Have you ever heard of a book publisher who takes phone queries?

I hadn't either-- until I met Melvin Powers. Founder, owner, and publisher of Wilshire Book Company, whose headquarters are in Chatsworth, California, he not only invites but encourages writers to pitch him queries on the phone. And he may be the only publisher around who does.

An author himself, Powers started the company on the proverbial shoestring in 1947, when he saw he could gain greater recognition and make more money not only writing books but publishing them. He soon began publishing other books as well. Today, with hundreds of books in his catalog, he limits the publishing to 12 special books a year. Yet his entrepreneurial spirit and enthusiasm shine undimmed for bringing out books he believes in.

Wilshire's range of nonfiction includes psychology, marriage and relationships, mail order, Internet marketing, humor, sports, gaming, astrology, horsemanship, songwriting, self-improvement, and motivation. In fact, Powers publishes some of the most enduring and best-selling inspirational and self-help books in the industry: Think and Grow Rich by Napoleon Hill, Psycho-Cybernetics by Dr. Maxwell Maltz, and A Guide to Rational Living by Drs. Albert Ellis and Robert Harper.

Powers has also developed a unique line of charming and profound adult allegories that, as the website (www.mpowers.com) describes, "teach principles of psychological/spiritual growth or offer guidance in living." This specialty sells consistently in both the domestic and international markets, with translations in many languages. As Powers continues to develop the adult allegories and books in other fields, he invites outlines, synopses, sample chapters… and phone calls.

* * * * *

One of the secrets of Wilshire's steady success, Powers maintains, is his willingness to take phone calls from writers. Unpretentious, friendly, and very approachable, he speaks openly about this unusual, and in today's publishing scene, even astonishing practice.

Why do you accept telephone queries from writers?

For one simple reason: it's paid off. Over the years, by taking calls I've acquired many wonderful books. Some writers, like some movie stars, are reluctant to be their own agents. They may be good at writing or performing but not at marketing themselves through traditional channels. I've heard writers say that writing a query can be harder than writing the book. So I make it a little easier for them.  

And I enjoy taking the calls. I want to help writers get published. Talking to them has paid off in very profitable books, and it saves my staff a lot of time.

How does it save you time? Doesn't it take more time, with writers complaining about their travails, the hours or years they've slaved, and the exaggerated praise they get from friends and family?

Well, if they start that way, I politely listen for a minute, then ask, "What is the nature of your book?" I know quickly whether it might be for us. If so, I tell them, "Send us an outline and three chapters or the entire manuscript." It's that easy.

Accepting verbal queries saves time for our readers, who review and write reports on the manuscripts that come in through the mail. And the calls save time for the senior editor, who reviews the reports and responds to the writers.

How many phone queries do you get a week?

Even though my listing in writers' resources like Writer's Market invites authors to call, the phone doesn't ring off the hook. I get three to five calls a week.

Why do you think more writers don't call?

Maybe they fear a publisher will steal their ideas or they feel more comfortable behind the written word. Maybe they think it's too good to be true-- like coming face to face with the Wizard of Oz.

Once writers reach the Wizard, how does your policy help them?

They don't need to put together a query or proposal or wait for an answer, either by regular mail or email. In the past, even when I didn't accept a book, I often gave writers advice, telling them where they were off the mark in some way. I offered constructive suggestions and always encouraged them to continue writing. Many took the critiques personally-- always a mistake. But that didn't sour me. I've stopped offering critiques, but I haven't stopped cheering on writers.

What got you started taking phone calls?

I've done it from the beginning. When you hear a song, how long does it take you to know whether or not you like it? At one point, I wrote and published songs with Tommy Boyce, who wrote hit songs for the Monkees and many other groups. We put out the word that instead of songwriters sending in "demos"-- that's demonstration tapes or CDs with one or more sample songs-- we'd open our office to them one afternoon a week and listen to three songs performed live.

With this method, we discovered some great talent and published many songs. We could tell instantly which songs had promise, and we saved everyone a lot of time and administrative work.

It's the same when writers call me. I can tell by just hearing them on the phone. Of course, I've got to like the idea and it has to fit one of my publishing interests. But a call reveals a great deal about a writer's personality, sincerity, and passion for the subject and the book. I listen for these qualities. They can make all the difference in how well a book does.

What's your philosophy behind this policy?

It has two aspects. On the business side, as a publisher I need books and writers to stay in business. My job is to find books to publish. The easier I can make it for writers, the better for both of us.

On the human side, I really enjoy inspiring people and helping them achieve what they dream about. That's the purpose of some of my greatest bestsellers. I also firmly believe that the more we give, the more we get back. [Note: Mr. Powers lives this philosophy. In response to a book query on the phone and before this interview was planned, he generously mailed the writer several of his best-selling books.]

How do you have time to talk to writers on the phone?

It's my job. I make time for it. And since I don't publish a hundred books a month, I'm able to make time.

What general advice do you have for writers?

I address many writers' groups and conferences, and when I do, I tell them, "Anyone can give up-- that's easy. What's not easy is to keep going after what you want and to continue believing you can do it."

One year at a writers' conference in Palm Springs, California, most of the agents and editors who spoke kept repeating how hard it is to get published, how many proposals they reject daily, and how many conditions the writer had to meet before they'd even look at a proposal.

I spoke last. Immediately I announced to the audience, "Okay, you've heard the gloom and doom, but I've got good news. Here's my phone number, and I'll be happy to hear from you." After a moment of shocked silence, I got a standing ovation.

I also advise writers to contact publishers not only here in the U.S. but also in other countries, especially England, Australia, and Canada. Publishers in these countries are continually looking for good books. The doors aren't closed to anyone. Contact information can be found in the International Literary Market Place (ILMP), available at many libraries.

Any other advice?

Definitely. Maybe writers have heard this before, but you've got to start with the basics. Learn the craft-- take courses, pay attention to critiques from professionals or writing groups, read books on writing and your subject. If your writing isn't making it, find out why. Do your homework-- familiarize yourself with the subjects various publishers are publishing. Study the industry magazines like Publishers Weekly and resources like Literary Market Place and Writer's Market. See who's publishing bestsellers and topics like yours. Analyze why thriving books thrive. The writer's job, even with the rejections, is to keep going forward.

By the way, I've heard some writers say when they see others' successes, "Sure, they got there because they knew someone." Well, that's usually not true. It's not who you know but how well you've learned your craft. Maybe who you know will get you a faster reading by an editor, or push your work to the top of the pile, like a famous actor's child will get a chance to audition for a name director. But young actors are judged by what they produce on film, and writers are judged by what they produce on paper.

Why don't more publishers and editors take writers' queries on the phone?

The big publishers, of course, don't take calls or even unsolicited manuscripts. It's a matter of volume and staff allocation. But the major publishers too are always looking for the next blockbuster, and even they might benefit from taking some calls.

How should writers prepare for speaking with you on the phone?

First, they should look at my website, www.mpowers.com, and see if there's a match between what they've written or have in mind and what I publish. If the concept or manuscript is on a subject I've done, and if they can present a new angle or approach, I'll listen.

Look at the current phenomenal bestseller The Secret. The philosophy and content aren't new at all, but they've been newly packaged and made easily understandable. And the title is brilliant-- everyone loves a secret. The publicity campaign has been equally brilliant, with a thought-provoking and supportive website and author bookings on major television talk shows.

Before talking to me, writers also need to prepare a concise description of their concept or manuscript. They don't have to do anything else. Just tell me about the book. If I decline, I'll still encourage them and might even offer some suggestions to improve their chances of getting published.

Remember, new creative angles are limitless, and the market is never completely filled. Just as there's always room for a good new song, movie, or television show, there's always room for an interesting or provocative new book.

* * * * * *

You heard the man. Review your manuscript, work up your courage, and clear your throat. It's time to call Melvin Powers at (818) 700-1522.

In 2006, her visionary short story, “Casey,” won an award and was published in the CrossTIME Anthology, Vol. V. This story was republished in 2008 in the Star Stepping Anthology (Wild Child Publishing). She continues to write and publish motivational and how-to articles for writers, with additional pieces scheduled in national magazines for 2008 and beyond.

Current nonfiction projects include a book based on her academic consulting practice, Grad U: How to Survive and Succeed in Graduate School, Get Your Degree, and Ease the Trip for Yourself and Everyone Who Has to Live with You; a book specifically for children’s writers, Give Great Children’s Presentations; and a collection of essays for all writers, First You Find Your Desk: Start Writing and Keep Writing with Less Agony and More Joy. 

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