There is an agent in the family!

Not for me yet -- I still have to finish that novel -- but my husband landed an agent for his supernatural thriller. Hoo, hah! I can take some credit because I wrote the query for him, since the one he'd written kind of rambled all over the place. After studying 700 hooks on Miss Snark's blog, I had a better idea of how to compose a query for him, and the first mailing to 10 agents resulted in about half that many requests. The agent who picked up the project has just started shopping the manuscript around. One rejection from one well-known publisher, another highly reputable publisher asked for a look. We hope there will be more good news soon.

Get your NaNo engines in gear

The National Novel Writing Month forums just closed for renovations prior to the October 1 opening date for registration. NaNo addicts like me are waiting with fingers poised over the keyboard, ready for NaNo pre-plotting during October, and the race to 50,000 words in November. If you've never tried it and always wanted to, how about this year?

Ah, neglect

A pity when one gets too busy and blogging falls by the wayside. It's not like I haven't been writing these past months. I have, indeed -- an entire dissertation's worth of writing (which can be read here, in case, you know, you have insomnia or something). A novel-length piece of work that was probably the most difficult writing task I've tackled yet. But it's done, and I shall march in commencement on Sunday, and no one can take it away from me. Yah!

I've also got a nibble from a publisher on a new children's science book. It looks promising, so I'll keep my fingers crossed.

Critique Circle - So far, not bad

There was a time, in the golden long-ago of publishing, when a fresh new author who showed sufficient talent might be nurtured along by a good editor who, in those halcyon days, actually edited.

Times have changed.

Editors fret about it, but there's no denying that actual editing is only a small part of what editors do any more. Much of what they do is manuscript acquisition, and the expectation is that those manuscripts will come in clean, shining, and ready to publish.

So who helps the author edit the manuscript? An agent?

Hahahahah.

To make a living sufficient to support even a modest apartment in New York, agents have to hustle constantly, reading queries, reading pages, hoping to find something that's marketable. It's a tough job. Editing? Not what they're paid for.

So who gets to edit your priceless prose?

You do, author.

Increasingly, the advice on writer's boards is: "Find a critique group." Fellow authors may or may not be expert critiquers, but several sets of fresh eyes may be just what's needed to spot the typos, the long passages of exposition, the boring backstory, the howlers, and other writing mishaps that you can't find because you're way, way too close to the words. There are many, many critique groups on the web.

One that I decided to try out and report on is Critique Circle.

It works like this: You sign up for free. You can't read any works at all until you sign up. Once registered, you get two free credits. You need at least three credits to submit your own work. You earn credits by critiquing other people's work. Since you're new, you can have a newbie helper look at your critique before sending it. When you have enough credits to spend, you submit a piece of writing (short story, chapter, etc, preferably under 4000 words) to the Newbie Queue. Your work goes up with the next critique round, which happens one a week. People read your work, critique it, and you get to read the critiques as you receive them. You rate the critique and send a nice thank you note.

You can submit up to three pieces, one at a time, to the Newbie Queue, or after your first newbie critique you can submit to the regular queues. The advantage to the Newbie Queue is that your work goes up at the next critique round. In the regular queues, only a set number of pieces go up at any one time, so if you don't get your work in quickly, you may have to wait another week or two for your next critique. But if you have a piece up for critique already, it will cost you double the points to have a piece waiting for the next queue. Not a problem if you are an active critiquer, but if your time is precious and you can't spare time for a lot of critiques, you may not be able to race through your novel at a chapter a week.

What makes or breaks a critique group is the quality of the critiques. For newcomers, there are examples of good and bad critiques -- if newbies read them. Newbie helpers will assist with early critiques -- if newbies make use of their services. Those are big "ifs."

So far I've had two pieces critiqued: a picture book and the first chapter of a fantasy novel. They've gathered eleven critques. Two were too short to rate, but were helpful short comments. One was terrific -- quiet long and detailed. Five were very good. Two were pretty good. And one was, "Would you please discuss the world I created instead of the cliche D&D pseudo-medieval-vaguely-Celtic world you keep trying to force it into?" The critiques confirmed what I thought might be a problem with the novel chapter (too much backstory) and also picked up some problems I wasn't able to spot (of the "Okay, what is it the main character doing here?" variety). The not-so-hot hotshot who gave the poor critique said "I don't get this, this is stupid, this doesn't belong in fantasy" to the unique features of the fantasy world I'd created, and brushed off everything else as "cliche."

Can't win 'em all. At least it's free.

There are some writing tools that I haven't explored too much yet, though the manuscript submission tracker might be useful. There's also a discussion board that I haven't delved into too much (I waste too much time at discussion boards already), communal writes to a given writing prompt, and a bookstore where Critique Circle authors can list their published books. The titles link to Amazon and the links contain an associate code, so this appears to be not only a showcase for authors but one way that Critique Circle generates income to support the site.

The other way they generate income is to offer a subscription membership. For $34 per year, there are raft of extra features and services for premium members, including setting up private queues so your fans can critique a continuous series of chapters of your latest hot novel, or fans of a particular narrow genre can trade stories with others who appreciate what they are writing.

Is it worth it? So far I'm going to say yes, it is. I have a tendency to fall in love with my own words, so hearing others say, "You know, you could have said this in half so many words" is helpful. One of my goals with my novel is to trim it by about 1/4 to 1/3, since it's already too long and I haven't even finished the ending yet. "In love with my own words" doesn't even begin to cover it. Having other readers is a tremendous help in spotting what needs to be said and what doesn't.

Whether it would be useful for you depends on how good you are at self-editing.

Publishing: Where Men are Men and Women are Wives and Daughters

The other day I was on some discussion boards, talking with Momisafan, reading comments from Momofagreatkid, trading ideas with TiffanysMom and BradsGurl. And ya know, I didn't notice anyone going by BradsDad, TiffanysBoy, or Dadofagreatkid.

You know what I'm saying here? I see a lot women online who identify themselves not as themselves but as their relationship to others. I don't see a lot of guys doing the same.

Maybe it's a social trend that somehow I haven't been privy to. Maybe it explains the rash of "woman as relationship" book titles I've been seeing on the shelves.


Here are just a few:

The Abortionist's Daughter by Elisabeth Hyde

The Time Traveler's Wife by Audrey Niffenegger

The Bonesetter's Daughter by Amy Tan

The Minister's Daughter by Julie Hearn

The Lightkeeper's Daughter by Iain Lawrence

The Memory Keeper's Daughter by Kim Edwards

The Kitchen God's Wife by Amy Tan

Mozart's Wife by Juliet Waldron

Rasputin's Daughter by Robert Alexander

So when you spot a trend like that, you wonder if it's really a trend, or if you're just noticing it because you're looking for it. Okay, to be fair, then, I figured I'd look for the So-and-so's father, husband, or son, and see how many titles I could find.

It took a lot of looking. This was all I could scrounge up between Amazon.com and Audible.com:

The Son of Tarzan by Edgar Rice Burroughs

Son of a Wanted Man by Louis L'Amour

The Ambassador's Son by Homer Hickam

The Keeper's Son by Homer Hickam

A Son of the Middle Border by Hamlin Garland

Fortunate Son by Walter Mosley

Notice I had to go back a bit for these titles, back to the era of "Son of Godzilla" and "Son of Hercules" and earlier. And the last title doesn't even tell us whose son is so fortunate while the second to the last is about the fellow's geographical identity. Lots of books about women who are identified by their relationship with someone else. Few books about men characterized in the same way.

I'm not sure what's up with all this. But I've noticed it, and it set me to wondering.

How NOT to pitch to an editor

This article from the Publisher's Weekly website shows the sales pitch from the other side of the desk -- or funeral, examination table, operating room, and other highly inappropriate places where aspiring but oh-so-clueless authors have pitched their manuscripts to hapless (and sometimes helpless) editors: Weddings and Funerals and Everywhere in Between.

Consider yourself warned.

How to get published, part 4: Send it off, start afresh

At last, we reach the final installment of this series. So far we've covered creating an actual piece of work (a factor that a surprising number of would-be writers tend to never get around to doing), editing the work, and finding someone to send your work off to.

Now, it's time to send your work off. But first, you must put it into a format that an agent or an editor wants to look at. You need to format the manuscript, then set about writing the dreaded query, cover letter, and either a synopsis (for novels) or a proposal (for nonfiction).

Manuscript formatting
Your manuscript must be machine-printed, either an old-fashioned typewriter (which I can't recommend personally, but some people are attached to theirs, and is fine so long as the keys are immaculate and the ribbon is crisp and fresh), or a modern word processor with an inkjet or laser printer. No exceptions.

Use a standard serif typeface, such as Times, Times New Roman, or Courier. Do NOT use fancy script, gothic, or any other typeface, even for the title. Use size 12 font. Double space. Leave at least 1" margins. Some editors like 1 1/4" margins on the right and left. Yes, it uses more paper, but it leaves more room for marking up the manuscript.

Use only plain white standard paper, the same stuff you put into copy machines. Don't go all out on bright white, glossy, cotton fiber, or heavy 24 lb stuff. It won't help. And do NOT go for any color other than plain white. Color not only won't help, it will hurt.

Put your name, address, phone number, email address, and the URL of your website if you have one (and if it's your author site, not the one with pictures of your dog or your last vacation) on the upper left-hand corner. If appropriate, put an approximate word count on the upper right-hand corner. This is often done with children's books. Space down about 1/3 of the way down the page, and put the title of the book, centered. Often it is done in all caps. Underneath, put "by" and then your name as you want it on the cover of the book. If you plan to publish under a pseudonym, you can put it here, or put, "Daphne Daisyfield (writing as Brick Quartermain)."

On the next page, go down about 1/3 of the way down the page, type "Chapter 1," then go down another two lines and begin your text.

Put in a header that contains the title (or a shortened version), your last name, and the page number. Or the page number can go in a footer at the bottom of the page. Just be sure that every page is numbered and identified as belonging to your book, just in case the editor's assistant drops a stack of manuscripts down the stairs and has to sort everything out again. It happens.

Query Letters
Read the submission guidelines very carefully. Some publishers prefer that you send query letters before you send anything else. Some want a query and sample chapters. Be prepared to send them what they want. Have everything you need prepared ahead of time: query, cover letter, synopsis, and all.

A query letter is a letter inquiring whether the agent or editor would like to read your book. Agents and editors get floods of these every day, so your task is to make your query letter as intriguing as possible without stepping out of the bounds of professionality. Your query letter is your sales pitch. It's your elevator speech: imagine that you just got into an elevator with that very same agent, who turns to you and says, "So you're an author -- tell me about your book." Quick! You have between now and the 20th floor to tell the agent what your book is about! What's THE most important point that the agent should know about your book? That's the substance of your query letter.

The way to learn to write queries is by reading many, many, many examples. Read the blurbs on the backs of books. Read what Miss Snark says about query letters in her Snarkives. Read How to Write a Successful Query Letter on Writing World.com. Read this example on Flogging the Quill. Read this example on Preditors and Editors. Get your mitts on a copy of How to Write Attention-Grabbing Query and Cover Letters by John Wood and How to Write Irresistible Query Letters by Lisa Collier Cool. Study these, then try submitting your query to Evil Editor, if ol' EE is still allowing people to do so, for a thorough rip 'n tear.

Cover Letter
A cover letter is the letter that accompanies your manuscript or sample chapters. If this is the first contact you are making, the cover letter is identical to the query letter. It's a sales pitch. If the agent or editor responded to an earlier query by asking to see your writing, the cover letter thanks the agent or editor for their response to your letter of such-and-such a date and for the opportunity to send the person your work, notes that said requested parts of the work are enclosed along with an SASE for their convenience, thanks them for their time, and says you hope to hear from them soon. Enclosed in the package is exactly what the person asked for, no more, no less, no bribes, no chocolate, no racy pictures.

Synopsis
The most dreaded part of novel writing is the synopsis. In under five pages, single-spaced, present tense, you must summarize your work AND make it sound so fascinating that the agent or editor can't put it down. Sometimes the synopsis must be even shorter. Some agents are so busy they don't want to see an synopsis longer than a page. Find out how long it needs to be and send exactly that. No fair shrinking the font or the margins. Reader can tell, because their eyestrain doubles.

The synopsis is not a place to leave your reader in suspense. Here you reveal all, from the brilliant set-up in chapter 1 to the astonishing twist at the end. The query is a teaser. The synopsis is a spoiler.

As with queries, learning to write a good synopsis requires reading examples and studying the advice of experts. Try Writing the Novel Synopsis by Sheila Kelly, Mastering the Dreaded Synopsis by Lee Masterson, and for examples, Romance Novel Synopsis by Dixie L. Gaspard and Victoria Dark.

For nonfiction, get your hands on Nonfiction Book Proposals Anyone Can Write by Elizabeth Lyon. The full proposal is an involved project that requires a good guide, and Ms. Lyon's book is one of the clearest guides on the market.

Putting it in the Mail
For query letters and anything that's no more than three pages, use a standard number 10 envelope. For short manuscripts, such as children's picture books, use a large manilla envelope that will allow you to send the manuscript flat. Your SASE can be another manilla envelope with enough postage to send the manuscript back, or a number 10 for a reply, with instructions in the cover letter to recycle the manuscript. For novels and nonfiction books, get a padded envelope large enough to slide the manuscript into easily without cramming it. Get the self-sealing bubble-wrap kind, not the kind filled with shredded paper that has to be stapled and gets paper fluff all over when the staples tear out. Enclose your manuscript and an SASE for replies. Take the package to the post office to get it properly weighed and to make sure you put on the right amount of postage. Don't take a chance on your package arriving postage due.

It's not an ending, it's a new beginning
Now that your manuscript is in the mail, don't go all neurotic waiting for a reply. Get busy on your next project and get that in the mail as soon as possible. Then the next, and the next, and the next. That's the only way to stay sane while waiting, and the only way to bring about the writing life you've been dreaming of.

Now get writing!

How to get published series

• How to get published, part 1: You must write something
• How to get published, part 2: Self-editing "Re-vision"
• How to get published, part 3: Finding an agent or editor without getting burned