Confused about the order of things

by Uchiha Sasuke

Question: I am young, and I finished my manuscript, and I'm about to give it to my sister, who is an excellent writer, to edit. While she is doing that I am planning to make a list of agents, learn more about the industry, and start drafting some query letters.

I am confused about whether I am supposed to get professional edits by a "freelance" (I think that's what its called) editor before I query to agents. Or will the agent help me find an editor, or will it get edited after it gets accepted by a publishing house?
Thank you so much!

Answer: In the traditional publishing system, an agent will submit your manuscript to acquisition editors at various publishing houses in order to sell it for you. After you have a contract, the publisher will assign you one of its editors to work with you to prepare the manuscript for publication.

This system is still in place. However, in recent years it has become much harder to sell a manuscript to a publisher. Publishers are buying fewer books and their acquisition staff are under pressure to buy only books with a strong potential for becoming best sellers, and to accept manuscripts that need almost no editing.

At the same time, there are more emerging writers than ever trying to break into the business.

All this pressure has caused some aspiring writers to hire freelance editors to pre-edit manuscripts before they start submitting them to publishers, in order to improve their chances.

Also, many new writers choose to self-publish rather than go the traditional route (because it seems easier, though it is more costly and the odds of success are lower). Self-publishers also hire freelance editors to help them prepare their books for publication.

Here are my thoughts on your situation...

1. Never pay an agent to have your book edited. In fact, never pay an agent at all. A proper agent makes his/her money by selling your book on your behalf. They take 10-20% of the royalties as their reward and send the rest to you. An agent who makes money by charging writers for services is probably not a good agent.

2. While you could hire a freelance editor to help you prepare your manuscript, it may not be necessary. Sometimes no amount of pre-editing will save a bad book, and a great book will not benefit as much from pre-editing. Be aware that an editing service will cost you a fair chunk of money (sometimes several thousand dollars). (Tip: the most important chapters to polish are the first two or three, so you could just hire a editor to help you with those.) If you do hire an editor, check their credentials carefully before hiring them. Find out what published books they have edited before. Also, you should know what you are getting (substantive editing vs. line editing vs. proofreading).

3. In fact, you should check out all agents and editors on Preditors & Editors (www.pred-ed.com)* before you approach them. This site will tell you which ones are not reputable and should be avoided.

4. Before you hire an editor, you might consider joining a writers group (which often costs nothing) where people read and critique each other's manuscripts. Or you could approach local professional writers and ask if they would be willing to read your book and give their opinion. See if your local college or library has a "Writer-in-residence" whose job often includes giving feedback to aspiring writers. Getting some knowledgeable, objective, and free feedback is a good idea before you start spending money.

5. One advantage to being 13 is that sometimes people will be more generous with their time. Also, if your work is good, then being young is a selling point.

6. While you could be one of those lucky few who experience success right away, most writers need to develop a thick skin and dogged determination. Rejection is frequent and criticism can be harsh. You have to be willing to keep learning, keep improving, keep revising, keep writing new stories, and keep trying, even if it takes you a decade or more. And never get disheartened.

Best of luck.

* Note: as of this writing, Preditors and Editors has been offline for some time. The plan is to resurrect it eventually in some form. Fingers crossed.

When to get an agent

Question: I thought that you got an agent and then they helped you get a publisher but someone told me you usually get a publisher and then after you get your first book published you get an agent. Which one is right or are they both right and it just depends on you? Also when you're ready for an agent how do you find one? Do you just google agents for books? I did that once and one of the websites took me to a lot of agents and the genre they represent but I wasn't sure how real that was. Is there a website or something you go to that has a list of agents to choose from?

Answer: I suspect what your friend meant was that it is easier to get an agent if you have already had one book published and it sold well. That is true. However, it is certainly possible to get an agent for your first book, especially if it has commercial potential or you have a platform. The odds of finding an agent quickly are seldom in anyone's favour (unless you are already famous for something), but it also helps if...

1) You have a great book.
2) You have a great book in a niche that publishers are currently looking for.
3) You target agents who are interested in your genre.
4) You are persistent and just accept that you will probably hear "no" many times before you hear "yes."
5) You follow each agent's submission guidelines.
6) You write a great query letter.
7) You go to conferences where you have the chance to pitch to agents in person.
8) Luck is on your side.

Some sites that list agents, their interests, and their submission guidelines are AgentQuery, Publisher's Market, and Preditors & Editors. Google them.

The last is particularly useful because it tells you which agents are less reputable, so you can steer clear of them.

You can also approach publishers directly. Again, follow each publisher's submission guidelines and target those who publish your genre. However, publishers can take many months to read a submission from an unagented, unpublished writer. Also, some of the big ones won't look at unsolicited manuscripts at all. Smaller publishers may be more open.

Either way, before you start querying agents or publishers, make sure your novel is finished and as good as you can make it.

Publisher Preferences

by Kathi
(California)

Question: I've heard that publishers are unlikely to consider a single book (novel), or are more likely to consider one if it is the first in a series of three or more. Is that true? Thank you.

Answer: If a book sells well, publishers will want to issue sequels. They know those books will also sell well (since demand is already established). This is particularly true in popular genres such as YA, fantasy, or SF.

At the same time, plenty of standalone novels are published as well. In some genres, such as literary fiction, single titles are the norm.

Here's my take on this issue.

Your priority is to write an outstanding first book, because that's always what publishers want.

If a publisher agrees that your book is outstanding and wants to publish it, and if it is the kind of story that lends itself to sequels, the publisher may ask you if you have any ideas for possible sequels. If you have some good ideas ready, that counts in your favour.

If your first book sells well, the publisher may then offer you a multi-book contract to make a complete series.

On the other hand, if the publisher doesn't think your first book is brilliant, they won't care whether you have ideas for sequels. They'll simply pass on it.

Think of it like going on a first date. If the date goes badly, mentioning that you're looking for a long-term relationship will not save the situation. On the other hand, if the date goes great, your desire for a long-term relationship could be a plus.

So what you should do is make that first book great and, if it makes sense, have a few ideas for what a series would look like. Maybe do a brief plot outline for the arc of the series as a whole. But don't go to all the effort of completing additional manuscripts for sequels until you have sold the first book. If the first book doesn't sell, you will have wasted time and effort that could have been spent on a different project.

Pre-publishing a novel online

by Hana
(Canada)

Question: I'm considering pre-publishine a novel online in a serialized format on a quick and free publishing site for original fiction (i.e. Wattpad, Booksie, Fictionpress, etc.).

However, my mid-term goal would be to publish said story, and I believe that these sites would help me: a) analyze whether there's a market for the story (i.e. reader demand for updates); b) finish the story (motivation), and c) continually edit and implement balanced plot structure via direct interaction with readers.

So, is this shameful?

As in I don't want to offer a story for free, and then yank that opportunity away from readers.

I am even thinking that I can reconcile my dilemma by putting up a few chapters to determine whether I want to continue to complete it through these above sites, or whether I'll leave that part up as a marketing tool and self-publish, or take the chapters down and query agents.

On another note, a great example of this type of marketing would be how publishers sometimes release longer excerpts of stories (from both established authors with established stories or new stories, and from debut authors with new stories or a new story in a new field).

For instance, I just finished reading Laini Taylor's free 7-chapter excerpt of her upcoming release "Days of Blood and Starlight" (a "gift" from her publisher). And I recall reading the first 100 pages of (then first time author) Veronica Roth's Divergent, her 2011 debut novel (which I believe is still available through her blog). And of course, there's E.L. James--the difference being her work was completed originally as fan fiction--and her lucrative Fifty Shades Trilogy (which I have as the original fan fiction in .pdf format).

But that didn't stop me from comparing James' now-published, now-original novels with her then-published, then-fan fiction version and realizing that the two stories are virtually identical (which has been felt by some readers to be a little miserly on the author's part when sometimes only the names of the hero and heroine have been altered). For this comparison, check out Jane Little's DearAuthour blog: http://dearauthor.com/features/industry-news/master-of-the-universe-versus-fifty-shades-by-e-l-james-comparison/

I know it seems I'm ranting while trying to rationalize my happiness, but I want the facts (as they stand currently) to be laid out there before I get answer(s).

BTW, thank you again for that fast reply to my question yesterday!

It was a pleasant surprise to wake up at 1:30 this morning--tired as I was--only to see that my question had already been answered! (less than 24 hours! As a matter of fact, less than 12 hours! 8D)

It definitely eases up one of the many problems I have as I'm pushing through the plotting stage.

Answer: A lot of budding writers are using this type of online self-publishing or pre-publishing for the same reasons you describe.

Part of the motivation is also the fact that it's extremely difficult to get a publishing contract. Even if you have a great book, it can seem like the odds are against you. Publishers seem to want little besides guaranteed bestsellers. Getting some positive feedback can help you maintain your perseverance. Or, if you have a bad book, it can save you much wasted time trying to sell it.

As with the examples you give, in some cases (admittedly rare) pre-publishing can lead to a publishing contract. The publisher assumes that the new edition will be sold to readers who haven't seen the original, and most of the time that is true.

What's more, you can the pre-publishing as a way to get feedback from readers about your book. This may lead to a revised and improved second edition which will be the one you offer publishers.

Of course, if you do sell the book to a publisher, they want you to take the original version offline because it would compete with the new one.

There's nothing unfair about this. It's like giving away a free one-month membership to a gym in hopes that satisfied customers will then pay to continue their membership. Sure, some people may be annoyed at having to pay, but they have no real grounds.

From the publisher's point of view, if your book attracts a lot of praise and readers online - or if it makes a lot of money - it can signal that your book is worth moving to the top of the slushpile.

I suspect these sites are going to become training grounds for a lot of future professional writers.

Who should read my book?

by Marissa
(Ohio)

Question After I finish my book should I have some of my friends and family read it before I send it to an agent or publisher so I know if it's good or not? 0r should I just send it to an agent or publisher? or does it not really matter?

Answer: Before you send a query letter to an agent or publisher, you want to know your manuscript is the best it can be, because that will improve your chances of making a sale.

Sometimes, we are so close to our work that we don't recognize if something isn't working. With that in mind, it can help to get some feedback from other people who approach it from a different perspective.

Bear in mind, you have to take feedback differently according to who is giving it. Family and friends might be overly kind in some ways. On the other hand, they may not be the ideal audience for your story. And they may not have a lot of expertise in writing.

If they generally like books in your genre and can be honest, they can be a good source of feedback. However, what you want to pay attention to is not what they say about the book as much as how emotionally engaged with the book they become. More engagement is better.

If they don't show much enthusiasm or emotional response, that can be a bad sign. But you must use your judgement. Sometimes people you know can be jealous or surprised by what you write and that can make them less appear less responsive (for instance, you write a steamy sex scene that turns them on, but they don't want to admit it and they can't believe such graphic thoughts came out of your innocent head because they always thought they were more worldly than you).

Also, average readers can usually tell you what they liked about the book, or what parts bored them. But they aren't often good at telling you how to fix problems (even if they think they are). You have to figure out how to improve the story on your own.

An alternative is to show your book to people who have more expertise, such as other writers you know. Sometimes you can get free inexpensive critiques from pros, but you have to hunt around. Conferences, for example, often offer such opportunities. (You can also pay a lot of money for critiques, so be careful.)

A lot of writers find it beneficial to join a writers' critique group where everyone critiques each other's work. Even then, you have to use your own judgment regarding the feedback you get. Some groups are better than others.

At the very least, it can be quite helpful to have a friend who is good at grammar and punctuation proofread your work before you submit it. A fresh set of eyes can often spot simple errors that you don't (because we tend to gloss over our own work).

How to find an agent?

by Selina
(Menominee, MI)

Question: I never have a problem writing, I do get occasional writers block but I'm not sure where to even start to find someone to read my book. Where should I look?

Answer: Before you look for an agent, you might consider joining a writers group, going to a conference, approaching a local writer-in-residence, or taking a course. The purpose would be to get some feedback on your writing.

Before you start approaching agents, you want to make sure what you have to offer is a fully-polished and professional quality work.

Once you are confident you have a book that is as good as you can make it, you can start researching agents. Good places to start are website such as...

AgentQuery
Preditors & Editors
Publisher's Marketplace

It can also be valuable to go to a writing conference where agents and editors are guest speakers/workshop leaders.

You want to look for agents who are interested in the type of book you have to offer. Don't just submit to any and all agents.

Each agent will post their submission guidelines on their website, which tell you what they are looking for and how you should approach them. Follow these guidelines.

You will likely need to send a query letter to each of the agents you have identified.

I've explained the process in more detail here...

https://www.how-to-write-a-book-now.com/getting-published.html

Be patient. It can take some time to find the right person for you and your project.

Best of luck.

Getting a Contract with an Editor

How long does it take on average between sending a query to agents and getting a contract with an editor?

Also, how many agents is it advisable to send a query too at one time.

Thank you!

Answer: That's really difficult to say. The first step is getting a contract with an agent. For some people, it happens quickly. For others it can take many months (if it happens at all).

You have to consider that agents get thousands of queries each year. A good agent will spend most of their time working on behalf of their existing clients, so reading queries or slush (submissions) is something they do in their spare time only.

There are some factors you can influence to your advantage - such as targeting agents interested in your genre, following submission guidelines, and writing a good query letter. But luck also plays a big role. So does the quality of your writing (especially after you have send in a manuscript).

Once you have a contract with an agent, the amount of time it takes for the agent to sell your book to a publisher depends on the agent's skills and the relationships they have in the industry. There are no guarantees.

Keep in mind that authors such as Stephen King, J.K. Rowling, and J.R.R. Tolkein had their first books rejected numerous times before being sold. That's where luck and perseverance come in. The process can literally take years in some cases. Weeks in others. It is certain that some fantastic books don't get published because the authors give up after a few dozen rejections. It's also certain that many bad books get submitted dozens of times because their authors believe in them. For every bad book that gets published there is probably a good book that gets sent to the writer's attic.

I don't know if I am inspiring or disheartening you, but that's the crazy nature of this business. There is no definitive answer to your question. You have to decide how much you believe in your book - based on objective evidence from other people as well as your own assessment. Then see if you have the stamina to take dozens of rejections and still be willing to keep querying and submitting.

You have to decide when to quit, and you have to make sure you don't quit too soon.

Of course, there's always a slim chance you'll be one of the lucky one's who sells to the first agent you query. But don't count on it.

Seriously. Don't.

Keeping motivated to write

by Mina Bancheva
(Bath, UK)

My questions is about keeping motivated to write. I completed an MA in Creative Writing with distinction last October and had excellent feedback from my tutors. As part of the course we put together an anthology consisting of all the students contributions( 2000 words each) and this was officially launched a couple of weeks ago and was attended by a number of agents.

Contrary to my (and everybody's) expectations, there was't much interest in my contribution while many others were approached by agents.

My book is set during the Cold War and is the story of a young Bulgarian woman who is asked to spy on her British husband by the Bulgarian Secret Service. It deals with the impact this has on her marriage and her relationships with her daughter and her family. My tutors thought there would be a lot of interest in the topic but that hasn't been the case and the experience has left me disheartened and demotivated. I have one more chapter to finishing my manuscript and my heart just isn't in it any more.

Your comments would be much appreciated!

Mina Bancheva

P.S. I find your website and your answer to my previous question very helpful so I am writing again.

Answer: First, congratulations on finishing your MA! That is quite an accomplishment.

Next, I wish I could say that this one event doesn't matter in a way that you would believe it wholeheartedly, but I know that would be asking a lot. Nonetheless, there are many good reasons why you should simply shrug it off, finish the book, and go query some other agents or publishers. Here are a few...

1. They may simply not have been the right agents for your book. Every agent has her own interests, contacts, and expertise. They feel confident about their judgment and ability to sell in certain genres and not others, so they will not represent books outside their area. This is no reflection on your writing.

Most good agents have more manuscripts sent to them than they have time to read, so for them to take the time to go to this event might mean they were looking for a particular type of manuscript to fill a niche demand. Quality may not have been the only criteria.

2. Timing/Luck. Sometimes you may be lucky enough to have written the kind of book publishers are buying right now (which may barely be on shelves yet), but other times you are not. Books in a hot genre are much easier to sell, regardless of quality. Great books in an unpopular or saturated market may not sell (or perhaps not until the market cools).

Similarly, sometimes an agent is currently flogging a book similar to yours and feels they can't represent both out of fairness. They may not tell you this. Again, it's a matter of luck and timing and is no reflection on your writing.

3. Rejection is normal. Okay, there are a few people who sell their first book on their first try and we all hate them for it, just like we hate lottery winners. But the truth is that they are a tiny, tiny minority. Most writers collect stacks of rejection slips (or emails) throughout their career. JK Rowling, Stephen King, and JRR Tolkein (to name just a few) had their first books rejected many times and went on to sell millions of copies.

Sometimes rejection is the fault of the writing, but often it simply reflects the difficulty of finding the right agent or publisher for your book at the right time. You have to learn to be thick-skinned and not take rejection personally. The fact that your tutors think your writing is good shows that you may just have to put some effort into finding the right agent/publisher on your own.

4. Ask yourself why you are pursuing a writing career? Is it because you wanted instant fame and fortune (in which case, the odds are stacked heavily against you) or is it because you love writing? If you love writing, try not to spoil your fun by making external validation the be all and end all. Make the writing itself the rewarding part and treat the business end as a necessary evil--something you do so that one day you'll be able to spend more hours writing (because your writing will pay some bills).

At the same time, there's nothing wrong with getting other forms of external validation. Do readings. Share bits of your work online or with friends. Ask other writers to give you critiques.

Most of all, once you have finished the manuscript and made the final draft as good as you can, start sending out queries to agents and publishers who specialize in your type of book.

I recommend doing multiple simultaneous submissions. If the right agent is number twenty on your list, you don't want the first nineteen rejections to discourage you.

Proposal submission

by Vijay K Kerji
(India)

Question: I thank you for your time to read and answer the questions.

I have submitted my proposal(synopsis, initial chapters) to a few agents and publishers. A few publishers have responded and some of them haven't replied even after six weeks. Their website doesn't mention any time frame either.

1. Should I send my complete manuscript to those who have rejected my proposal for reconsideration?

2. Is it all right if I remind those who haven't replied yet? And what is the average time frame I need to wait before asking the agents?

Any informative guidelines on the this matter is really appreciated.

Answer: Hi Vijay,

The standard practice is... if someone has rejected your proposal, don't approach them again with the same work. You only get one chance. (The exception is if they specifically say they will look at it again after you make certain changes, but that's rare.)

For that matter, if you query one agent at an agency and they reject, don't then query another agent at the same agency.

I know some publishers can take up to six months to reply to an unsolicited manuscript submission. Agents are usually faster regarding queries, but it all depends on the agent and their current workload.

If an agent requests a full manuscript, it may be polite to let the others know who haven't got back to you, but I wouldn't hound them too much.

Of course, there are people who break such guidelines out of desperation, but if you make a habit of it, you won't endear yourself to those in the industry.

Querying is a frustrating process that tests every writer's resolve, especially since luck and timing seem to play as big a role as quality of writing.

If you have received good feedback on your book from people you trust, all you can do is be patient and persistent.

Best of luck.

Discrimination in Publishing?

Question: I'm writing a romance novel right now targeting women in their twenties and I hope that when I am finished it I could get this book published in the US. But I'm concerning about if agents or publishers in US would turn down my novel only because of my nationality, race, or age. I live outside of America, and I'm still a student. English is not my mother language. I'm not white, but my protagonist is a white American.

I'm very glad to find out that quite a few people who had visited this website and had left questions previously are English second language writers like me. But I'm wondering if there's successful cases of people like us getting their books published in the US. I know that probably we wouldn't be able to write like a native speaker who had grown up in the US, but with elaborate research, years of reading English originals, and professional help from native English speaker editors, it is not impossible to write a book which is as appealing to our target readers, although I'm aware of how hard it is.

Will we stand a equal chance to get published comparing to american writers, if assuming that the book is equally good? Will agents or publishers consider about the author's nationality, race, or age? Will using a pen name which looks american helps?

Answer: While I can't speak for the pubishing industry, I can tell you this...

One of the nice things about submitting a manuscript to an agent or publisher (apart from the ridiculously stiff competition and slim odds) is that they don't usually meet you face to face until they know they're interested in your book. That means they are less likely to make a snap judgement based on your appearance, accent, nationality, gender, age, etc.

Publishers and agents make their decision based on the manuscript and query letter alone. If the writing is good, and if you are writing the type of book publishers are currently looking for (which you can't predict), then your chances of success are much better.

In your query letter, you only include facts if they would help sell the book. For instance, let's say a writer were African. If the book were set in Africa, the writer would mention her nationality in the query letter because that would be evidence that the book will contain authentic details of life in Africa.

If your book is set in the US, and you have never lived in the US, you might not draw attention to this fact (though it will be apparent from your address).

If you look around, you can find plenty of examples of successful writers who write about people very different from themselves. Sometimes they use pseudonyms to evade prejudice. (For instance, male romance writers might use a female pseudonym. Female writers sometimes use a male or genderless pseudonym when writing for a male audience.)

If you are writing in a genre where such a bias exists, a publisher might suggest using a pseudonym. But such cases are more rare than they used to be. In fact, many readers like to read works by people from other cultures because of the novelty.

In short, I wouldn't worry about this issue. Just write the best book you can. That's what counts.

(P.S. Being young can be an advantage. Agents like young authors because, if you're successful, they can look forward to having you as a client for many decades.)

Synopsis that Gives Gives Away the Plot

by Dai Henley
(Romsey, Hampshire UK)

Question: Should I write a synopsis that gives away the plot? Should it reveal the major plot twists?

My feeling is that if you do, the agent/editor/prospective publisher won't get the same affect as the ultimate reader if you get that far. The element of surprise will have been taken away.

Does this matter?

Answer: The agent/editor won't appreciate the element of surprise if they never read the manuscript.

And they won't read the manuscript unless the query letter and synopsis convince them that you know how to construct a solid plot. The ending is part of the plot, and showing that you can bring the story to a satisfactory ending is part of how you convince the agent/editor that you are a competent writer.

Remember that a synopsis is not "jacket copy." You're not going to spoil anything by giving away the ending.

One reason you cannot sell a novel without a complete, finished draft is that publishers of the past had to deal with writers who got half-way through a manuscript and got stuck. They weren't able to bring the story to a satisfactory conclusion. And if a publisher had been foolish enough to have given such a writer an advance... well, let's say they would never made that mistake again... and their career might be over.

This is why only non-fiction books can be sold without a finished draft (if you fail to finish a draft of a non-fiction book that is expected to sell well, the publisher can always hire a ghost writer to finish it for you.)

If an agent/editor reads a synopsis that leaves out the ending, they will have to ask the writer how the story ends, to see if the ending works. If the writer then gives an answer like, "I haven't worked that out yet," that is a serious red flag. It says, "This author doesn't have a complete draft, which means he/she might never finish the book. So don't waste your time on them."

Of course, your synopsis can still present the twists in the order they appear in the book - including the emotional twists. If you write it well, the synopsis will convey the effect you are trying to create in the book and prove to the agent/editor that you know what you are doing and you have the complete draft ready to submit as soon as they ask for it.

Characters to include in a synopsis

Question:
Your page on writing a synopsis is super helpful. One question, though. Aside from minor characters, how does an author decide which characters to include in a synopsis? I have written a paranormal romance with two main characters. Obviously, I should include the lovebirds. But what about the protagonist's best friend and the best friend of the love interest, whom both, at times, play a vital role in the story? Writing a one-page synopsis about four characters, two of whom only play a vital role at specific times, is proving to be a challenge.

BTW I'm new to your site, and I love it! I didn't see a question and answer page for synopsis writing, so I wasn't sure where to post this question. I hope I'm not breaking any rules by posting my question on the novel writing page.

Thanks!

Answer:

No rules broken. Here are a couple of things to consider when writing a short synopsis:

1. Does mentioning a minor character make the synopsis more engaging (both intellectually and emotionally)? Or does it make it boring? If you're just mentioning minor characters for the sake of completion and there's not enough detail to make the reader care about them or their contribution to the story, your synopsis can become tedious.

2. To make a minor character engaging, include their whole arc (setup --> complication --> crisis --> resolution). Who is this person when they enter the story? How are they challenged to grow? What is their crisis? Who or where are they in the end? The arc is what creates engagement. If you don't have space to describe an engaging story for that character, it may be better to omit them.

3. In a romance (paranormal or otherwise) the relationship arc is usually the most important and takes much of the focus. So you are on track to include it. Next in importance is the arc of the main character's inner conflict. Many romances are told from the perspective of both the main character and the love interest, so the impact character's arc is also important. So are the ways in which these two characters influence each other to change and grow.

4. So what about the minor characters? Often they are part of the overall or external story -- which is about the pursuit of the goal that affects or involves most people in the story world.

In a romance, the overall story may be just a device to get the two lovers to spend time with each other so the romance can happen. It's still important and should have a complete story arc, but you may not devote as much page space to it as the other arcs I mentioned.

So you probably only need to mention minor characters to the extent it is necessary to describe the overall/external story arc in an engaging way. A brief mention may be enough for most of them. Feel free to not mention these characters unless it is absolutely necessary.

Of course, every story is different and there are always exceptions. For instance, maybe the main character's best friend plays an important role in the main character's inner arc, and is worth mentioning for that reason -- but perhaps only mention her in the context of the main character's arc.

5. One page is not a lot of space, so I expect you will need to be disciplined. You may need to omit subplots or minor character arcs. You might even have to omit one or more of the major arcs. For instance, if there isn't enough space to outline the overall throughline, you might say something like, "In this world of dark magic and political intrigue..." and then launch your summary of your main character or relationship arc.

But regardless what you omit, make sure that what you include describes a complete arc. It's that four-part structure that makes the story engaging. In addition, it shows the reader that you can bring your story to a satisfying conclusion.

Hope that helps.

Too Much Development

by M Dee
(Los Angeles)

Question: An agent told me my manuscript has "way too much development work" for him to represent me. Where do I begin to make improvements?

Answer It's painful to get this kind of comment, or the kind of comments I'm about to make, so take a deep breath.

Development of a manuscript can mean different things to different people. (There are lots of aspects that can be "developed.")

Also, as you probably can guess, most agents can't afford to take the time to do a well thought out, deeply considered appraisal of a manuscript before rejecting it. Rejections happen very quickly in an agent's office.

So the message you should probably take is simply that this agent feels your manuscript needs a lot of improvement before to would be good enough to publish.

Sometimes, if an agent loves a book and just feels it needs a little tweaking before showing it to an editor, they will make a conditional offer (conditional on you fixing the things that need fixing). In this case, the agent obviously felt too much needed to be fixed and didn't feel it was worth the investment of their time to work with you on the task.

Don't be too hard on the agent it's hard for agents to sell enough books to make a living.

Assuming you are committed to making this manuscript a whole lot better, you will need a much more detailed critique of your book. You want to know exactly what the weaknesses are, so you can make sure you are fixing the right things in the right way and not taking away from the aspects of the manuscript that currently work.

For that, I suggest you join some kind of writer's critique group where you can get the detailed opinions of a number of people - ideally people who are good writers themselves.

A lot of writers associations run these critique groups, either on or off line, and they often don't cost a lot (they are part of your membership in these associations). You might look for an association that specializes in your genre.
You will, of course, have to critique other people's manuscripts at the same time, but that is also a learning opportunity that will help you in your work.

You will find some people/groups who charge hefty fees for critiques (for instance, a few dollars per manuscript page). Sometimes the people doing the critiques have expertise and can really help you. Others are less helpful. Either way, you still only get one person's opinion, which is why I recommend joining a group where you get feedback from a number of knowledgeable people.

If one person says something is a problem, you have to use your own judgment whether to accept or reject the criticism. If six people say the same thing is a problem, they're probably right.

Which Books or Websites are Best for Querying

by Uchiha Sasuke

I have reached the editing stage for my 95,000 word novel and I'm wondering which books or websites are best for querying.

This is my first time finishing a novel, but I want to try querying to agents. I've heard that The Writer's Market is a must have, so I searched it up. I found out that there is a book, and a website, and you have subscribe to the website to access it.

Which one would be more useful?

Also, I found a book called Guide to Literary Agents by Chuck Sambuchino. If I am already getting Writer's Market (either online or book) should I also get this book? I do not know if I would need it because the Writers Market is supposed to have listings of agents

Answer: First of all... Congratulations!

Finishing a draft of a novel is a major accomplishment at any age. It takes a lot of effort, time, and discipline, as I expect you have discovered, so I hope you feel quite proud of yourself.

Writer's Market was the standard reference on publishers for many decades but, as you can imagine, it has been somewhat eclipsed by a number of free, online sources.

The difference between the Writer's Market book and the website is that the book is issued once a year, whereas the site should be updated more frequently. Both are great sources of information, but a subscription is more useful for short story writers (who presumably start submitting new stories each month or so).

Here are some free alternatives if you want to save some money...

Query Tracker (https://querytracker.net/) is probably the best resource for finding agents interested in your genre and querying them. Many agents today require you to submit queries through Query Tracker. For you, this makes the whole process simpler and easier. An agent will post a query form on the site that asks for exactly the information they want from you. It will also record and keep track of agent responses.

The site is free for your first novel. There is a paid upgrade, but you don't need to bother with that if you don't want to.

Some other useful sites are...

Publishers Marketplace (http://www.publishersmarketplace.com): Another great source of information on publishers and agents.

Agent Query (http://www.agentquery.com): In addition to listing agents, this site provides you with all the information you need about how to query and submit your work.

You may find that, after checking out these sites, you don't need to buy anything.

Also, you may want to look at Writer Beware (http://www.sfwa.org/other-resources/for-authors/writer-beware/alerts), a site which alerts writers to the various scams that exist in the publishing world. Sadly, they are numerous, and you don't want to be taken advantage of.

Best of luck.

Synopsis Format

Question: Hello! Thank you for answering my question about how many characters to add in a synopsis! I should have included this question with my last submission. Could you please discuss how to format a synopsis? I've been researching formatting and find conflicting directions. Two reputable sites—at least I think they are reputable—suggest two different things. Writer's Digest says the synopsis must be double-spaced. Master Class says single-spacing is a must. One says include a title page to include contact information; the other says use headers. Any advice on formatting would be greatly appreciated! And thanks again!

Answer: The first place you should always go for questions about submissions is the website of the agent or editor you are submitting to. Follow the submission requirements exactly. It makes agents and editors' jobs easier when all the submissions they receive are in their preferred format.

However, agents and editors don't all prefer the same format, which is why you will find conflicting advice. For this reason, you sometimes have to adjust the format for each agent or editor you are submitting to.

Also, not every agent or editor is as fussy about synopsis format. Many of them don't post strict guidelines for you to follow. Or they might have guidelines regarding manuscripts but not synopses.

So for those situations where you are uncertain, the best thing is to use a fairly neutral format that is unlikely to annoy an agent or editor. This will be the "default" format you will use unless the editor or agent doesn't states requirements to the contrary.

By default, the most important thing is that your synopsis should be easy to read. This matters because editors and agents usually spend many hours each day reading. They tend to find any document that is hard to read annoying, and you don't want to annoy them.

With that in mind, use a standard 12pt. font like Times New Roman or perhaps Courier. As with a manuscript, don't play with the typography. Don't use bolded text. Don't use all-caps. And don't use any colours. Just use black text on a white background.

If the synopsis is short enough to fit on a one page single-spaced, then you can single-space it. Put an extra return between paragraphs. I would also indent the first line of each paragraph five spaces.

If the synopsis is longer (again, check the person's guidelines regarding their preferred length), then you would format it more like a manuscript -- double-spaced with no extra return between paragraphs. Put the page number in the upper right hand corner and a short version of the book title and your name to the left of that. One-inch margins are fairly standard.

I would also title the synopsis "Synopsis for" followed by the book title just to be clear what it is.

And, of course, proofread the synopsis carefully. You don't want typos to undermine your credibility.

Rejection

by Dunn
(Nashville, Tennessee)

Question: Should one reply/respond to a rejection notice from an editor or from a workshop such as Clarion or Odyssey? If so, what do you suggest?

Answer: I think it depends what type of rejection you get. If it's simply a short, generic rejection that means the editor wasn't impressed with your work enough to write something more personal. In that case, I probably wouldn't respond, since there's little to be gained.

On the other hand, if the editor takes the time to give you some suggestions on how to improve your work, that might be worthy of a thank you note. The editor in this case might be willing to look at the next manuscript you want to submit (or in some cases they might actually say they would look at a revised version), so it helps to stay on good terms with them. A thank you note might help them to remember you as someone who seems easy to work with and appreciative of their feedback.

Above all, there is no point in arguing with the editor's comments or decision. You won't get them to change their mind, and you risk making them remember you as someone who is difficult to work with.

If you really feel the editor is wrong about your work, the best thing is to show it to another editor or perhaps a critique group who can give you some other opinions. If everyone else says your work is great, keep submitting until you find an editor who appreciates it. If everyone gives you the same negative comments, they're probably right and you should revise.

Bear in mind that sometimes an editor's decision is not based on the quality of your work but whether it is marketable at the time it is submitted. For instance, if publishers are all looking for a particular type of book and yours falls into that category you stand a much better chance of making a sale. On the other hand, if your book falls within a trend that has recently fizzled (or perhaps been dead for some time), the odds are stacked against you. You can't predict or control this. It's a matter of luck.

Do I need an agent?

Question: Do you need an agent or can you just have a publisher? Do you not need an agent and it's just better to have one? If you don't have an agent and you just have a publisher what will that mean for you?

Answer: It is not absolutely necessary to have an agent, but there are advantages and in some cases it is practically essential. In other cases, there is no point.

For instance, if you are writing a book with very little commercial value, such as a book of poetry which may only sell a few hundred copies, you don't need an agent. An agent's commission on the sales might be less than $100, which is not worth the hours they would have to put in on your behalf. It is standard practice for authors in such niches to deal with publishers directly.

Sometimes, after you have found a publisher, you can hire an agent for a flat fee just to negotiate the contract for you. This can be helpful because agents understand what is reasonable and not reasonable to be in the contract and can help you protect your rights. They are familiar with copyright laws and standard industry practices. For this reason, publishers often prefer to negotiate with an agent rather than an author.

If your book has commercial value, and especially if it has the potential to sell very well, you can benefit a lot from having an agent. (Part of an agent's job is to figure out if your book has commercial potential.)

To reach your book's full potential, it helps to have one of the big five publishers take it on. And to sell a book to one of the big five, it really helps to have an agent.

Agents can get your manuscript moved closer to the front of the line in terms of getting it read (and this is a very long line). A good agent will know which publishers to approach and have contacts throughout the publishing industry. They can often get you a bigger advance, and the bigger your advance the more money the publisher may put into promoting your book (so they can make the money back).

Agents can also help with selling foreign rights or film rights (should your book have such potential). If you don't have an agent, the publisher may also take on this role, but their interests and yours are not always completely aligned.

Agents can also be a source of career advice. The more money you make as a writer, the more money they make, so they are on your side.

If you don't want an agent, you can approach publishers on your own. It can be a much slower process, especially if you are targeting the big five. However, smaller publishers may be easier to sell to.

Whichever route you go--agents or publishers--I would recommend you do your homework. Look for reputable firms (check them out on Preditors and Editors) who are interested in your genre and have a track record of success. (Though it doesn't have to be a long record. Sometimes a good agent who is just starting out and needs more clients will be more receptive.)

Remember that agents and publishers alike often receive thousands of submissions a year, which they usually review in their spare time. So even a great book can take time to sell. Most authors collect stacks of rejection slips for every sale.

Best of luck.

publishing

by amber
(sa)

Question: Can an author write a novel and get it published if he/she isn't a qualified journalist or a writer?

Answer: Absolutely. Or, to put it another way, writing is a profession in which the qualifications required to sell a manuscript are simply to have written a good manuscript. I've never seen a publisher's submission guidelines say "Must have degree in writing," and I doubt I ever will.

You can, of course, take an MFA (Master of Fine Arts) program in creative writing. Such programs can give you the opportunity to get regular feedback on your work, make contacts, and learn something of the literary world. They can also force you to dedicate a period of your life to learning the craft of writing, and developing the habit of writing regularly, something which many people lack the discipline to do on their own.

A journalism degree may be particularly useful if you are writing nonfiction. Some people also study English literature, which is helpful in that it forces you to read a lot of good books. (Of course, you can do this on your own.)

In fact, there is a certain danger that your writing career can be held back if you spend too much time in academia and not enough time writing. Academia makes you spend long hours reading and writing what you need to for courses, which is not always what you are passionate about reading and writing. In addition, many people take these programs during the most creative years of their lives, when (if you have real talent as a writer) you might be better off working at a unionized job and writing in your spare time.

Of course, if your spouse has a good job and your children are old enough that you can take the time, an MFA might be a good choice (see above).

For a young adult, there is also the financial issue. School can saddle you with debts that a writing career will make hard to pay off.

However, I can safely say that the vast majority of writers do not have MFA degrees. Most writers are self-taught. They are people who discover, usually at a young age, that they like writing stories, so they keep doing it.

Later on, they may improve their skills by supplementing their writing practice with some courses or workshops. They may join a critique group or attend writing conferences, or simply read a lot of writers' blogs to get more tips.

Also (and sadly), having an MFA degree does not guarantee you will sell a manuscript. It might show a potential publisher or agent that you are serious about having a career as a writer and have taken the time to study your craft. But it doesn't actually prove you can write something people want to read. Nor does it prove that your book deserves to be published any more than the 100s of other manuscripts stacked up in the publisher's office.

The only thing that really counts is having a good book that matches what the publishers are looking for at the time you approach them. (And perhaps enough audacity to keep approaching agents and publishers until your book sells.)

Self-publishing vs traditional publishing

Question: I'm reading the pros and cons of self-publishing vs. traditional publishing, and I have to say I'm torn in two over it. Traditional publishing seems appealing in plenty of ways, one of the biggest being you don't have to spend so much money on it (Hey, I write because I love it, but let's face it: Money makes the world go 'round). But on the other hand, I'm really tempted by the potential freedom of publishing my own work, which leads me to my question:

If I go through the traditional publishing process and, by some miracle, get published, how much control do I REALLY have over what is or isn't done with my work? I would love to make money from my writing, but there would be no satisfaction for me if the editor (or whoever else) ends up publishing butchered remains of my book instead of what I gave them. Don't get me wrong, I fully understand and am grateful for the correction of any grammatical errors or plot holes I may have missed (P.S. if they find plot holes, do they have me correct them, or gloss over it themselves?), but I don't want ANY of my material altered/abridged/cut/replaced/censored... Well, you get my point. So, how much control does the author really have over the content of his/her work should a publisher pick it up? I admit I'm one of the fanatic authors who views their art as their "children", or an extension of themselves, and for whom the word "abridged" is synonymous with "ruined".

All input greatly appreciated!

Answer: Ninety-nine times out of a hundred, a good editor will help you make your book better. As writers, we often have a hard time seeing our work objectively and an objective expert can be invaluable.

So I wouldn't shy from taking an editor's help. I think you should want it very much. Almost every book requires revision. If you're not willing to accept that help, it will probably be your loss (sorry to say).

That said, a publisher's marketing team usually has the last word on things like the title, cover copy, and cover design. With an editor, you have a little more give and take. For instance, the editor may point out a problem but you are free to find your own way to solve it. You can take their suggestions, or you may find a better way to address their concerns. You can pick your battles and win your fair share, but don't look at it as a battle. Look at it as collaboration with an expert who's also your strongest ally. Editors want the best, most successful book possible, just like you do. (Not that there aren't a few bad publishers/editors out there. I'm speaking of the good ones.)

Regarding self-publishing, if you're writing fiction it's no cakewalk. The hard thing with traditional is getting the contract. With self-publishing, the hard thing is the marketing because you don't have a publisher opening doors and helping in other ways. There are more than a few barriers against self-published books, including public perception. Many of the most successful self-publishers in fiction move to traditional afterwards because of the advantages.

True, a few traditionally published writers turn to self-publishing, but that's usually after they have already built an audience or as a way to put out-of-print books back in print.

Most traditionally published books lose money, but that's okay because at least you get an advance. A much higher percentage of self-published books lose money, and you have to pay the costs.

So, if you have reason to believe you have a great book (such as great critiques), you may want to make traditional publishing your first choice. (The exception would be if you are writing nonfiction and already have a huge following.)

At least, consider approaching traditional agents and publishers first. You can always self-publish later.

UK English or US English when submitting a Query Letter?

by Rhonda
(Australia)

Question: If a manuscript has been written in English (UK), yet the author is submitting a query letter to the USA, should both letter and future submissions of the manuscript be written in English (US) or be kept in the original print.

Is it polite to use English (US) even though I write in English (UK)?

Thank you,
Rhonda

Answer: As a Canadian, I can relate to your dilemma. Canada has historically been in continuous flux over spelling.

As a former British colony, formal English in Canada usually prefers UK spellings (such as "honour" and "theatre". On the other hand, we have adopted many US spellings (e.g. "airplane" rather than "aeroplane"). The US influence is so strong, since we get many books and magazines imported from the US, that British spellings are in danger of dying out in Canada. (In fact, many Canadians now pronounce the last letter of the alphabet as "zee" rather than "zed" and use "clik" rather than "clique," which grates on my teeth. But I digress.) On top of that, we have a few homegrown Canadian-isms as well.

I'm sure a similar situation exists in Australia.

In a query letter, I wouldn't want to give the reader any reason to doubt your command of the English language -- according to their understanding of what standard English is in their country.

If you're hoping to publish with a British publisher, then obviously they will expect British spelling. US publishers will expect US spelling. I would imagine Australia has it's own standard style guide or dictionary which you would follow for Australian publishers.

Even if you normally write in UK English, a US publisher will insist on changing the spelling in the book to be suitable for an American readership. Even J.K. Rowling had to change many British words and spellings for the US editions of Harry Potter. "Jumper," for example, became "sweater" because the word means something quite different to Americans than it does to Brits. (Although, she had enough clout to insist that Mrs. Weasley was a "Mum," not a "Mom.")

If you are querying a number of publishers or agents, you should always tailor your letter to the recipient. Don't make it look like a standard, generic letter. Even though it would take an extreme (if not foolish) amount of confidence not to do multiple, simultaneous submissions, each agent or editor likes to bask in the illusion that you only have eyes for him/her alone. So you should adjust the spelling and other elements.

Best of luck.

Story written in US English but want to publish in UK

by Ashley Nicholas
(Durban South Africa)

Question: My murder story takes place in Key West Florida so I have had to write the book in US English and also primarily because it would have the bigger reading audience in the USA. However, I would like to be published by an international publication house in England; as it is easier for me to get to England from South Africa. I know England well having lived and worked there before. I am not sure how the USA publication scene works. In the end if my book is accepted for publication I would like it, ideally, to be published on both sides of the 'Pond'. Any advice in what medium to approach agents/publishers in would be gratefully appreciated......... without offending anyone. Also I don't want to mislead them that the book is not in UK English.

Thank you so much for a website filled with so much knowledge and wisdom. Ashley Nicholas

Answer: Wherever you choose to submit your work, I would meet the standards of the person you are submitting to, whether that's an agent or a publisher. I would use UK spelling if submitting to a UK entity and US spelling if submitting in the US. You always want to look like you know the local standards.

A publisher will buy the right to publish in their own country.

After the book has been published, you can look to selling international rights. A big agency will usually have someone in their office who specializes in selling foreign rights, or your agent may have a relationship with another agent who does this work and can be brought in. Alternatively, big publishers will have a rights manager who can help you with sales of foreign rights if you don't have an agent.

If your book sells well in its first publication, or even if your publisher or agent has a lot of confidence in it, you will be encouraged to sell secondary rights (foreign, film, etc.), since everyone wants a book to make money.

For a secondary/foreign edition, the publisher may want the book re-edited to suit their readers. That's when the spelling might get revised for the new country, along with the book design. Again, they will come to you with this.

Your big decision is which country offers you a better chance of making that first sale. "Getting there" is not an issue, as almost all business can be done long distance today. I would suggest you contact some successful writers in your own country and ask them if they have any insights or experience in this area.

Working with agents, editors, publishers...

Question: I've heard a lot about writers working with agents, editors, publishers, the publisher's marketing teams and a lot of other things, but I never really understood how it all comes together. I mean, who exactly do you have to interact with, and in what order, to get something like a novel published? Say, if I were to try drawing up a chart that began with an author holding his/her manuscript and ended with that manuscript as a published book on shelves in a store, what would lie between and in what order?

Answer: Generally, the process goes like this...

1. Agents. You query agents, until you find one who wants to represent you, seems like a good fit, and is reputable. You sign a contract with the agent that governs your relationship. The agent then attempts to sell your manuscript to publishers. (This assumes your book has potential to be a commercial success. In certain niche genres, such as poetry, literary criticism, etc. no agent is required because there's not enough money in it. In such cases, you query publishers yourself.)

Generally, the agent works for you. The more money you make, the more money the agent makes, so it's in the agent's interest for you to make lots of money. However, a good agent will have expertise and insider knowledge of publishing, so it's a good idea to take their advice. If you refuse the agent's advice in ways the agent feels will substantially hurt your sales/career (and the agent's fees), the agent may drop you.

2. Publisher. If your agent is successful, he or she will get a publisher to offer you a contract. Your agent's job is to get you the best contract possible and to look out for your interests. The contract specifies your rights and obligations as well as the publisher's.

3. Editor. If you sign a contract with a publisher, you will then be assigned to work with an editor who will help you polish your work and fulfill the terms of the contract. You have certain rights over your work; the publisher has certain rights because they are paying you. The editor is your contact person with the publisher. You can also use your agent as a source of advice, if needed.

Again, the publisher wants to make money, so they may request things from you they feel will make your book more marketable and generate more sales. Usually...hopefully... they know what they are doing. Certainly, if this is your first book, they will likely know a lot more than you about the market. It's not always the case, but almost always. But when it comes to editorial discussions, there will be some give and take. If your career is successful and your books make a lot of money for both you and the publisher, you will gain more leverage in any negotiations or discussions.

3. The marketing department. You don't have to worry about them so much. The editor will act as the go-between, when necessary. Ditto for the book designer. Bear in mind that they generally have the last word regarding the title of your book, cover design, et.

4. Proofreader. There will usually be a proofreader who combs through the book looking for last-minute typos etc. before it goes to press. You will do the same thing with a proof copy of the book (with all the pages designed and laid out the way they will appear in print). You want to catch anything the proofreader missed and to make sure the corrections fit with your intention.

5. Publicist. After the proofreading is complete, you have little to do with the content of your book. Your job is then to work with the publicist (if you are fortunate enough to have one) to promote the book. Promotion should begin before the book is launched. (Reviewers get advance review copies so reviews can be out ahead of the launch.) You should make yourself available and do as much promotion on your own as possible.

Be warned: this process can take several years.

Where to go after starting in on your first couple of books

by Justen Wright
(Chandler TX, USA)

Question: I have started roughly fourteen books since I was twelve years old and i have never went to publishers or proofreaders to look at my work because I never have more than two or three chapters, I am ready to take a shot at going to people but I don't want my work stolen or lost. What should I do?

Answer: Finish one book.

Seriously, there is no point going to a publisher or editor until you have a complete manuscript. Lots of people can start novels. Not many can finish them. No publisher is interested in an unfinished novel because ... you might never finish it. So it's not worth an investment of their time.

So pick one of your half-finished stories, or a new one, and finish it. If you get stuck, perhaps do some outlining until the path seems clear.

As for your concern that your work will be stolen...

Don't give it a thought. If a publisher likes your manuscript, they will want the next one, and the one after that. So they're not going to rip you off. (Just follow the golden rule: do not give a publisher any money. They pay you if they want to publish your work.)

If the publisher does not like your manuscript, they are hardly about to steal it.

Unpublished manuscripts are like lottery tickets. Most of them aren't worth a dime. Because of this, it's never worthwhile stealing someone's manuscript. People steal things they know can be quickly turned into cash. Books don't work that way. Publishing a book by a new writer is a risk to the publisher that they will probably lose money on. No one really knows which books will be profitable until after they have been published (publishers just take educated guesses).

Again, even if a publisher strongly believes your book will be profitable, they don't want to sabotage their chances of getting your next book by stealing from you. Not to mention the damage that would do to their reputation.

As for losing your work...

Publishers may be slow to get back to you, but they seldom lose manuscripts. Besides, many publishers accept electronic copies now, so you can't lose your manuscript. (Never send your only hard copy.)

Just check the submissions guidelines for the publisher you are interested in (these will be on their website). They tell you how they want writers to submit work and they are different for each publisher. Follow these guidelines to the letter and be prepared to get a lot of rejections before you get a sale.

Best of luck.

Popular Articles

---