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PI058021 2. Don’t send off your submission and immediately follow up with a "did you get it?" email.

I really shouldn’t have to say it, but it happens all the time. Give the publisher time to respond. Many publishers will tell you how long it should take to get a response to you... but NONE of them will say "43 seconds".

Just don’t do it. If you feel you must write the email, do. Then delete it, or que it for delivery in a month. If you think something went really wrong, wait a few days and then follow up with a polite, professional note requesting confirmation of receipt. That’s it. Don’t engage any further unless engaged first. Then be patient. Editors, and agents, deal with a tonne of email and alot of that is submissions. It's hard work. Give them the time to do it. If you continue to pester them, you'll get labelled "high maintenance", which is a valid reason for rejection but has nothing to do with the quality of your work. I've certainly used it as a valid excuse. I know editors who've done it. Authors face enough challenges to publication... don't make this one of them.

Last Updated (Tuesday, 02 February 2010 22:58)

 
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1. Read the Submission Guidelines of prospective publishers.

READ, don’t skim. Make notes if you need to, then FOLLOW them to the letter.

Sounds like it should be a simple thing--so simple I shouldn’t even have to write it, but it’s a major pet peeve with most of us publishers. We spend a fair amount of time trying to articulate what we are looking for, and that might not be the same thing as the next publisher. There are two things to really pay attention to: WHAT the publisher wants, and HOW the publisher wants it. Get one of those two wrong and you’ll find yourself automatically in the reject pile. Each publisher will have slightly different requirements. That means you may find yourself tweaking your manuscript over and over for the submission process. That is simply part of the "job", so accept it and do it. It shouldn’t be too onerous. (publishers are fairly consistent in how to submit, generally speaking--there shouldn't be anything too outrageous in their requirements. If there is it should raise a red flag.)

Let me repeat: FOLLOW the publishers instructions to the letter!

We get manuscripts all the time that are completely inappropriate for what we publish. Science textbooks, religious dogma, poetry, kids books... all sorts of things that are just not what we do. So all it does is waste our time sending an automatic rejection. Plus publishers sometimes change their needs to fill a hole in their program, so last week they may have been accepting book type X and today they are not. That’s simply part of the process. Some publishers only allow submissions at a particular time of year, or not at all. Respect their guidelines.

Publishers are looking for something specific. That’s not to say we won’t sign up something outside of our general guidelines if there are valid reasons for publishing it. But generally speaking, what we want is what we want, for whatever reason. In a way you have to view it as a competition. Your book is not unique (the story may be, but the fact that you have a book that fits within a specific category means it’s not unique as a product), so while you will want it to stand out on merit, you don’t want it to stand out because it’s inappropriate. Then it just becomes target practice.

Each publisher has specific needs as to HOW they want a manuscript submitted. Even if those requirements seem odd (you know the type... "before submitting your manuscript, please stand and tap your heels together three times while repeating "I am a great author"), DO IT. Follow instructions to the letter. Do NOT deviate. If the publisher wants the submission printed out in a purple cursive font, then do it. Or don’t and suffer an immediate rejection. Most publishers get so many submissions they are quite satisfied to reject a manuscript for non-conformity to all requirements. Now that’s not to say that most have odd requirements. Most don’t. Usually it’s just format type, email or hardcopy, or font sizes etc. Fairly straightforward. But follow those rules because that’s what they are--I know they are called "guidelines" but they are rules.

The key to remember when submitting to a publisher is that you are submitting a proposal for partnership, because that’s what a publishing contract gets you--a partnership with the publisher. Gone are the days when you signed off and then did nothing more than write the book. Now you are a partner in the success of the book. You need to have that mind-set right at the start. If you do, then odds are better that you will survive the submission process.

(Reminder: these are numbered, but are really in no particular order).

Stay tuned for the next installment... Word Count!

Last Updated (Tuesday, 02 February 2010 22:59)

 
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Gwen’s Book Manuscript Submission Rules

A guide to increasing your chances of publication with your chosen publisher.

 

There are some really easy rules to follow when submitting your book for publication. You may find that others have a different opinion as to what is important, but after more than 15 years of reviewing submissions and publishing books, here’s my opinion on the process. Let me re-stress that. THIS IS ALL MY OPINION. I sent out to the Twitterverse a question on what people wanted me to talk about, and this was the number one requested topic. So, in my own way I’m serving up what you want. Do with it what you will, but I do hope that it will help in some small way get you on the road to publication.

 There are a couple of pre-rules you should first address as a writer (you may note that I will use different language in these earlier posts to later posts as we move on to other topics). First is that I will use "writer" as a generic term simply meaning "unpublished writer". Once you achieve publication you move on to the land of "author." This to me is a logical progression, because being an author today involves a lot more than just writing. That though, will come up in later posts.

 

Before Submitting to Publishers: The Pre-Rules

 Pre-rule 1. Write a book--a complete book. If it’s a series, you should have at least a full synopsis for each subsequent book. If this is your "first" book heading out to submission try to sell a standalone--or a standalone with potential. Trying to sell a series is difficult at the best of times and since you are an unknown quantity odds are really good you’ll get rejected if it’s presented as an incomplete series. The risk factor is simply too high for most publishers. Save the series for when you are established as an author.

Pre-rule 2. Edit the book yourself several times.

Pre-rule 3. Run spell check. Seriously. While not error-proof, it should give you a general run through and maybe catch obvious errors.

Pre-rule 4. Turn on the grammar function of your word processor and check to see what it says. I’m not advocating that you change everything to match the programs "rules" (because I really don’t want you to do that), but I do want you to LOOK at the suggestions it makes--the program has good reasons for making those suggestions.

Pre-rule 5. Send the book out to critique groups, peer review, writer’s groups etc.

Pre-rule 6. Re-edit based on feedback.

Pre-rule 7. Put the book away for a period of time. Say 30 days. Work on something else. Don’t peek, don’t tweak, don’t even think about it. Spend your time working on Pre-rule 8.

Pre-rule 8. Start building your community. That means social networking: Facebook, Twitter (forgive me the prod, but go buy Tee Morris’ All a Twitter for help on getting started with Twitter, and start building your website. The sooner you do that, the better. You can do it blog style for free with a number of services out there, but do invest in your own domain name and email address.

Pre-rule 9. Re-read your manuscript and polish it up one last time. Tweak your synopsis (keep it short!).

Pre-rule 10. Decide on your publication route (I’m assuming you are choosing to attempt publication with a traditional publisher at this time otherwise you wouldn’t be interested in submission guidelines), and build a plan to achieve publication, as well as success after publication (a general plan!).

Last Updated (Saturday, 09 January 2010 18:33)

 
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Gentle Horror

Just as I was sitting down and going over my list of potential blog topics, @paul_e_cooley asked an interesting question over on Twitter and graciously gave me permission to reprint it here.

The Dragon Moon Press guidelines specify fantasy, science fiction, and ‘gentle horror’, so the question, “What’s gentle horror?” was probably inevitable.

While I have a soft spot for the phrase, I didn’t invent it. I wish I could say that I did, but it was already in the guidelines as I inherited them. What it means to me is something that I’ve adopted and adapted as I’ve worked at Dragon Moon and become more familiar with the “feel” of our somewhat eclectic catalog.

Sometimes requirements are vague on purpose. Instead of narrowing things down to a rigid box, phrases are open to interpretation specifically to invite you to bring your own personal definitions of them, and to invite you to be creative and push the boundaries.

Publishers, and this probably won’t surprise you, do like for authors to be creative!

By gentle horror, I don’t mean “Attack of the Killer Zombie Cottonballs”. It has nothing to do with Satin [sic] devouring your soul.

To me, what distinguishes gentle horror is the proportion of plot elements to horror elements. I’m open to manuscripts which have scary and suspenseful elements to them, not all-out frightfests or bloodbaths. I’m looking for horror within the contexts of sci-fi and fantasy, not mainstream thrillers.

I’d consider Weaveworld by Clive Barker (one of my favorite books) to be gentle horror. Contrast it with The Hellbound Heart (the book on which the movie Hellraiser was based). There are still plot elements, to be sure, but horror takes much more of a front seat.

Not that Weaveworld is for the weak of heart, either. Gentle horror doesn’t have to be gentle. Phil Rossi’s Crescent, for example, I consider gentle horror, even though it’s a gritty, harsh story with some explicit adult content and nastyness, and there’s very little that’s gentle about it. But contrast it with Jack Kilborn’s Afraid, which will have you covering your eyes with your own intestines before you even realize you’ve ripped them out.

The point is more that Crescent is a science fiction story with a horror element, not straight horror, not a straight psychological thriller, just like Weaveworld is a dark fantasy story with a strong horror element. Gentle horror doesn’t have to be gentle. It doesn’t have to be safe for children; it doesn’t even have to be safe for work. It just has to have horror as a spice, not as the (mystery)meat of the dish.

(original post link: http://www.gabrielle-edits.com/2009/10/22/gentle-horror/)

Last Updated (Sunday, 20 June 2010 16:23)

 
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