How to Submit Your Work to Publishers
- Why a Book Proposal?
Editors are traditionally myopic, and work in offices cluttered with manuscripts. There are meetings and book fairs and sales conferences to attend, authors to entertain, and serious editing to be done. There is a lot of pressure, and time is in short supply.
Editors read manuscripts from their favourite agents first. Then they read manuscripts from other agents. Last, they wearily attack what is known as the slush pile. This stack of unsolicited manuscripts is, presumably, so called because, like unwanted snow, it piles up and turns dirty and yellow with age. Some publishing houses will not even allow a slush pile to accumulate - they simply return unsolicited manuscripts unopened.
How to avoid sinking into the slush pile? It's human nature for an editor facing a large slush pile to read short submissions first. EVEN IF YOU HAVE A COMPLETED MANUSCRIPT, SUBMIT A BOOK PROPOSAL FIRST.
- What is a book proposal?
Your book proposal should be typed on white paper. Sample chapters should be double-spaced and all other material single spaced, with double spacing between paragraphs. Send a simple covering letter identifying your submission as a proposal for the publishing house's consideration.
On your first page give the title, your full name or the name under which you want to publish, the approximate word count you project as the length of the finished manuscript, the estimated time of manuscript completion (here you can note if the manuscript is complete already), and the genre (for example: general fiction, thriller, mystery, fantasy, sci-fi, woman-in-jeopardy, romance, historic romance, Regency Romance, western, or historical novel).
Send literary fiction as general fiction. Please note that category fiction only sells if proposals get seen by editors. If you can categorize your manuscript, it will be given to an editor with knowledge of that category. Category or genre fiction does not mean formula fiction. In all cases, originality counts. However, books in each category may have certain common elements. For example, resistance, or the inability of the main characters to get together right away, is a standard element of romance fiction.
- What else goes in a book proposal?
Follow this information with a page on you, the author. In a few paragraphs, give the pertinent details of your life, work, and travels. Include titles of other books and publications if you've published before.
Provide a brief synopsis (2 pages maximum) of the entire plot of your book. Use upbeat sales talk. Write as if this is the blurb that's to go on the dust jacket.
Include 3 chapters, not necessarily the first 3 or any consecutive 3, and follow them with a detailed 15 to 20 page plot synopsis that includes bits of dialogue.
- How long is a book proposal?
In total, your fiction proposal should not be longer than 100 pages nor shorter than 50 for a full-length novel (400 pages typewritten). The rule of thumb is that the proposal should be about one quarter as long as the manuscript itself.
- Anything else?
Yes. If you want your synopsis and your sample chapters back, or even if you want a reply of any kind, be sure to ask in your covering letter, and to included an SASE (a stamped, self-addressed envelope) big enough, and with enough postage, to accommodate your proposal. If you are sending your proposal to a publisher outside Canada, do not put Canadian stamps on your SASE. Instead, include an IRC (International Reply Coupon, available from any post office) in the value of the stamps needed.
- Why a book proposal?
Publishers receive many unsolicited manuscripts, and time does not permit them a close reading of every one. For this reason, one of the most important aspects of the publication process is the Book Proposal. Even if you are submitting a completed manuscript, unless the publishers have indicated they don't require one, you must include a detailed and compelling proposal. Your proposal is a kind of summary that enables editors to evaluate your project quickly and to determine their ability to market your book. Your proposal represents the promise of your book.
- What does a book proposal look like?
It's typed, single-spaced (except for sample chapters, which are double-spaced), on standard white paper with consecutively numbered pages. If you are submitting to U.S. publishers, use American spelling.
- What is included in a book proposal?
The Sell Sheet. The first page of your proposal should include the title, the general subject area, and the proposed length of the manuscript. Below this, in a few paragraphs, write an upbeat description of your book and its purpose. Write this in the third person active voice, present tense, and give it the look or feel of something you'd read on the back of a book jacket.
About the Book. The next 3 to 5 pages should be an overview of, and introduction to, your project, titled About the Book (or something similar), where you present the argument for your book. This section is part jacket copy, part synopsis, and should include an account of your qualifications and some account of your book's market. Be certain you answer these questions:
- What are the problems, the reasons, or the situations that prompted you to write this book?
- How does your book address these problems, reasons, and situations?
- There are a lot of books out there on the non-fiction shelves. What makes your book unique?
- What are the new approaches and special features of your book?
- How are you uniquely qualified to write this book?
End this part of the proposal with a compelling summary:
"For thousand of readers hungry for the inside story on Canada's Intelligence Agency, here is the detailed and documented first-hand account of..."
Scuttling the Competition. List leading competing titles (if there are any) by author, title and date of publication. Briefly explain why your book is better, or how it is different. Competing titles might be out of date, poorly written, incomplete, overly technical, overly 'popular', inaccurate, boring...
Chapter Outline. Now describe in greater detail how your book will deliver its promise. Under each chapter title provide a 100 word paragraph describing the chapter. Be positive and vivid, as if the book were already written.
Sample Chapters. Not more than two, not necessarily consecutive, and preferably not the introduction or the first chapter.
Publishing Details. Include any information on illustrations, photographs, or special formats that might be required. Include your estimate of the time you need to deliver a completed manuscript. The standard publishing contract gives you 12 months to complete a book.
About the Author. This short, third-person biography states your credentials and any other credits or favourable reviews you might have. These need not be book reviews; perhaps you have a track record as a journalist?
Appendix. An appendix is optional, usually used only in the event that there is other information which endorses either your credentials or the market for your book (statistics, newspaper clippings, pamphlets, letters, and so on).
- When do I send a book proposal?
Occasionally with your manuscript, but usually ahead of it. The proposal, in most cases, becomes the basis upon which the editor contracts you to complete the manuscript for the publishing house. You must also send a proposal to an agent, if you want one to sell the book for you. If you are trying to find an agent, you must preface the submission of your proposal with a query (not more than two pages which state your credentials, briefly describe the book, and ask for permission to submit the proposal). If you don't have, or don't want an agent, call the publisher to whom you are submitting and get the name of the selections editor in order to make the submission personal.
This information is based on material provided by the late Peter Livingston, of Peter Livingston Associates of Halifax and Toronto, and has been edited and updated for us by professional writers who have had success with non-fiction book proposals.
Always use plain white, 8 1/2" x 11" good bond paper. Type on one side of the paper only. All margins should be at least one inch and not more than one and a half inches. Double space. Number every page except the first one. Do not bind your manuscript in any way, except with a paper clip.
In the upper right hand corner of the first page, approximately one inch from the top of the paper, type your name, address, telephone number, email address if you have one, the story's title in quotation marks, the approximate number of words in the story and the exact number of pages, and the words "First North American Serial Rights" (which indicates that you are offering them the license to print the story for the first time, and that you retain all rights thereafter).
Most periodicals have guidelines online now - check our listing of periodicals. When in doubt, write a short letter to the publisher first to find out their submission guidelines. Include an SASE.
Unless the manuscript is specifically for a book publisher, type each story separately and do not number the pages in sequence except for individual stories. At the end of the story, drop three spaces and type "The End" or "-30-".
Computer printouts are okay as long as the pages are separated, the paper is good quality, and the type is dark and letter quality (laser or high quality inkjet). Photocopies are okay only if they are excellent reproductions. Manuscripts must be easy to read, clean and clear.
Check with the publisher before sending simultaneous submissions. Many publishers do not accept them. If you send a simultaneous submission, mention it in your cover letter. Try to limit simultaneous submission to publishers whose circulations do not overlap.
Always send a cover letter with biographical and submission information. Most periodicals find a short bio (no more than four sentences) useful - model this on the contributors' bios you see in the journal.
Generally, you should include a Self-Addressed Stamped Envelope (SASE) with your submission. Remember that postal meter stamps are only valid within the city or town where they were issued and are no good for return postage. For international submission, acquire stamps that are domestic to the periodical's country - these can be obtained online through the national postal services using a credit card. Failing that, include and International Reply Coupon (IRC) which you can purchase from Canada Post, and which run around three dollars each. IRCs can be inconvenient for editors, since they require a visit to the post office, so stamps are preferred where available.
There are exceptions to what used to be the "always include an SASE" rule. Some print journals are now happy to reply by email (check their guidelines if you're not sure), in which case you can simply specify in your cover letter that the manuscript is disposable and include a valid email address. Electronic journals, of course, will always reply via email.
Allow up to four months for a reply, if the publisher does not have an established reporting time. If you do not receive a reply in a reasonable amount of time, write a letter of inquiry. If you do not receive a reply to your inquiry, write a second letter withdrawing your manuscript from consideration. Register this second letter.
Keep a record of all of the stories you have sent out, what the results have been, and how long it has taken editors to reply. These records will prevent inadvertently sending the same material to more than one place, or sending more than one package to the same publisher at the same time, or sending the same material to the same publisher twice, and so on. You can also use these records to estimate a publisher's reporting time.
Never send your only copy.
Never send your only copy. Keep a record of all of the poems you have sent out, what the results have been, and how long it has taken editors to reply. Keep personal comments from editors, when you receive them. These records will prevent inadvertently sending the same material to more than one place, or sending more than one package to the same publisher at the same time, or sending the same material to the same publisher twice, and so on. You can also use these records to estimate a publisher's reporting time, and to decide which poems to send the next time.
Check with the publisher before sending simultaneous submissions (that is, sending the same work to more than one market at the same time). Many publishers do not accept them. If you send a simultaneous submission, mention it in your cover letter. You do not need to specify to which other markets you're sending.
If you are submitting to a periodical, send four to six poems at one time, unless their guidelines specify otherwise. Most periodicals now have websites (check our periodicals listing) with their guidelines posted.
Unless the manuscript is specifically for a book publisher, type each poem separately and do not number the pages in sequence except for individual poems. If you are submitting to a book publisher, check their guidelines (find them in our publishers listing) to see if they prefer your entire manuscript or a selection from it.
Many print periodicals still don't accept emailed submissions. Some electronic periodicals don't accept submissions by post. Again, check their guidelines.
When submitting by post, always use plain white, 8 1/2" x 11" good bond paper. Type on one side of the paper only. All margins should be at least one inch and not more than one and a half inches. In the upper right hand corner, approximately one inch from the top of the paper, type your name, the poem's title in quotation marks, your mailing address, the rights you are offering for the poem (usually first North American serial rights) and, if you like, the number of lines in the poem. Poems which continue to the next page should have "continued" typed under the last line on the page. At the end of the poem, drop three spaces and type "The End" or "-30-". Alternatively, include in the information in the top right-hand corner the exact number of lines in the poem. Do not bind your manuscript in any way, except with a paper clip.
Computer printouts are fine, but be sure to separate the pages if using a roll of computer paper, and make sure the paper is good quality and the type is dark and letter quality (laser or high quality inkjet). Photocopies are okay only if they are excellent reproductions. Manuscripts must be easy to read, clean and clear.
Always send a cover letter with biographical and submission information, and a self-addressed stamped envelope (SASE) or enough postage to return your manuscript. For foreign submissions, send an international reply coupon or sufficient return postage from that country. Most postal services now allow online ordering.
Some periodicals which do not accept emailed submissions will reply by email; for them, simply specify in your cover letter your email address and that they may consider your manuscript disposable. In this case (and only in this case) you may dispense with the SASE.
When submitting by email, follow traditional manuscript guidelines as far as possible; don't be seduced by the informality of the medium into being sloppy in your presentation. Check the publishers' guidelines for how they wish to receive your work - some specify the program it must be saved as, while others don't accept attachments.
Publishers used to require that all manuscripts be double-spaced, but most publishers now accept single-spaced poetry submissions. Find out the publisher’s requirements.
Allow from three weeks to four months for a reply, if the publisher does not have an established reporting time. If you do not receive a reply in a reasonable amount of time, write a letter of inquiry. If you do not receive a reply to your inquiry, write a second letter withdrawing your manuscript from consideration, and send the work elsewhere.
If you are interested in writing for children, the first thing to do is read lots of children's books, and not just what you read as a child, but contemporary books hot off the presses, too. Become familiar with which publishing houses are producing what genres, so that when you send off a manuscript, you can be sure that you've given it to somebody with experience and interest in the type of work you do.
- Do you need an illustrator?
No. Publishers like to choose an illustrator themselves -- and they also don't like to reject a good manuscript because they don't like the illustrations, or vice versa. Send your manuscript, and if it is accepted, the editor will choose an illustrator whose style she thinks will suit your work.
- How do you submit your book manuscript?
No matter what type of manuscript you're submitting, always make sure it is clear, error-free, double-spaced, and on white paper. Leave a one and a half inch margin on the left and one inch margin on the right. The top and bottom margins should be one and a half inches. Use 8 1/2" x 11" paper. Never send your only copy. Computer printouts are okay as long as they are separated into individual pages, on good quality paper, with dark, letter quality print (either laser or high-quality inkjet). Secure your manuscript with a paperclip, not a staple, and number the pages. Always remember to include a self-addressed stamped envelope, or sufficient postage to return your work.
To submit a manuscript for a children's book, follow the same procedure you would to submit any other type of manuscript. Find out if the publisher likes to get a book proposal first, or prefers query letters. Research the publisher's backlist to make sure that they publish the type of material you're writing, and that you like the way they present their books.
Cover letters should include autobiographical information such as past publications, qualifications that are relevant to the subject matter of your book, and any pertinent details about your life or work. Include the sort of information you see on book jackets. You should also mention the title of your manuscript and whether or not you are submitting it elsewhere. It can't hurt to mention a few books you have liked by that publisher.
- Picture Books
A picture book is a book where the story is partially told by the illustrations, generally aimed at younger readers. If your manuscript is for a picture book, then usually you would send the entire manuscript with a cover letter. Send the story in regular manuscript format, without page breaks, but know where page breaks might naturally occur. The printing process dictates that most picture books are 24 or 36 pages long: when planning the length of your manuscript, allow a few of those pages for publishing information.
- Chapter Books
A chapter book is a book with few or no illustrations, split into chapters, generally for older children. Chapter books are submitted in the same way that a work of fiction for adults is submitted. You should send a book proposal, including a cover letter, synopsis and sample chapters.Your proposal should be approximately one quarter of the length of your entire manuscript. See our fact sheet Writing a Book Proposal: Fiction for more details.
- Poetry
A book of children's poetry should be submitted with a cover letter in the same manner as a picture book. Each poem should be typed on a separate page.
- Non-fiction
Children's non-fiction should be pitched to a publisher before the manuscript is sent. Many writers wait until they have an interested publisher before they begin writing. Send an outline with a cover letter. The outline should indicate your overall approach to the subject matter and information about each chapter or section, and should be about two pages long.
- Textbooks
From time to time, educational publishers review old textbooks or produce new ones, and often require additional material. Contact individual publishing houses to find out their requirements. Do not send unsolicited material.
- Magazines
Most magazines for children published in Canada are open to unsolicited material and proposals for articles. A few magazines only publish material written by children, and some have specific interests or age levels, so make sure you know a magazine's guidelines before sending them anything. Never submit the same item or idea to different magazines at the same time.
Romance novels written mostly by women for women represent a good chunk of all mass market paperback fiction sales. Romance readers love their romances, some (more than you'd possibly ever think) read one a day, most one a week. Because romance writers write for such a large and loyal audience, there is indeed money to be made.
A great number of romance writers earn their entire living (comfortable) with their writing. Some even earn enough in six months to take the other six off. Unless you're a journalist on staff employed by a daily, it is almost unheard of to earn a living in Canada as a writer.
Before you swear your prayers have been answered and cry hallelujah, it's important to know the romance writing industry is very competitive. Only 1% of all manuscripts submitted in any given year are published. You must have drive, skill, discipline and a knack for romance to succeed.
It is necessary to be familiar with the romance genre before attempting to write a novel. If unfamiliar, pick up a romance and read. Then ask yourself, did you enjoy reading the novel? If not, it will be frustrating and tedious to write one. If so, then read, read, read romance novels.
You will notice that there are many types or lines of romance. Take Harlequin for example, lines include: Romance, Presents, Temptation, Intrigue, Superromance and Historical. Decide which line best represents the kind of romance you want to write. After you've decided on a line or lines, write the editorial department for a tip sheet. Publishers are happy to provide these tip sheets as romance writing has perhaps the strictest of all writer guidelines.
Harlequin has a information booklet available to writers who want to know more about the company, general submission format and line guidelines. Harlequin, which started in Canada, is an international company with editorial departments for their various lines in different locations, ie: Temptation (Canada), Intrigue (USA) and Presents (UK). It is important to do your research before you submit.
Harlequin Enterprises Limited
225 Duncan Mill Road
Don Mills, Ontario, Canada
M3B 3K9
Tip sheets may seem confining at first, but there really is quite a bit of room left for the writer once certain criteria have been met. In fact, tip sheets let romance writers off the hook on fiddly details that other writers grapple over. Such details include: book length, target audience, story type and tone and best of all, story outcome. The ending will ultimately be yours but you'll always know it will be happy, happy, happy.
Romance novels are comforting and dependable because of their happy endings. Romance novels have, however, seen change over the years. To write romance, you must keep up with the times. Women are not sunning poolside on chaise longues waiting for their doting CEO/ bodybuilder neighbour to appear with peppermint foot lotion in hand. Your heroine isn't sunning because she's afraid of UV rays. No, she's at work, then she'll go pick up her kids at daycare and later that night speak with her lawyer about The Divorce. OK, so romance needs to be a little sugar coated but characters cannot be cardboard cutouts of times past. Your heroine should be a strong individual, not someone looking to be saved. Your hero shouldn't be all-macho or all-knowing and...
For on-going information on romance writing, join a romance writing organization such as the Romance Writers of America. This organization is US based but has many Canadian members, and an Atlantic Canadian chapter.
It will only prove an exercise in frustration if you attempt to write science fiction unless you like to read it. You must know this genre inside out to succeed in this highly specialized market. Reading and enjoying science fiction is a step in the right direction.
Before sitting down and tackling a novel, why not test the market with a short story. Less of an investment is involved, not to mention the fact that trade book publishers look favourably upon writers who have previously been published and have a track record.
Most large newsstands carry a wide variety of SF magazines. In reading several of these magazines, you'll find one or more that best suit your stories in style and theme. You will notice that most SF magazines are American as SF is still mostly an American genre. Look for the markets/competitions section in these magazines. If such a section does not exist but you like the magazine you're reading, send for their guidelines. Always provide a SASE (self addressed stamp envelope) with your request.
Science Fiction is becoming more and more popular, just look at recent hit TV shows and films. These shows have creators and writers. There is more of a demand than ever for those who know and create SF.
Current SF is more imaginative and interesting than ever. Work should always be original. No more cliches or stereotypes. Yes, even aliens have been stereotyped!
This writing is highly technical in style and content. Practice writing stories every day to learn your craft. You must have strong writing skills to tackle this complex genre. Strong and polished narrative, characters and dialogue are a must. Even SF characters should be real or perhaps better put, believable. Images should be visually interesting and exciting. A dynamic plot with conflict is essential.
It is also important to do the required research. You must be able to give scientific explanations. The more you know about the physical and social sciences, the better.
Finally, hook up with other SF fans and writers; in Halifax contact the Science Fiction & Fantasy Society Falcon. Falcon hosts an annual convention with events including trivia and costume contests, scavenger hunt and cabaret. You'll also have the opportunity to showcase your work, take part in the annual short story contest and check out what's new in the marketplace.
Falcon
PO Box 36123, Halifax NS B3J 3S9
Ph: (902) 445-2281
Fax: (902) 445-3311
Email: elise@ns.sympatico.ca
Some Canadian science fiction and fantasy markets include:
On Spec Magazine:
Publishes short fiction, postcard stories and poetry. Box 4727, Edmonton,
Alberta, Canada T6E 5G6. Click here for their writers' guidelines.
Parsec Magazine: Publishes fiction and articles related to science fiction or fantasy. Send to: Plaza 69 Post Office, 1932 Paris St., P.O. Box 21019, Sudbury, P3E 6G6.
by Sue Goyette
Starting a project is easy. You’ve got rocket fuel for inspiration; the world, like a big wagging dog, lies at your feet for a belly rub. Ideas ricochet and spark off of each other like a disco ball. There is a grand all-you-can-eat buffet of possibilities laid out before you. You’re wearing your lucky socks, you’ve found a feather, the moon is in your house, the magic eight ball says: it looks good. And so you go for it. You create a new file, open a blank notebook. And you begin. Anyone can do it. This is truly the easy part.
Finishing something, on the other hand, is an art. It’s uphill and it’s foggy and it’s bottomless. Your compass needle points in every direction and the seasons flash by your window at a dazzling speed; you come out of your room wearing wool socks and are mystified to see a blaze of garden. But let’s say you’ve done it. You’ve herded the population of your story to the wide clearing of ever after. The last bird has flown from your tree of poem and all you’re left with now is sky. And a manuscript. What’s next? Well, for starters, you celebrate. You have built a neighbourly fence around an era of ideas that now are blooming like a meadow in July. You have written a book. Now, another species of work begins. Getting it published.
This is when you really must research. You prowl every bookstore in town, go to the section the book you’ve written would be shelved and pick up the books you want yours to look like. You make a list of the publishers of these books. You visit their websites and read about their submission guidelines. You follow these guidelines. A complete listing of Canadian publishers can be found here. If you’ve got your sights set on a hardcover bestseller, you visit The Writers’ Union of Canada’s website at: http://www.writersunion.ca/gp_literaryagents.asp where a list of Canadian agents can be found. These are the people who are able to get over the moats of receptionists and mounds of slush piles to get your manuscript in the right hands. You visit their websites and follow their submission guidelines as well.
You’ve also taken workshops and have attended writing retreats. These are the kinds of credentials you should include in the brief bio you send with your submission. Yes, you’ve written a book but more importantly you have begun the long training program that the vocation of writing requires. You’ve invested time in your craft. You are willing to do the work.
This is essentially all you can do. You have edited and shoveled clearer walkways through the blizzard of that first draft. You have asked someone who owes you big time or someone who loves you to read it with the courage it takes to tell you what you have to hear. You have investigated every possibility and have acted on those findings. And now, because you are a writer, you wish your manuscript well and you begin again to write.
by Ian Colford (revised by Joanne Merriam)
- Preparing the Manuscript:
Only submit your work in a form that you would want to read yourself (i.e., no handwritten submissions). Proofread carefully to avoid spelling errors and typos. Don't introduce needless barriers between the reader and your work. Also, make certain that what you are submitting is appropriate for the journal you're submitting it to. Don't send poetry to a journal that only publishes fiction. Don't send children's stories to a journal that aims for an adult audience. Likewise, don't send 10 pieces to a place that prefers 4-6, and vice versa. Read the periodicals' guidelines; nowadays, nearly all post them online.
Read Submitting Your Poetry Manuscript and/or Submitting Your Short Fiction (or Creative Non-Fiction) Manuscript for more details on presentation.
- Postage:
Generally, you should include a Self-Addressed Stamped Envelope (SASE) with your submission. If you don't, you can forget about hearing back from the editors. 48 cents doesn't seem like much, but most literary journal operate on very small budgets, and if they had to provide return postage for every submission that came in, it would quickly put them out of business. Please remember that postal meter stamps are only valid within the city or town where they were issued and are no good for return postage.
For international submission, acquire stamps that are domestic to the periodical's country - these can be obtained online through the national postal services using a credit card. Failing that, include and International Reply Coupon (IRC) which you can purchase from Canada Post, and which run around three dollars each. IRCs can be inconvenient for editors, since they require a visit to the post office, so stamps are preferred where available.
There are exceptions to what used to be the "always include an SASE" rule. Some print journals are now happy to reply by email (check their guidelines if you're not sure), in which case you can simply specify in your cover letter that the manuscript is disposable and include a valid email address. Electronic journals, of course, will always reply via email.
- Cover Letter:
Assume that editors are busy and that like the rest of us they want to get their work done as quickly and efficiently as possible. A brief cover letter is all they need. Thank them for the time they will spend reading, evaluating and (maybe) commenting on your work. Most periodicals find a short bio (no more than four sentences) useful - model this on the contributors' bios you see in the journal. It's not necessary to go into detail about yourself, and don't explain the story or poems that you're submitting.
- The Waiting Game:
Some literary journals receive hundreds of submissions a month. Be prepared to wait for up to four months to hear about your work, maybe longer. Waiting times vary from journal to journal and can depend upon a number of factors, such as how many people read manuscripts, where the editorial office is located, and how the final choices are made. If the sixth month goes by without a response, then feel justified in contacting the journal to ask about your submission. If you inquire by regular post, include a SASE with your letter. However, you should feel free to inquire by fax or email.
- Rejection:
Manuscripts are rejected for any number of reasons, and many of them have nothing to do with the quality of the writing. For example, if you notice that a journal has published cat poems in their current issue, then that journal is probably NOT a good choice to send all those cat poems you've been working on (they've DONE their cat poems for the year). If you write science fiction, then a journal that publishes mainstream fiction probably won't seriously consider it. Most often, however, there is something about your submission that a particular editor doesn't like--and here we enter the murky realm of subjectivity. Each person responds differently to a story or poem. It could be that you've named your hero Fergus and the editor reading your story was tormented at school for years by someone named Fergus. Most editors are intelligent people, however, and should be able to rise above this sort of thing.
If your work is rejected (and keep in mind that 99% of all submissions are rejected), this could be due to: a) a weakness in your writing, b) the tastes of the reader, c) a backlog of accepted manuscripts, or d) some other reason. The thing to keep in mind is that there are factors beyond your control that you can't hope to anticipate that will prevent a particular story or poem from being accepted by a particular journal. These considerations aside, you can control the quality of the work you send out. Some journals return comments with the rejected manuscripts. This can be helpful, though, admittedly, not always. The thing that one reader objects to in your work might be the very thing that another reader finds most appealing.
- What you can do:
Try to distance yourself from your writing. This can be difficult if you've just finished a piece. However, when you receive your story or poems back from a journal, even if there are no comments attached, read over the work with a clear, detached eye. After the passage of many months you might spot something immediately that you were unable to see when you submitted it.
Try to find people to read your work whose judgement you trust. The trouble with comments from journal editors is that you know nothing about these people as individuals. If you can, join a writing group with people you respect and/or admire.
Have faith in your work, but not too much faith. Most journal editors will not commit themselves to a piece of writing by declaring, "We will publish this if you change such-and-such." Maybe they're interested in your submission, maybe not. But don't be fooled into thinking if you change this one little thing, then the journal will accept it. The best thing to do is to spread your work around to many journals and get many comments from many readers. If they all make the same criticism, then you can be fairly sure that this aspect of the work is something you should consider changing. More often than not, however, the comments will range far and wide and will touch on various facets of the work. In this case, sift what you can use from these comments and ignore the rest. On the other hand, don't fall into the trap of believing your work is perfect and refusing to change a word. This will only lead to heartache and, quite possibly, madness.
- Acceptances:
Learn to live with having your work published in journals and read by many anonymous admirers. It's rough, but all journals need to fill those otherwise blank pages with words. However, bear in mind that remuneration for your work will likely be meagre or, in some cases, nonexistent. Learn to accept that as well.
This article was originally written by Ian Colford, and last revised in February of 2002 by Joanne Merriam. Ian was Editor of the literary journal Pottersfield Portfolio for several years.
by Lesley Choyce
Publishers are often so besieged with manuscripts or book ideas that they can't always devote considerable time to every project that comes their way. Therefore, a writer should be sure to submit a project to a publisher who would be genuinely interested in that sort of book. For example, it would be foolish for a poet to submit a book of poetry to a publisher who does not publish poetry...but it happens all the time.
If you go to a book store and do some shelf-research, you'll likely locate a publisher who could be interested in your manuscript. In addition, you can request current catalogues from the publisher.
Editors don't have loads of time for responding to telephone enquiries, nor do they like to, but a single one page letter about your project to one or several likely publishers might elicit a quick response to let you know where the interest lies. Don't send out a dozen form letters. Send a personalized proposal, along with a few details about your own expertise and writing experience, plus a self-addressed stamped envelope. You might well get a quick initial response saying, "Yes, we're interested. We'd like to see more," or simply "No, try somewhere else..." possibly with a suggestion. Keep in mind that the key element here is to avoid wasting your time and that of the editor. And don't be offended if someone is not interested. Publishers tend to be very specific in their tastes.
Most editors expect to hear from writers with some sort of track record. For example, if someone submits a short-story collection to a publisher without ever having gone the route of submitting individual stories to the many literary magazines, and finding some initial publication, you're not going to find success with the book publisher
Before submitting any manuscript, it should be as polished as possible. This means several rewrites and major proofreading. The submitted copy should be typed (on one side only and double spaced) on 8 1/2 X 11" white paper. A title page should be included with your name, address, phone number, word count and rights being offered. Each page of the manuscript should have the author's last name in the upper left corner and the page number in the upper right.
Pages should be submitted unbound and mailed in a sturdy padded envelope or box. A more detailed letter describing the manuscript, your audience and your own background should be included. It might also be helpful to state why you are submitting to that particular publisher. Editors are always happy to know that a writer has done his homework. Include a sufficiently large envelope and necessary postage for return of the manuscript if it is not accepted. This is essential.
Also, never send your only copy. Publishers are not adverse to receiving clean photocopies or computer generated text. However, you should state in your letter if you are submitting exclusively to one publisher or several. Publishers prefer that writers do not make multiple submissions. However, this is not always realistic. A novel of mine, The Second Season of Jonas MacPherson, went to 15 publishers before it found a happy home. Since the average response time for that novel ranged from six months to a year for each response, it could have taken me seven to fifteen years before Jonas found a home. So clearly there are times when multiple submissions are reasonable.
You might include a SASE postcard for the editor to return to say he has received your manuscript. That will keep you from guessing. I suggest you do not send anything registered because if a publisher is on a rural route (as I am) he might have to drive twenty miles to pick up the goods at the post office. And if you send by Priority Post, check the little box indicating that the item need not be signed for on the other end.
In your letter to the editor, you should note what form the manuscript is in... that is, state whether or not it was produced on a word processor and, if so, name the software. In general, most publishers now expect to work with an accepted manuscript in some computer form - most likely WordPerfect or Word. That way an editor can go right to work on the text and ultimately it can be typeset without complete re-typing. If you are not writing on computer, you either should start or be willing to pay someone to have your manuscript put on disk.
Have realistic expectations as to what you might hear. An outright rejection is not meant to be cruel. It doesn't necessarily mean you are a lousy writer or that your book idea stinks. Also, good writing takes a tremendous amount of practice. Many writers write several "books" before one is published. That was certainly my case. Many projects need continual refinement before they are ready for publication. So take any critical comments to heart if an editor takes the time to give you a detailed commentary. At the same time, if an editor doesn't think the project "is right" for her, she may simply state that and you should continue your search to find the right one.
Response time varies. If I know a project is not for me, I try to return it quickly with little comment so the writer can get on to the next likely publisher. Three months is a fair time for response. However, it could be much longer. A gentle note of enquiry in the mail beyond the five month period would not hurt. However, badgering phone calls will probably do more harm than good. If no response at all is heard after six months, I think a writer should feel free to resubmit elsewhere. Keep in mind that getting published is extremely competitive and that editors in small presses tend to be overworked. Be patient.
It is a tough, often discouraging business and if you have a project you believe in, you might simply have to persevere. Or you might have to face up to the fact that the book you have written does not have a market (this is sometimes the case with even fine works of writing). If you fail to find a publisher, share the work you've written with people around you who care; it might be very valuable to them. Or, if you feel so driven, pay a printer to print your book and either give away copies or sell them yourself. But please, don't get suckered into the "vanity presses" like Vantage and Carleton Press (both in New York, there are others elsewhere) who "accept your book for publication" but want big bucks to "publish" it.
The job of the legitimate publisher is to take a writer's work, prepare it for public presentation, then market it to a reading audience. Writers can certainly be expected to get paid for their work. At the same time, every publisher will appreciate an author willing to put the maximum effort into making the editing/publishing job easier. That means a highly polished manuscript ready to be evaluated.
With a background as a publisher (Pottersfield Press) and more than 40 of his own books published by other publishers, Lesley Choyce has extensive knowledge of the publishing industry.
(from Eastword, November/December 1999)
It's always exciting to find out that you've won a contest -- that your work was chosen above that of your peers, as especially good. The glow from an affirmation of your talent like that can last weeks -- but for many writers, it fizzes when you find out, after the fact, that the prestigious contest was really just a scam, and that you were only one of hundreds of 'winners'. Below are some tips for telling the gold from the dross.
- Fees. You'd think that legitimate contests wouldn't charge fees, but this is not usually the case. Contests are expensive to run, what with the costs of advertising, postage, photocopying, staffing, judges, and so on. If a contest charges an up-front fee, they probably aren't gouging the writers at the other end. Still, you should receive something for your trouble. Many competitions include a copy of the winning work, subscription to the hosting magazine, or, like ours, a manuscript evaluation. Magazines can most easily bear the costs of running a contest since the advertising is free, staff is already being paid, and the entrants swell their subscribers list, allowing the magazine to charge more for advertising and, in some cases, maintain their eligibility for Canada Council funding.
- Copies. Many scams advertise that they don't charge fees, but in order to see your winning work once it's published, you have to pay - often exorbitantly. Legitimate contests will always return at least one copy, and usually two, of the publication in which your winning work appears. Some contests include a copy of the resulting publication in the entry fee, so that even those who don't win get something in return.
- Copyright. Most contests - even scams - won't claim copyright of your work, but a few do. Even if the contest is otherwise okay, don't enter! As a general rule, contests should only claim first North American (or Canadian, or European, or wherever they distribute) serial or anthology rights. This means they have the right to be the first to publish your work in a serial publication or anthology, distributed in North America (or wherever).
- Reputation. Have you ever heard of the hosting organization? A fancy sounding name can be misleading. The National Library of Poetry is a case in point; not a library, they exist solely to run competitions and profit from the resulting anthologies, which are bought only by the hundreds of 'winners' and their families and are never available at bookstores. On the other hand, if The Writers' Union of Canada or the League of Canadian Poets (both established organizations which work on behalf of writers) are running competitions, you can be confident that their terms are fair. Likewise, if you're familiar with a magazine and they run a contest, offering a subscription and possible publication, it's probably worthwhile to send something in -- especially if you'd intended to subscribe anyway.
Keep the above considerations in mind when reading a contest advertisement -- and phone us at the office if you're still not sure. We can also provide lists of poetry markets, as well as a tip sheet outlining proper manuscript format. See the Contests section for current competition listings.
