.

One positive aspect of consulting multiple editors is that enough voices may convince an author to make a significant change. Out of seven editors, six wanted to see the ending beefed up providing the reader with an enhanced sense of satisfaction and closure. The one holdout was a good friend and her argument was that by expanding the ending, the author was taking the reader by the hand, when she felt their imagination could do the rest. Of all the decisions I made regarding Shades of Darkness, this was by far the toughest. Eventually I relented and significantly revised the ending.

Authors may also find themselves confronted with one editor who changes something, only to encounter another who changed it back. This was particularly true when dealing with the grammatical aspects of the book. The second editor was an old-school English major, so her placement of commas was more extensive. The fifth editor removed what she believed were too many commas and thus we had a full-scale “Comma War.” When the last editor reviewed the manuscript, edited commas were being replaced. What I strongly recommend is authors select a specific grammatical style (such as the Chicago Manual of Style or Modern Language Association) and stick to it.

Ultimately, regardless of what an editor suggests, as the author you need to remember this is a subjective process. The final editor made a suggestion that would have entailed rewriting the entire manuscript in a way that I felt was not beneficial to the story. But because I thought the suggestion had some merit, I compromised and trimmed the scene to a point where I felt comfortable, thereby finding a happy medium.

Few people understand the importance of a ROUTINE when making a pittance…er, I meant a living…as a writer. Where do you work? How do you work? When do you work? These are all questions a selling writer fields with every interview.

Here is the usual answer: I work wherever I am, as diligently as possible, as often as possible. This is my job and I must treat it as such or I will end up eating Oreos while watching Gilmore Girls.

Here is the real answer: Whenever I can’t think of something else to do…including watching Gilmore Girls.

Therefore, in order to write, I must create a routine&ndashaka, RUT&ndashso deep, so intractable, so unforgiving that I have no choice but to write. Sucks, but it’s true. No one (except maybe people whom I despise) actually LOVE writing. I love thinking about writing. I love having written. But the act of putting words to paper is a royal pain in the butt.

Therefore, I must create an environment where a royal pain in the butt is BETTER than the alternatives. In this way, writing is much like exercise. I mean I like the results, but do I really want to lift weights or run on a treadmill? Do I really want to find a new ways to write perky, kick-butt or find the right dialogue for scary villain guy? Heck, no. But I don’t get paid unless I write.

It takes three weeks to establish a habit. Therefore, the initial creation of aforementioned RUT begins with SET A DAILY TIME to create the groove. Write at the same time every day for three weeks. Could be for twenty minutes, could be for ten hours&ndashwhatever works for you.

Though I should say RUTS are really hard to create for ten hours. That’d be like waking up one day and saying, it’s time to run a 10k or put a wall around China. Possible, but do you really want to do that? Every day for three weeks?

Step two is to CREATE A DAILY GOAL. I choose a page count goal. I don’t get to nap or get a pedicure until I’ve written seven pages. One book it took me four months to have enough time for that spa visit. By the way, I recommend starting with a small daily goal then adding up. That’s much better than the way I did it of counting how many pages I need to write daily to make my contract. Panic also works wonders as an incentive, but I digress.

Many people set a timer for their daily goal&ndash30 minutes, two hours, whatever. Unfortunately, I’ve found that a timer only times the moments when I sit in my chair. It doesn’t actually encourage written pages because there’s lovely distractions like e-mail and internet blogs. And that leads to the next step.

Step 3 &ndash REMOVE DISTRACTIONS. I write in certain cafes specifically because they don’t have internet. I know people who have taken all games off their computer. Gasp! The alternative to this is to CREATE INCENTIVES. Bribery is alive and well in my rut-creation world. Finish two pages and then get CHOCOLATE! Whatever it takes. You may not be able to fit your hips into the author photo, but heck you’ll have published books that contain a lovely head shot!

Then finally&ndashCREATE A TRIGGER. You know that fabulous moment when the words flow and everything is right with your creative world? Well, me neither, but I swear we can prepare for those moments by creating a unique trigger to reinforce a writing zone. Scent is a powerful tool. During your three weeks, burn a beeswax candle.

Pretty soon, smelling beeswax will leap you into the creative zone. Not a candle fan or afraid you’ll accidentally set a contract on fire? Coffee works fabulous for me. Smell coffee, engage brain. Taste a soy latte&ndashyes, I really do drink those&ndashit’s time for serious writing! This works in the reverse, too. Taste Oreo? Get ready for Gilmore Girls. Feel sexy lingerie…well, you get the idea.

The ugly fact is that a writer’s life must be filled with self-discipline. If you’re short on that, then either give up on having a paying career as a writer or find a way to mire yourself deep in the writing rut. And who knows, sniff some caffeine and you might just end up on the best seller’s list.

Few people understand the importance of a ROUTINE when making a pittance…er, I meant a living…as a writer. Where do you work? How do you work? When do you work? These are all questions a selling writer fields with every interview.

Here is the usual answer: I work wherever I am, as diligently as possible, as often as possible. This is my job and I must treat it as such or I will end up eating Oreos while watching Gilmore Girls.

Here is the real answer: Whenever I can’t think of something else to do…including watching Gilmore Girls.

Therefore, in order to write, I must create a routine&ndashaka, RUT&ndashso deep, so intractable, so unforgiving that I have no choice but to write. Sucks, but it’s true. No one (except maybe people whom I despise) actually LOVE writing. I love thinking about writing. I love having written. But the act of putting words to paper is a royal pain in the butt.

Therefore, I must create an environment where a royal pain in the butt is BETTER than the alternatives. In this way, writing is much like exercise. I mean I like the results, but do I really want to lift weights or run on a treadmill? Do I really want to find a new ways to write perky, kick-butt or find the right dialogue for scary villain guy? Heck, no. But I don’t get paid unless I write.

It takes three weeks to establish a habit. Therefore, the initial creation of aforementioned RUT begins with SET A DAILY TIME to create the groove. Write at the same time every day for three weeks. Could be for twenty minutes, could be for ten hours&ndashwhatever works for you.

Though I should say RUTS are really hard to create for ten hours. That’d be like waking up one day and saying, it’s time to run a 10k or put a wall around China. Possible, but do you really want to do that? Every day for three weeks?

Step two is to CREATE A DAILY GOAL. I choose a page count goal. I don’t get to nap or get a pedicure until I’ve written seven pages. One book it took me four months to have enough time for that spa visit. By the way, I recommend starting with a small daily goal then adding up. That’s much better than the way I did it of counting how many pages I need to write daily to make my contract. Panic also works wonders as an incentive, but I digress.

Many people set a timer for their daily goal&ndash30 minutes, two hours, whatever. Unfortunately, I’ve found that a timer only times the moments when I sit in my chair. It doesn’t actually encourage written pages because there’s lovely distractions like e-mail and internet blogs. And that leads to the next step.

Step 3 &ndash REMOVE DISTRACTIONS. I write in certain cafes specifically because they don’t have internet. I know people who have taken all games off their computer. Gasp! The alternative to this is to CREATE INCENTIVES. Bribery is alive and well in my rut-creation world. Finish two pages and then get CHOCOLATE! Whatever it takes. You may not be able to fit your hips into the author photo, but heck you’ll have published books that contain a lovely head shot!

Then finally&ndashCREATE A TRIGGER. You know that fabulous moment when the words flow and everything is right with your creative world? Well, me neither, but I swear we can prepare for those moments by creating a unique trigger to reinforce a writing zone. Scent is a powerful tool. During your three weeks, burn a beeswax candle.

Pretty soon, smelling beeswax will leap you into the creative zone. Not a candle fan or afraid you’ll accidentally set a contract on fire? Coffee works fabulous for me. Smell coffee, engage brain. Taste a soy latte&ndashyes, I really do drink those&ndashit’s time for serious writing! This works in the reverse, too. Taste Oreo? Get ready for Gilmore Girls. Feel sexy lingerie…well, you get the idea.

The ugly fact is that a writer’s life must be filled with self-discipline. If you’re short on that, then either give up on having a paying career as a writer or find a way to mire yourself deep in the writing rut. And who knows, sniff some caffeine and you might just end up on the best seller’s list.

Types of things to watch out for with agents:

* Charging the author a fee up front, to be accepted as a client. Can be called a reading fee, or a monthly “office expenses” charge. The best agents, and most successful ones, only charge a percentage fee of royalties the author earns, typically 15%. Suppose a realtor charged you a fee to come over and tour your house before getting the listing? How quickly would you show that realtor the door. . .

* Charging back unusually large “postage and copying fees” to send out an authors’ work. One crooked agency accepts almost every client that contacts them, but in the fine print of the contract they charge “postage and handling” of up to $10 per submission they send out on your behalf. It doesn’t cost $10 to send a letter and a sample chapter of a book to a publisher. This company makes a fortune from these fees whether or not they actually successfully market any of their clients work.

* Directing authors toward specific editing services or giving authors’ names to these services. Sometimes they even own the editing service. Some agents make a significant portion of their income from referral fees from these services.

* Terms in Agency contracts with writers vary widely. Must be read carefully. Not standard at all.

* The agent contacts publishers pretty much at random. The agent’s value to you is in the relationships they have with publishers, so that if the publisher hears from them, they know the book is worth taking a look at. Ask to see copies of rejection letters that come back from publishers. If it looks like just a form letter response, rather than a letter you would send to an acquaintance, you can bet the agent may be just picking names out of a directory of publishers.

* Puts forth a weak effort or gives up on the client’s project after a few months. You have a right to ask how active the agent is going to be. How many publishers are they going to contact, how will they follow up? You also have a right to periodic reports as to whom they have contacted and the results. You must determine how much time and attention they are really going to give you.

Another reason it is imperative to have a reputable agent is that the publishing house typically pays the agent, who deducts their “cut” and sends the remainder it to the author. It’s a frightening thought that a less than honest person gets their hands on the money you’ve earned from sweat, blood, and even tears.

Find out more about agents

Types of things to watch out for with agents:

* Charging the author a fee up front, to be accepted as a client. Can be called a reading fee, or a monthly “office expenses” charge. The best agents, and most successful ones, only charge a percentage fee of royalties the author earns, typically 15%. Suppose a realtor charged you a fee to come over and tour your house before getting the listing? How quickly would you show that realtor the door. . .

* Charging back unusually large “postage and copying fees” to send out an authors’ work. One crooked agency accepts almost every client that contacts them, but in the fine print of the contract they charge “postage and handling” of up to $10 per submission they send out on your behalf. It doesn’t cost $10 to send a letter and a sample chapter of a book to a publisher. This company makes a fortune from these fees whether or not they actually successfully market any of their clients work.

* Directing authors toward specific editing services or giving authors’ names to these services. Sometimes they even own the editing service. Some agents make a significant portion of their income from referral fees from these services.

* Terms in Agency contracts with writers vary widely. Must be read carefully. Not standard at all.

* The agent contacts publishers pretty much at random. The agent’s value to you is in the relationships they have with publishers, so that if the publisher hears from them, they know the book is worth taking a look at. Ask to see copies of rejection letters that come back from publishers. If it looks like just a form letter response, rather than a letter you would send to an acquaintance, you can bet the agent may be just picking names out of a directory of publishers.

* Puts forth a weak effort or gives up on the client’s project after a few months. You have a right to ask how active the agent is going to be. How many publishers are they going to contact, how will they follow up? You also have a right to periodic reports as to whom they have contacted and the results. You must determine how much time and attention they are really going to give you.

Another reason it is imperative to have a reputable agent is that the publishing house typically pays the agent, who deducts their “cut” and sends the remainder it to the author. It’s a frightening thought that a less than honest person gets their hands on the money you’ve earned from sweat, blood, and even tears.

Find out more about agents