Introduction: The work of turning the hypothesis of possibility into reality.

1 Where did you find that author?
: Create your own net for planning

2 How can the writer be so sure?
: Three things to check before signing a publishing contract

3 Can you really use it till the end?
: Sprint deadlines to help you write the first draft

4 Two Documents to Help First-Time Book Writers
: A guide to the bookmaking journey and a contract manual

5 Feedback, a conversation shared through manuscripts
: The editor's praise is unsettling, even when you don't hear it.

6 Five Traps First-Time Authors Often Fall Into
: Small Ways to Help You Resolve Your Worries and Anxiety

7 First Book Case Studies
: Multiple paths to finding authors and content

Even if 8 books come out, the world won't change
: How to Deal with the "Emotional Whirlwind" After Publication

9 It's not a debut, but it's a 'first book'
: Writer's Small Mind Map Planning Method

10 For this book only, an eternal companion
: About the appropriate distance between writers and editors

11 For aspiring authors who want to publish their first book

+ Special Interview: “You’ve Become a First-Time Author, Too”
[Interviewer: Jeong Si-woo X Interviewee: Kim Bo-hee]

★Recommended by writers Kim Shin-ji, Jang Su-yeon, Choi Hye-jin, and Han Su-hee

The story of an editor's work unearthing promising "seedlings."

There is a saying in the film industry, "a guaranteed box office hit."
Trustworthy actors, popular original webtoons, and series that share a tightly constructed, massive worldview have all been considered factors that guarantee box office success.
A movie with such elements is relatively easy to select in theaters and by audiences.
On the other hand, there are cases where a work that is quite good does not get a chance to be properly known, does not get a good seat in the theater, and does not reach the audience.
For this reason, popular original content, actors, and series are often given priority consideration by directors and producers planning new films.


Something similar often happens in the publishing world.
A new book by an author who has been greatly loved by readers for his previous work often attracts attention from bookstores even before it is released, and readers choose it relatively freely.
Numerous editors and publishers plan and propose the next book from a bestselling author.
But not every editor can work with such a writer.
"How to Write Your First Book" is, by contrast, a work guide for an editor who has chosen to find aspiring authors who have never published a book before and help them publish their first book.
If not in a bookstore, where and how do you discover a book-worthy text? How do you explain and demonstrate the long and complex process of completing a book to aspiring writers who are unfamiliar with everything? How do you convey and appeal to readers who don't know the author at all, without relying on fame or influence?
I have compiled the editing techniques I have learned through personal experience into a set of guidelines.
Without a writer's previous work, how can an editor discern their potential? How can they attract and guide a writer who no one notices and whose company doesn't trust them? How can they encourage and motivate a writer who desperately wants to write their own book but fears the unknown that is the reader?

Having participated in the branding of a publishing company and even the founding of a promising new publishing company, the author has gained a deeper understanding and experience of the joys and benefits of editing a first book than anyone else.
His records will serve as a reliable guide for editors who want to find their own authors and plan fresh new books, publishers who have discovered promising authors but hesitate to sign contracts due to the burden and anxiety of a "first book," and aspiring writers who have never written a book but want to simulate collaboration with their first editor someday.


A cornerstone of the first book that fosters growth for both editor and writer.

As an editor, I always keep an eye on the latest releases in bookstores, but as an editor working to create a writer's first book, my perspective naturally extends beyond the bookstore.
Because the writings of 'prospective' writers are still outside of bookstores.
We need to discover the seeds of a book in content that has yet to be published or introduced to readers, but is still attractive enough to consumers.
We need to keep a close eye on the overall content beyond the book, and in the process, editors will gain a better perspective than before.
For a first-time writer and editor, creating a book can be a daunting task.
Because it's a common industry practice, and once you know it, it's natural to have to explain every little detail of the publishing contract and publishing process.
But wouldn't an editor who repeatedly explains his work in a slightly simpler and clearer way be trained to make the best choice without compromising his principles in any case?

While experience planning and creating a bestseller will be a valuable asset for an editor, planning and creating an author's first book will be an opportunity for the editor to expand their own potential.
You'll gain confidence that you can imagine more and more authors, not just a few, and you'll start to think about more diverse ways to reach your readers.
Therefore, planning and editing a first book is a valuable experience and opportunity for both the author and the editor.
I recommend this book to editors who want to experience the joy of editing more deeply and to editors who want to consistently plan new books.