Author Etiquette - Reminders on Professionalism

by Jennifer 27. September 2016 09:14

For those of you who have been writing for a while, you are probably going to find yourself nodding quite a bit and maybe mentally adding a few more bullet points to our discussion. Go right ahead. In fact, if you’d like to leave comments, we’d love to hear them.

 

Today’s Author Etiquette is all about professionalism. Professionalism is a certain set of manners and polite actions that indicate you are an adult and a professional in your field. While it varies from place to place, there are some underlying factors such as common courtesy, minding personal and professional boundaries and not being a d*ck.

 

There’ve been quite a few incidents over the past few months that leave many authors with their mouths hanging open wondering what the heck happened to things such as manners and being polite. About every author has stories about unprofessional actions that they’ve witnessed. So unfortunately, it’s time for another reminder on how to act in person, in email and in social media situations.

 

Rule #1 of Professionalism

Mind Your Manners

When we were kids we learned several rules about interacting with other people. It’s mostly things like don’t talk with your mouth full or interrupt someone when they are speaking. But it’s also more complex than that. Manners is a guide on how to interact with people you know and don’t know. It’s a good thing to follow whether you are at a convention or at home on your own computer.

 

Some simple manners to follow are:

  • Respect other people’s space: This has several aspects. While some people enjoy crowds and physical contact, not everyone does. When you meet someone for the first time, wait to see if they’d like a hug or if they offer you a handshake. Watch how close you stand to someone. Most people like a little distance between them and the person next to them but some like more space. Try to watch for little clues such a someone backing away which might indicate they are feeling uncomfortable with someone in their personal space.

  • Don’t interrupt:  In a personal setting such as a conference, there are many varieties of conversations you might want to participate in and interesting people you might want to meet. It’s really easy to get carried away and barge in. However, it’s not a good idea unless you have a good reason. A polite “excuse me” in the pause of a conversation is often enough to let you slide into a conversation especially if you have more information on the subject or if you need to speak with someone.

  • Don’t say things to deliberately hurt someone:  That old adage that states “If you can’t say something nice, don’t say it at all,” should always be kept in mind. It doesn’t matter if you don’t like someone or if you don’t agree with what they are wearing or their looks, if what you say could be construed as hurtful or misinterpreted don’t say it aloud or type it publicly on social media. And always use caution when in a discussion. Expressing your opinion is great, but always remember someone out there is going to disagree with you. When discussing a subject keep the conversation on point, don’t attack the person with the opposing view and don’t feed the trolls.

  • Apologize: Everyone at some point or another has put their foot in their mouth and said the wrong thing at the wrong time. It happens. So long as it is not intentional, it can be forgiven, but you have to apologize. Do it in person or privately and as soon as possible and do be sincere.

  • Say please and thank you: This should be a no-brainer, but some people still have trouble with this one. Most children realize that please and thank you can get you a lot further than a demand, but some adults just don’t get it. Nor do they get the satisfaction of saying thank you to someone who has helped them. This is rude behaviours that are relatively easy to correct. There’s no excuse folks.

  • Share the attention: We all know someone who’s loves being in the spotlight all the time. These people like to dominate conversations and either won’t let anyone else say anything or constantly interrupt the discussion for their own gain. A simple “how are you today?” is a great opening for another person to join a conversation if they’d like to.

 

Rule #2 of Professionalism

Be Aware of Boundaries

The next rule of professionalism is boundaries. We aren’t talking about physical lines such as country borders or city lines, but those invisible lines that separate one person from another. Sometimes they are difficult to see but they are there.

 

I’ve already mentioned personal boundaries above, but let me expand a bit here. Personal space is a very real thing and standing too close can make someone feel very uncomfortable. It’s an imaginary circle around each person. Some have a very small personal space and enjoy having people close. Others prefer a very circle with lots of room. If you are unsure, stand about an arm’s length away. If someone is comfortable they’ll move in closer.

 

Another boundary to be aware of is professional boundaries. Unlike personal space, professional boundaries are more of a set of rules of politeness. Mostly they are things you should, may or do not do while interacting with other authors, illustrators, editors and publishers.

 

Some things you should do:

  • Introduce yourself and what you do

  • Exchange business cards

  • Ask if they have time to speak about business (if that is your reason for contact)

  • Listen and participate in panels and discussions

  • Go back and learn about what’s being talked about/Listen to those with experience

  • Ask where someone got something

  • When emailing, state your name, why you are emailing and if you’ve met in person

 

Things you MAY do (depending on the situation and people involved):

  • Hug or give other signs of affection

  • Exchange personal information

  • Politely insert yourself into a conversation

  • Respond to social media conversations in a polite manner

 

Things you SHOULD NOT Do:

  • Follow editor/publisher to bathroom/elevator/room to ask about rejection/critique/pitch your work

  • Touch someone without permission

  • Demand someone listen to you/tell you something

  • Get angry when author/publisher/editor/artist doesn’t have time to meet with you personally

  • Respond hatefully to a rejection (or respond at all to a rejection)

 

I’m sure that there’s many other things that could fill the page, but these are some that are on the top of my head today.

 

Now to the really fun part.

 

Rule #3 in Professionalism

Don’t Be a D*ck

This really should be self explanatory, but apparently it’s not. These are actions that go way beyond being rude or being socially awkward. This is behaviour that will get you blacklisted on review sites, conventions and in the publishing world. Continuation of these types of behaviors will ruin your career.

 

Seriously, if there’s anything on this list you are considering doing or if there’s any way people will think you are a d*ck because you did something like this. Just DON’T.*


  • Don’t ask a reviewer to make sure they are on their meds/be in a good mood/or not read your book during that time of the month.

  • Don’t threaten or pressure anyone for a good blurb or review.

  • Don’t join in conversations and derail so that it focuses on you, your personal opinion, or hurt feelings.

  • Don’t publically trash a review site or publication because you received a bad review or a rejection.

  • Don’t belittle other authors, artists or publishers because they don’t share your views or have rejected your work.

  • Don’t harassass anyone (sexually or otherwise) in person or online EVER.

  • Don’t touch, ogle, or make rude comments to cosplayers.

  • Don’t behave in a manner that is against convention or group policy.

  • Don’t complain when you act badly and then are called out for your behavior/ejected from a group/banned from event.

  • Don’t act badly and then pull the socially awkward card especially when other people know you act accordingly most of the time.

  • Don’t take advantage of other people. Especially those who may be young, impressionable or unable to determine your motives.

  • Don’t blame someone or something else for your actions.

 

These are all actions that are inexcusable, and we see them happen again and again. Most of these have been from the past few weeks but there are so many more. If you are doing or thinking of doing something on this list, don’t. Authors, editors and publishers speak with each other. If they hear of people acting badly and even worse see someone behaving badly, it will be taken into consideration when they receive a submission.

 

People should be polite to each other and work together to make the publishing world a great place for everyone. Unfortunately, some people missed the memo about being polite and/or respectful to others. With social media, it’s easier for people to misbehave. On the other hand, it’s much easier to spread the news about people being d*cks.

 

Remember, professional behavior is always welcome. If you aren’t sure what that means, watch and learn from many of the upstanding people in publishing. Go to a panel or class that focuses on professional behavior or on authors behaving badly. Read books on manners. Have someone go with you to social engagements to help you with social clues or look over your letters before you send them so that you can have a different viewpoint. Change any behaviours you can that are questionable. It’s difficult sometimes but being seen as a professional is important.

 

*If things like this have happened to you, please accept our sincere apology on behalf of all of the good people out there.

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Author Etiquette - How to be a Good Panelist...or Audience Member

by Jennifer 9. August 2016 14:40

A few months ago we talked a little about conventions. They are great places to meet other writers, editors and fans. While many people go to have fun, others go for business related things such as networking. No matter what your reason for going, it’s also best to always remember to remain professional.

One of those professional opportunities that authors, artists, publishers and editors get to participate in and listen to are panels. Panels are discussions between selected professionals on topics that interest those who attend the convention. They can cover a wide variety of topics such as costume designs or editing. The panelists speak about the topic, answer questions about the subject and try to encourage people into discussions. They are great fun, and you can learn a lot. But what does it take to be a good panelist or a good audience member?

A Good Panelist
First, we are going to look at what makes a good panelist. For those who have been to conventions and listened to panels, you know there are some fantastic ones and some well, not so good ones. At times, it’s the subject but other times it’s the speakers. A panelist who is prepared to discuss the topic, engages the audience, is courteous, and doesn’t make more than the obligatory point to their books, is often one of the better panelists in the room.

Be prepared
To be a good panelist you must first be prepared. Most of the time when you are invited to speak on a panel, you are given the topics that will be discussed. Most of the time you are put on discussions that you are familiar with. But sometimes you get tossed into an arena you’ve never stepped in before.
If you are given a topic you aren’t familiar with, it’s time to do some research. It’s something we writers are probably very familiar with. Get to know the topic, the history and try to think up some questions that might arise. Who knows, you might just have the answer someone was looking for!

Show Up
Many a fan has been disappointed when they sit down for a panel and their favorite author or artist isn’t there. If you are asked to be on a panel, it means that someone believes you are a professional. And being a professional sometimes means doing duties you either don’t want to do or aren’t exactly comfortable doing (like talking in front of an audience.) If you are sick or there’s been an emergency, you can be excused, but notify the convention staff  and a few of the other panel members to let them know what’s happened. Your fans will understand you being sick, but they might not forgive you not showing up.

Engage the audience
Now that you know the answers, or think you do, it’s time to wow the audience with your brilliant mind. Not really. If you are spitting out facts and names and facts that are causing the audience’s eyes to glaze over, you are doing paneling wrong. I know it’s kind of terrifying being up there in front of people, and the default brain setting is to stick with safe stuff, but take a look at your audience. If they are nodding and agreeing, go right ahead, but if they look a little lost, ask one of them a question.

Maybe they are in the wrong room. Maybe they are dying to ask you a question that may or may  not be related to the topic. By interacting with the audience they have a sense of being a participant not just a listener. And for some, that makes quite an impression and sometimes a fan for life.
Don’t hog the spotlight but don’t try to hide from it either

Panels are timed events. Most of the time they last about 45 minutes but sometimes longer depending on the discussion. That’s not a long time to discuss complicated topics especially when there’s four (or more) people plus a moderator*. While there’s no way to split up the time officially, each panel member needs to be aware of how long they speak.

Some panel members like to talk a lot while others might be more shy. But each person should try to take control of the discussion for a little bit.

Why?

Because people are put on panels because they have different experiences, worldviews and ideas. It’s the combination of those that gives audience members a well-rounded experience.

Be attentive
While on the panel, be attentive to the other speakers. Don’t just give your opinion, then sit back and fiddle with your phone. Instead, look at who is speaking. Nod in agreement or raise your hand or get the speaker’s attention when you want to disagree. Participate in what’s going on.
Disagree as few times as possible (unless it’s really important)

Not everyone is going to share the same opinion on every subject or topic. Panels sometimes become sparring matches between two opposing ideas, especially on hot topics. When a point is brought up that you disagree with get the speaker’s or moderator’s attention and state your point but avoid a tennis-match type of discussion.

Except when it’s really important. If someone is saying things that could cause harm to others or is spreading verifiable information, then it’s up to you on how to proceed.

Laud your own work in moderation
While panels are a place to show writing muscles when it comes to certain topics, it’s also a way to promote yourself and your work. While the people in the audience might be interested in your book, they aren’t interested in hearing about it every other sentence.

When you are introduced, point out you have a new book, when it’s available and where. That should be about all of the pimping you should do. Unless of course, you can answer a question by pointing out a segment of your book.

Sometimes it’s best to go with the flow
While many panels run smoothly, sometimes there’s hiccups. You might be a last minute addition to a discussion topic you know nothing about. Or you might have a small audience and want to have a more informal panel. Panel coordinators can get mixed up and leave a room full of devoted fans but no speakers. And sometimes you find an audience member or two who are much more qualified to speak than you are.
In these cases, it’s okay to just go with it if the other panelists agree. Sometimes having a relaxed organic discussion is much better than digging through the few notes you were able to print off the internet.

A Good Audience Member
It goes without saying, if you aren’t on the panel, you are an audience member. Whether you are attending because you are a fan of one of the speakers, are interested in the topic or are curious about something, being a good guest makes the experience pleasant for everyone. Much like being a good panelist, a good audience member needs to remember a few things.

Arrive on time
The first thing everyone needs to do is arrive on time. Whether you are a speaker or an audience member, arriving early helps the panel run smoothly. Arriving early means you can take your seat and get comfortable before the show begins. Plus you might just have a moment to get a word in with your favorite author!

If you do arrive after the panel starts, do so as quietly as possible. Try not to disrupt the discussion.

Be attentive
This goes without saying, be attentive to the discussion. Turn off the ringer on your phone and pay attention. Don’t start a conversation with your neighbor. While not everything on a panel is going to interest you, being respectful and paying attention means a lot to the panel members.
 
Wait your turn
Many panels have a few minutes for questions from the audience. It’s often difficult to wait your turn when you know the clock is ticking but don’t rush to the head of the line or blurt out your question without being asked to.

After the panel
Often 45 minutes is not long enough to completely discuss a topic. If you or your group would like to continue talking about it, that’s great, but make sure that you clear out the room incase there’s another panel setting up.

If you’d like to speak with one of the panel guests, ask if they have time for a cup of coffee or if you could meet them at another time. But don’t be upset if they simply do not have time. (Remember, the guests are here for business purposes and they may have a full schedule.) If nothing else you can grab a business card and continue your conversation via email.

Being a good panelist and audience member allows everyone to have a good time at conventions. With just a little bit of courtesy, preparation and  attentiveness, everyone can have a good time.

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Author Etiquette - Submission Services and the Importance of YOUR Data

by Jennifer 12. July 2016 14:12

Good day readers. It’s time for another Author Etiquette. We started this little series because we love authorswe wouldn’t be in this business if we didn’t. But authors are human and sometimes make mistakes. On occasion we don’t understand and miss some fundamentals in the writing world. Whether you are a new author or a seasoned pro, we hope this column will give you some perspective on issues and help keep you out of trouble.

 

After you write your story and edit it to the best of your ability, the question becomes where to send it. It’s a question that faces every author each time a story is ready to go out. In the years before the internet, authors bought market report books that gave information on markets, when the windows were open and where to send a submission. But now, we have a much more streamlined process in submission services such as Doutrope, The Submission Grinder and Ralan.  These services provide quite a bit of information to authors seeking to submit work but authors should always remember that not all information is accurate and an author should always double check by either checking the website updates or sending a polite query.

 

What is a Submission Service?

Submission services are an online database that provides a wonderful service to authors. Instead of relying on complex searches, word of mouth or a bit of lucky information, authors can go to a single service, run a search and find a list of markets for their particular story. It can be narrowed by genre, word count and even payment level. This saves authors a lot of time and effort. Some are run for free (with an option to donate) while others run on a submission service.

 

Who Are They and What Do They Offer?

Ralan is one of the older submission services. To use, you simply pick a particular market category and search the alphabetical listings. There’s quite a bit to go through but it lists many different types of markets such as mystery, horror, science fiction and fantasy. The lists are updated as often as possible. Ralan is free to use.

 

The Submission Grinder and Doutrope are very similar submission services. They both require you to log in and with an account you have access to many features including a submission manager that shows you where you have sent in stories and calculates your acceptance rates. You can also see updated listings and recent responses from other authors. In either one you can run advanced searches for markets, suggest markets not already listed and find newsletters and helpful information. Doutrope is a paid subscription service$5 per month or $60 for a year. The Grinder is free although they do love donations.

 

Where Does the Information Come From?

Much of the initial information received by submission services is from publishers. This information includes when the submission window is open, where to send the submission, and what the normal response time is. Most publishers update this information as necessary, but it’s really easy to forget if things get busy.

 

The rest of the information such as response times are reported by authors and users of these sites. People can log in submissions and report rejections as they get them. Also they can report changes to the market in case the publisher hasn’t made an update yet. With this information, the submission services creates a list of data such as response times, acceptance rates and how many submissions are pending. In The Grinder, you can even see a graph of some of this data.

 

Submission Managers

Many authors use spreadsheets to help them manage their story submissions, but several also use the submission managers too. Why? Well because it’s simple and can augment the information you have already. With The Grinder and Doutrope, you click a button, which brings up the manager menu, enter in a few simple things and it’s entered.  Then when you check back, you can easily see how many days out it is, what the status of other submissions and can click back to the submission page to check out the data there.

 

Submission managers keep track of your response times and notify you of when your story is approaching the average response date. It can add a bit of anxiety when you know your story approaches that average response time but unless you keep a very complex spreadsheet it’s difficult to keep track of everything.

 

Response times are important to authors and publishers. An average response time varies from publisher to publisher. Some are a day or less while others can take many months and even over a year. The response time is an average of when most authors hear back from a publisher and it is determined by the amount of submissions and the amount of slush readers. Well known publishers get a lot of submissions and often their response times are longer. But on average, many publications respond in 30 to 90 days.

 

If you’ve not heard back from a publisher about a story after the average response time, and you’ve checked the website and other social media outlets to check to see if they are behind, you know it’s time to send out a query.  Many times, you get a quick response to say your story is still in the queue, but sometimes, there has been an issue and something gets lost. Most publishers will work with you to bring you up to speed on where your story is in the queue or pull your submission to the front if there has been a technical problem.

 

Why Are There Issues?

The data that submission services rely on is provided by humans. Yeah, those sometimes forgetful, complex creatures that tangle up data until everything is in knots. While Ralan has a very simple (market/dates open/last updated response time) submission database, Doutrope and The Grinder rely on user data. That submission manager that I mentioned a few paragraphs above is the cornerstone for the acceptance rates and response times. But it’s not required!

 

Not everyone who uses submission services submits any sort of data at all. That fact causes publishers headaches. You see, when a marketespecially a small onehas a listing and no one reports submitting, it makes it seem as though the market is dead even if the publisher is over run with submissions. Many authors are reluctant to submit to markets with no responses on a submission manager even if it’s been open for months. Some authors even get nervous and pull submissions simply because there are no reports in 30 days. Submission services do request you check out websites for responses but that doesn’t mean every author will look. So many good stories that could be perfect for a market either never get submitted or are pulled before they go through the slush pile.

 

Other issues arise when users forget to update their submission manager. I know it’s an easy thing to forget; however, it is still important. If a submission remains un-updated, it soon becomes an outlier, or oddity in the data. It can screw up accurate response times and acceptance data. Most submission services will weed out this data, but it still messes things up.

 

What Do You Do?

While not everyone wants their data out there on the web, submission service stats are important for other authors and publishers. If you use it to find markets, please use the submission manager. It takes just a few minutes and the data helps everyone.

 

If you are concerned about your story, check back to see if the average response time is close.  These are often posted on the submission page and in regular updates. Check the website or social media feeds to see if the publication is running behind. Or send out a query. A polite question on the status is all you need. Publishers often respond very quickly to queries.

 

There’s no need to pull a story unless 1) the market has folded or 2) there has been no response to a query and the story has been sitting in the queue way beyond the normal response times.

 

It’s nice to have a bit of help in finding publications that are available for submission. Submission services offer authors some really great options to help track stories, find publications and track other data. But it’s up to authors to use the information responsibly. By updating the status of your stories you help the submission services post accurate stats which in turn helps authors and publishers. So if you are considering using one of these services, use all of the options available. Oh and give a donation if you aren’t using a subscription service. It helps keep things updated and running smoothly.

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Author Etiquette - Conventions, Networking and Professionalism

by Jennifer 7. June 2016 15:37

Good day readers. It’s time for another Author Etiquette. We started this little series because we love authorswe wouldn’t be in this business if we didn’t. But authors are human and sometimes make mistakes. On occasion we don’t understand and miss some fundamentals in the writing world. Whether you are a new author or a seasoned pro, we hope this column will give you some perspective on issues and help keep you out of trouble.

 

While conventions happen throughout the year, most of the cons are scheduled in the spring, summer and early fall. If you look at the calendar you can probably guess convention season is in full swing right now. Social media is alight with people sharing where they will be, what panels they will participate in and plans for cosplay costumes. It’s a great place to meet up with friends and make a lot of new ones.

 

For those who haven’t had a chance to attend a convention, let me give you just a bit of a taste of what goes on.

Conventions

Conventions come in many different genre flavors. From romance to horror, you can find a con that fits your specific tastes. Many conventions have a theme or specific genre they cater to, but some are a wonderful combination of pop culture, artists, and authors. You can find cosplayers and costume designers alongside actors and musicians. Often there are panels that range from putting together a steampunk costume, to how to approach publishers about games, art or stories. Artists sometimes offer demonstrations on their techniques. Some conventions even have gaming sessions.

 

Cons are busy places. In between panels, and demonstrations and performances, you can find groups of people talking about costumes, publishing and art. Interviews and podcasts are being conducted along with people networking for new projects.

 

If you are curious, seek out something small at first. Most cities have at least one convention during the year, some more than one. Check the websites to find out who the special guests are and what days and times the convention will be held. Then go and have a good time. Talk with the people there and make new friends, because one of the best things about conventions is the ability to network.

Networking

To the new authors out there, networking is an important skill to develop. While social media does give people the opportunity to network and work together, talking to someone face to face often has better results. Conventions give you the opportunity to talk and contribute to discussions. It allows people to put a face to the name. And it allows you to listen to what’s going on in person.

 

Networking can be very important for a few reasons. First, you may hear of a new anthology you may want to write for. You might be introduced to an agent or other publishers. You can also get a feel for the industry when you network. When people get together, they talk about their experiences. Some good. Some bad. Listening to how others handle situations can give you some insight on what is going on and perhaps a lead on where things are heading.

 

Speaking with people you have only heard of or met online can open up opportunities. You might gain contacts for freelancing work. Or hear of a new publishing company. It depends on who you talk to or happen to sit next to at the bar.

 

There are some basic rules for networking but first and foremost is be professional.

Professionalism

This should really go without saying but always be professional when you are at a convention. Sure you are there to have a good time, but you never know when an opportunity will knock at your door. By being professional you are presenting a demeanour that will make an impression and at a convention, impressions can make a difference.

 

First, always introduce yourself. An author or a publisher may not recognize you. A simple, “Hello I’m, (Insert Name) and I had a story in your (insert anthology or magazine.)”  or “Hi, I’m (Insert name) and we talked a few weeks ago on FB about (insert discussion.)” helps to jog the memory sometimes. But don’t be disappointed if they don’t remember you. Remember that authors and publishers talk to many people on social media and during a convention and it may be difficult to remember everything.

 

Don’t block the table. If you’d like to speak with a publisher, author or artist about something remember that they are there to make money. Having a booth and attending a convention is expensive. Don’t block their booth or insist they speak with you while things are busy. Stand to the side and be patient.  Ask if they have time for a cup of coffee or would like to meet up after things die down. And again, don’t be angry if they simply don’t have time for you.

 

Leave a business card. Your business card can speak volumes. First it must have your name and your contact information (email only is fine). A simple logo or photo of your work will help someone recall who you are. Also a reminder of what you do on the front helps. Words such as author, editor, publisher or publicist, helps people categorize what you do. Lastly, leave the back blank. This is so that people can write notes so that they can remember who you are and what you talked about.

 

Follow up. Hopefully you grabbed a business card or already have the contact information of the people you spoke with at a convention. A simple polite email stating that you enjoyed speaking with them, the subject of the discussion and a wish to work with them in the future works great. If the author, publisher or artist is available to speak further, they now have your information at hand. But please don’t expect an immediate response. Most publishers and authors have a lot to unpack and catch up on.

 

Conventions are a great way to expand your knowledge of the publishing world and to meet new people. Networking can lead to a lot of great projects or ideas. Being professional ensures that everyone has a great time. I encourage everyone to attend at least onemostly because I know you’ll attend more.

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Author Etiquette - Contracts: Why You Need Them and What to Watch For

by Jennifer 10. May 2016 08:35

Good day readers. It’s time for another Author Etiquette. We started this little series because we love authorswe wouldn’t be in this business if we didn’t. But authors are human and sometimes make mistakes or don’t understand some fundamentals in the writing world. Whether you are a new author or a seasoned pro, we hope this column will give you some perspective on issues and help keep you out of trouble.

If you’ve been in publishing long, you’ve probably heard stories about authors who have had issues with their publishers, editors or other people associated with getting books into the hands of readers. It can be as simple as a missed deadline or as complex as many thousands of dollars in lost royalties. For some, the situation is easily handled, but for others it’s an ongoing nightmare. Many of the issues do point to publishers but the issues can be on both sides of the publishing line, meaning sometimes authors are just as liable as publishers when it comes to making a mess.

So when an issue comes up who is to blame? And how does it get fixed?

The answer is in the contract.


Contracts

Any time you work with an editor, publisher, promoter or even artist, you should have a contract.  No if, ands or buts. No verbal agreementsunless it is a prelude to a contractor “gentleman’s agreements.”

Contracts are written documents that outline the duties and responsibilities of each party. In the case of publishing it should include what rights are wanted by the publisher, when the story is due to the publisher, publication date, payment, when royalty payments go out and other features. It can vary from publisher to publisher but every contract should have the same basic features.


When there’s a dispute, authors and other parties can look back at the contract and reach a resolution. That would happen if everyone lived in a fair world. But not all contracts are the same. People don’t read what’s in a contract and some publishers take advantage of authors and artists. That’s why it’s important to read it and understand what you are agreeing to.

Do Your Homework

Before you even submit to any publication do your homework.*

  • Read guidelines.

  • Ask authors affiliated with the publisher if they are happy. Listen to both the good and bad.

  • Find out rankings on Amazon and look at sales.

  • Research the company. How long have they been in business? Has there been any controversy?

  • Where can you find their books at? Conventions? Online? Bookstores?

  • Who is the publisher? How long have they been in publishing?

  • Who is their editor, publicist, art director? What are their backgrounds?


These are all good indicators of the health of a publisher. If authors are generally happy, it has decent sales, has a professional website, has been in business for a few years, and you can find their books easily, it’s a pretty good indication that the publisher
could be the real deal.


But don’t let your guard down. Some predatory publishers can disguise themselves very well.

READ IT

After you submit and get accepted you get to the next hurdle. I can’t stress this enough.


READ THE CONTRACT.


Don’t just glance at it.
Read it.


Many contracts are straightforward. An honest publisher simply wants your story so they and you can make money. But not everyone is honest. It is your job to protect yourself. Even agents can miss something, so don’t rely on everything they say.


If there’s a clause or line in the contract that you don’t understand, ask about it. Ask the publisher and ask a more experienced author. Ask two or three if you are really concerned. Maybe it’s nothing to worry about. But better to be safe than sorry.

Know the Terms

Like many legal documents, contracts can be confusing. The longer the contract, the more terms and clauses and subclauses which can lead to an author with glazed over eyes signing on the dotted line. Here are some that you need to watch for.


Rights

There are all sorts of rights in publishing. Print rights, electronic rights, English rights, Foreign language rights, video, audio, and many more can be given away with the stroke of the pen. Be sure that you are giving only the necessary rights away with the contract.


Exclusivity

When a publisher purchases rights they expect that no one else will be publishing the story in the preferred format during a reasonable amount of time. Don’t sign a contract with an open ended exclusivity.


Original work/Reprint

If you are claiming your work as original, make sure it’s not been posted to your blog, other public form that isn’t password protected or already printed elsewhere.


Byline

This is the name you want your work listed under. Publishers should be aware if you are using a pseudonym. (just for legal purposes such as earning reports)


Publication date

The expected publication date of the work should be in the contract. This gives you and the publisher an idea of when the story will be available for viewing. It also starts the countdown as to when the exclusive printing rights will be released. (yes this can be revised if things go wrong but still read the amendments carefully.)


Termination/Breach of Agreement

These clauses will outline what and how to proceed when things go wrong. Depending on who is at fault, it could result in a return of prior payment or having rights reverted back to the author.


Non-Compete clauses

This one can be tricky. Some publishers put in a non-compete clause so that they can have first look at new works. While this might seem like a good thing, some contracts bind an author to ONLY working with this publisher. In other words, once the contract is signed, an author cannot work with other publishers until the contract expires.


Payment

A contract should outline how an author gets paid, how much and when. It should include how often royalty payments should be received--if that applies.

Ask for Changes

If any clauses of a contract make you nervous, ask for changes. A contract, even with a large publisher, shouldn’t be set in stone. A few changes here and there to accommodate both parties can make a business relationship run much smoother. Outline your concerns and suggest changes. Publishers can resist, but if you have good reasons then it shouldn’t be an issue.


However, when there are several clauses in a contract that do not favor authors and the publisher declines to make changes, it’s probably best to walk away. Better to search out other publishers or even self publish rather than be locked into a contract that takes away your rights as an author for years down the line.


It’s easy to fall into the desperation trap and look for anyone to publish your work. Predatory publishers trap the unwary and desperate. Clueless publishers trap authors into bad contracts even though they have good intentions. Vanity publishers talk up their products often asking for money upfront for things like editing, book covers and promotion. It’s up to you to make informed decisions about where and how you publish.


Read your contracts carefully. Know what is being asked for. Do your homework. Ask for changes but be prepared to walk away if you aren’t positive this is a good decision. It’s up to you to make the best decision possible for your work.

 

 

*You can find a lot of great information on contracts, publishers and complaints at Writer Beware.

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Author Etiquette: The Editor is Your Story’s Best Friend

by Jennifer 5. April 2016 20:43

Welcome back to Author Etiquette. We started this little series because we love authors--we wouldn’t be in this business if we didn’t. But authors are human and sometimes make mistakes or don’t understand some fundamentals in the writing world. Whether you are a new author or a seasoned pro, we hope this column will give you some perspective on issues and help keep you out of trouble.

 

Writers write stories. That’s their job. They take little pieces of this and that and mix it together and somehow come up with stuff that other people like to read. There’s a lot of different processes that stories go through from beginning to end but one of those steps should at some point include an editor.

 

To some people, an editor is normal part of the writing process, but to others having an editor look at your work seems like an unnecessary step. To listen to some authors, editors are scary beasts that tear up your precious manuscript. They don’t understand how unique and special your work is. Plus, they cost money. Those who feel this way seem to think that beta readers and self editing is good enough.

 

Sorry, but no.

 

Misconceptions


There’s some misconceptions about editors especially among new writers. Whispered rumors about stolen ideas and stories have always existed. Horror stories of editors that flay stories, and authors, drift around. The words “harsh but fair” is often met with skepticism. It’s understandable that some people, especially those who are new or are uninformed, see editors as unnecessary or even the enemy.


Editors aren’t the enemy in fact, they are your story’s best friend.


They aren’t going to steal your ideas or your story, but they will tell you the truth. Isn’t that what a best friend does? They will tell you what parts of your story works and what doesn’t... in order to help you. They will spend hours reading and commenting and searching out links to help you. They want you to succeed. They are there to support you and point you to the tools that will make you a better writer.


Why You Need an Editor


When you are writing, there are blind spots that your own mind glosses over. You don’t see those information gaps or plot holes. Passive voice sneaks into chapters. Character or location names get mixed up. Pacing can drift and lose ends can trip up even the most devoted reader. Overall, your story might drift around aimlessly. The characters might not follow a definite arc. Even if you’ve read your story several times, you aren’t going to catch all of them. You might never even know those issues exist. That’s why you need an editor.


An editor’s job is to refine a story so that it’s the best it can be. What some authors don’t realize is they are too close to the story and often can’t see certain issues. This could be because the author knows all of the backstory, or knows something that happens off scene that’s important later. Sometimes, it’s habits that the author hasn’t broken yet, like overusing adverbs. These and many other issues are the kinds of things an editor will look for. They want your story to be better.


But sending your story or novel to an editor is scary. Even I admit that. While you are waiting there’s a lot of anxiousness that builds up. Then when you get that email back, it’s just as nerve wracking and often disappointing.


Sometimes hearing the truth hurts. You’ve worked hard on creating a world, characters and a story line. You have done the best you can to put all of your ideas on paper. To hear that it’s not working and things need to be torn apart can be devastating.


Your Story’s Best Friend


There’s lots of places where your work will cross an editor’s path. When you submit short stories to publications, if your story is accepted, an editor will look at it and make suggestions. Agents submit novels to editors at publishing houses. And again, if it’s accepted, you will receive your manuscript back with lots of red marks. At a convention, you might strike up a conversation with an editor or two. Online, in forums, and in everyday life, you can find editors. They are normal people with a particular set of skills that is valuable in the publishing world.


There are lots of ways to become an editor. Some people have college degrees in English or Literature. Others have spent a great deal of time reading, but have always loved the structure and flow of words on the page. A few have started at different areas in publishing and have gradually worked their way up from being a slush reader or a reviewer.  The ways of becoming an editor is as varied as the ways of becoming an author.


While there are editors all over, you might not work well with everyone. When you submit to a publication, you don’t have a choice on who you work with. But if you self publish, you have plenty of choices. One thing to remember is, an editor doesn’t work for free.


You Get What You Pay For


If you look on writing forums or writing groups, there are many people offering to edit your work for either free or for a very low cost. Some of these could be fresh out of college professionals needing some experience, but sometimes it’s just someone wanting a quick buck. Often these lowball offers result in poor quality work that doesn’t help you improve as a writer.


As you go up the ladder, you find more experienced editors. Ones who have had several years honing their craft. Some charge a flat fee for working on your story while others charge by the hour. The best known editors charge a hefty fee, but again, they are the best in their field.


When looking for an editor, look at your budget, look at the credentials of those in your price range. Pick the one you think you can work with. Many times, you can ask for a chapter review, so that both of you can gauge what kind of editing you will need. This gives you and the editor an idea of what to expect.


For the Love of Stories

What would our world look like without editors? Remember the very first story you wrote? Have you pulled it out lately? Do you remember cringing?

Without editors, most of what we read would look similar to those stories. Sure there’s some authors out there that write cleanly and have very few errors. But for the most part, everyone needs an editor. Whether you use one in the developmental stage, content stage or line edits, is up to you.

Just remember, while some of their comments might hurt or make you angry, an editor is there to help you make your story the best it can be.

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Author Etiquette: Follow the Instructions

by Jennifer 9. March 2016 09:09

Congratulations!

We see you’ve just written a novel, a short story, or flash fiction. We know you are eager to find a home for your work, you’ve looked at markets and found us.

While we are honored to have you submit to us, please do your homework and follow the instructions listed on our submission page. Please note: our submission guidelines are not optional fields.

1. We want to see your best work. While a few writers can write cleanly enough to submit a first draft, most writers really should set a manuscript aside at least for a few days (while working on something else) and then edit it. If you have beta readers, please seek their assistance in refining your work. Read the story out loud and look for misused or missing words. Check for plot pacing, flat characters and continuity errors. Take the time to create the best story you can. Sure, it might mean missing a submission window, but it might make enough of a difference between an A or and R later on.

2. Please check the dates on the submission window. Not all publishers are open to submissions year round. Sure your story might be a perfect fit, but if we aren’t open, your submission will be deleted unread. The only reason you should ever submit outside of the window is because you have permission from someone in that publishing company. If so, then in the cover letter, you should state details of why you are submitting outside of the regular window, who you spoke with and where.

3. A properly formatted manuscript is like looking at someone who is dressed appropriately for an important meeting. The slush readers and editors can’t look at you face to face, but they can look directly at your work. Formatting your manuscript in the style a publisher wants gives them an indication of how you work with instruction. While some publishers require specific formatting most use the William Shunn method. Free advice: Learn to format every manuscript this way. It will save you many headaches later.

4. We do not want fancy fonts. First of all they are distracting and difficult to read. Second, they may not show up properly on our computers. Generally, Times New Roman, Arial, or Courier in a 12 point type are best. If we need to you to format in another font, we will have instructions on what one to use. Use of other fonts such as Papyrus, Curlz, or Comic Sans MS will result in rejections. Also, trying to use a tiny font to conserve paper is commendable, but with electronic submissions not necessary. Double also, use only a black font on a white background. Anything else kills our eyes and will kill your chances at publication.

5. Please, for the love of Pete, use paragraphs. Because our readers and editors enjoy reading and not having headaches, big blocks of texts is not preferred. A page full of text where there’s no relief is very intimidating to many people, and when a writer doesn’t use paragraphs, the lines tend to blur causing eye strain and stress. Break things down some. When there’s a new thought, or if someone else is doing something, start a new paragraph. Don’t worry the reader will not get lost.

6. Read the guidelines as to what type of spacing the publication requires. A publisher might request double or even triple spacing of a manuscript. Conversely, they might not want that extra space at all. Some want a double return after a paragraph. If a publisher does not specify, use of the Shunn manuscript format is always appreciated.

7. In some cases such as flash or micro fiction, headers and footers are not necessary, but for most manuscripts it’s pretty useful in determining if a manuscript is yours and to have an area where your pages are numbered. This is really important when an editor or publisher has a pile of manuscripts on their desk and the cat decides to teleport suddenly in the middle of it. If your manuscript is numbered and identified, it’s much easier to put it all back together. Please read the guidelines as to if the publisher wants headers and or footers on the submission.

8. Now we come to the final pieces of a submission. Your cover letter should be less than a page long. For novels, a synopsis may be required but for most short stories, please leave it off. We also do not need to hear your life story--interesting as it may be. Two hundred words (or less) that say a little about you is fine. We also do not need your entire list of publishing credentials. Your most recent or most important three are just fine. If you have a tiny bit of information relevant to the story or publisher you may add that too but please be very brief.

9. This last step is very important. Take notes if necessary. Make sure you attach the right file to the submission. If you’ve taken the time to properly format your work, go ahead and save it as a separate file with your last name, title and market. This way you’ve got the right file going to the right place. You’d be surprised how many submission are received without a story or how many emails have been received stating that they sent the wrong file.

So if you feel as though you can follow these steps, we welcome you to submit your work to any publication we are in charge of. While we love the variations in stories, having guidelines helps us read and critique the work we receive. We want to give everyone a fair chance so here’s your sign.

Follow the Instructions.
PLEASE!


Signed,
Slush readers, Editors and Publishers

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Author Etiquette: Refilling the Creative Well

by Jennifer 9. February 2016 09:10

There’s a plethora of ideas out there to write about. We come across them every day. That little snippet of a conversation at the grocery store. The way the sun glares through the winter trees. The sound of the tires on the highway. The feel of a well worn flannel shirt. There’s a story in each of those ideas, but sometimes your mind just comes up blank.

 

That’s when you know, it’s time to fill the well.

 

The creative wellor the muse as some people call itis the repository of ideas that creatives dip into when they write a story, paint or create any type of art. An idea or segment of the idea can be used over and over, but these sparks dry up or get stale and then the author or artist is left staring at a blank page struggling to move forward. Sometimes it appears in the form of writer’s block or lack of inspiration. Other times, an author will look back on their work and realize they have been producing the same thing over and over using a formula that works but isn’t appealing anymore. Even worse is when it’s lack of desire to create anything at all.

 

But having the creative well run dry isn’t the end of the world. It can be fixed, but you’ve got to put in a little bit of effort.


Stepping out of your comfort zone

One way to refill that creative well is to break out of your comfort zone and do something different. Many times we get in a creative rut because we do the same thing over and over. Schedules are nice, but they can become counterproductive to being creative.

Once a month try something new.

  • A new restaurant featuring a cuisine you’ve never tried in town? Try it out!
  • Never been to a musical or opera? Well there’s a wonderful opportunity to enrich yourself.
  • Always wanted to learn to make pottery? See if there’s a pottery store nearby.
  • Read something out of your usual genre.
  • Go to a sports event.
  • See what kind of history your area has and visit the sites.

Trying something new often breaks through that creative slump and refreshes you with new ideas. See something interesting?  Try it out!

 

Exercise

Great ideas often come unexpectedly and two of the biggest places where great ideas strike are: in the shower and while exercising.

 

While exercising, you are often concentrating on the physical movements of the body. That leaves your subconscious room to put ideas together. Sometimes it comes up with surprising combinations that you would never come up with during your normal writing sessions.

 

Exercising doesn’t mean going to the gym every day though. You can reap the same benefits by taking a walk, doing a workout video or working out in your home. While you exercise, don’t focus on your idea, concentrate on moving your body and let your mind put the pieces together.


Meet the great outdoors

While we are touching on exercise, another great way to filling the creative well is to get outdoors. It’s easy and in many cases (though not all) it’s free. Many local parks have walking or hiking trails where you can get some exercise and fresh air. Most states have state run parks and some have national parks. These offer unique opportunities to experience nature up close and personal (though hopefully not dangerously).

 

Some unique opportunities include: caves, canyons, wildlife, lakes, rivers and streams. Each place has unique features and educational experiences. If you find you like being outdoors, try hiking, fishing and photography. You can even begin to geocache if people in the area participate. There’s lots of wonderful things you can do outdoors. Hopefully, when you come home you will feel exhausted yet refreshed.


Be social

Okay so this one is probably the least appealing for many. Writers tend to be loners who spend a lot of time playing about with ideas that no one else has access to. Many are introverts who feel a great deal of stress when around other people. Yet, social interactions can lead to some great projects and new ideas.

 

Having other writers to talk to about projects can sometimes restart and refresh your ideas. Joining a writer’s group in person or even online can help you refine your ideas. Discussions are often a great way to get excited about writing again when you feel blah about everything. A critique partner might find where you are stuck and give you suggestions on how to fix it. Other ideas might come from other people tossing out ideas they just can’t use.

 

But not all interaction has to be with other writers. It’s a great idea to go to a backyard barbecue and just hang out with friends. Going to a family gathering might reveal some interesting ideas for characters as people talk about history. A lecture or a local discussion on a pending issue might jumpstart creativity even if it has nothing to do with what you write. Take a few hours away from the computer and relax and have some fun.


Taking a break

Sometimes none of these options work. You’ve found out you didn’t like kimchi but loved opera. You’ve walked at least three days a week for the past six months and happened to lose some pounds. You learned that fishing takes a lot of patience and always bring sunscreen. Even joining a local writer’s group hasn’t helped you be productive. You are stuck.

 

Maybe it’s time to take a break.


Pressure and stress are two factors that affect creativity. Sometimes it’s positive such as looming deadline; other times it’s not. Often it builds until the well dries up to a trickle then nothing at all. And the more you try to open it up the worse it gets.

 

Taking time to step away from your work for a short time really is okay. Sometimes it’s the only thing that works. But don’t stay gone for long. The longer you are away from your work, the harder it is to get back into it. Take just enough time to get the energy going again and jump back into it.

 

Ideas are infinite, yet sometimes our ability to use them isn’t. Everyone’s well runs dry at some point. At times you need to step away and experience other things to help you fill the creative well. While we hope you have feel that kind of emptiness, we do hope our suggestions are useful.

Thanks for reading and if you have other suggestions, please feel free to comment below.

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Author Etiquette: Author Care - The BAD side of Creativity

by Jennifer 12. January 2016 09:11

The life of a creative might seem like a dream job come true. For some, I guess it can be, but for the majority of creatives I know, it’s a very careful balancing act between good and bad things that many of us experience.

On the good side, there’s a rush of excitement in completing a good story. When you get a good review a pleasing vibration of good thoughts and a great deal of satisfaction seems to surround you.The challenge of pushing your boundaries and learn new skills is addictive.

 

But it isn’t like that all the time.

 

Self doubt often eats at your confidence. Imposter syndrome raises it’s ugly head. Other people get breaks that you’d love to have. Things like this can weigh you down especially when you’ve tried your hardest and you still don’t feel like you are getting anywhere. At times, you sleep in late, or not at all, have trouble concentrating and are unsociable. Most of the time we bounce back and our good mood returns. But sometimes it doesn’t.

 

This is where the concern starts. Feeling down, tired, irritable for months at a time is a signifier of a bigger problem, namely mental illness. Chemicals in your bloodstream, changes in the way your brain functions, genetics and reactions to the world around us are the biggest culprits in a range of diseases that cause a multitude of problems. And while thousands suffer from it, it’s still grossly misunderstood and often unrecognized until it’s too late.


Three of the most common mental illnesses that creatives face are the BADs - Burnout, Anxiety and Depression. Often they overlap, one rolling into another like a tide leaving the sufferer feeling alone and unable to deal with what is happening.

 

Burnout

We’ve all felt like not going to work, hate our job, and can’t focus on what you need to do. Sometimes this is a result of not being a good fit for your job or being in over your head. Usually you adjust, learn the skills necessary and things are okay.

 

If you are a full or part time creative, there’s always worry about whether your work is good enough, if your clients will pay you on time and where the next job is coming from. Deadlines approach at warp speed even if you have been working steadily on your project. Clients demand last minute changes that put you behind. Toss in real life issues such a family, friends, and another job it’s no wonder your brain finally says “ENOUGH!” and shuts down for a while. Feeling exhausted, unmotivated, and frustrated, are very common feelings from burnout. It can happen in many types of jobs, but especially those where you feel you have no control and a high amount of stress.

 

Anxiety

You know that queasy feeling you get right before you stand up to speak in front of strangers, go for a job interview or go on a blind date? That’s anxiety. It’s a little rush of adrenaline that gets your mind and body ready for the unexpected. Usually it’s short lived, but some people experience heavy amounts of anxiety in common situations. Panic attacks, social anxiety and phobias can keep people from doing things they enjoy as worry and fear overwhelm them.

 

It’s not a simple thing as worrying about whether you turned off the faucet at home before you went to work. Instead it’s an overwhelming feeling of dread, fear and sometimes panic that has you clutching your chest or feeling as though some heavy weight is sitting on you. It’s unending and relentless.

 

Trauma and stressful situations are often the root of anxiety, although genetic disposition also seems to play a role. But anyone who has experienced stressful events can develop anxiety disorders. Sometimes severe enough that you don’t feel able to leave the house.

 

Depression

When people think of depression, they often think of someone sad and crying, but most depressives experience a wide range of symptoms. Changes in sleep patterns such as sleeping more or insomnia are common along with weight gain or loss. Those suffering from depression often feel lost or hopeless, even empty, not just sad. Fatigue is often accompanied by restlessness and dissatisfaction. Making decisions are often difficult as concentration falters. And, much as I hate to point it out, thoughts of suicide begin to intrude into the lives of those suffering from this disorder.

Depression is a sneaky illness. Sometimes it lifts and you feel fine, and at other times you are feel hollowed out and empty. Feeling down for a short time is normal but when a person feels that nothing will make them happy it’s time to get help

 

The good news is burnout, anxiety and depression are treatable. Medications, counseling and lifestyle changes can and has improved the lives of thousands. For some, taking some time off (yes that means a vacation or at least scheduling time away from work) can help recharge and allow a person to have a better outlook. Sometimes, getting more exercise or more sleep can help alleviate the problem or changes in diet. In anxiety, identifying the cause can help sufferers avoid unpleasant symptoms. But the first step is to identify that there is an issue, and start working from there.

 

In the mean time there are things you can do to help you cope. For some people making a schedule or list helps them get through the day. Relaxation techniques can help alleviate some anxiety symptoms. Exercise and fresh air can also help.

 

If you are experiencing any symptoms of mental illness including thoughts of suicide, please get help. There are many toll free numbers you can call. Lines are open 24/7 even on holidays. These are just a few places that can help.

 

Suicide Prevention Lifeline

1 (800) 273-8255

 

Trans Lifeline

US: (877) 565-8860           Canada: (877) 330-6366


Teen Line

(800) TLC-TEEN


Crisis Text Hotline - for those who would rather text than speak

741741

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Author Etiquette: Hold that Novel!

by Jennifer 1. December 2015 12:36

I’ve enjoyed watching many of my writer friends post updates on their NaNo progress this month. It’s exciting to know that new novels are being written and maybe in the future I’ll be able to read them. However, I don’t want to read them too soon.

 

For those that don’t know what I’m talking about, November is National Novel Writing Month (NaNoWrMo) or NaNo for short. It’s 30 days of word madness as writers keep a grueling pace of about 1,700 to 1,500 words a day to produce a 50,000 word novel. There is a website dedicated to this event and in some cities write ins and other social events to encourage writers to do what they do best. (And there’s even a kid’s version of the challenge, too!)

 

Thousands of people a year all over the world sign up for this event. Some authors blow the word count out of the water while others don’t quite make the proposed count. Whether you make it or not, there’s lots of encouragement, great advice from top authors and lots of fun.

 

But as the month winds down, and many authors proclaim they’ve won this year, seasoned authors, agents and book publishers know the hardest part is about to begin.

 

While NaNo encourages writers to BINFOK (Butt In Chair Fingers On Keyboard) and in most cases forget about everything you’ve learned about writing a proper story. The focus of NaNo isn’t to write an immediately publishable story, instead it’s intention is to get a draft or at least most of one on the page.

 

Some authors forget that.

 

Riding on the rush of completing 50,000 words in only 30 days, some authors do a quick editing pass on the novel and then begin to shop the story around. While some editors don’t take submissions during the holidays many others are open and I suspect there’s always an influx of submissions around December. Most of which are given a rejection.

 

Very few authors write cleanly on a first draft, especially on a novel. Even with a detailed outline and all of the research done beforehand, there are often glaring errors in a brand new novel. Characters might be flat. The plot line might be weak. Sometimes you have an unexpected character that demands a spotlight. These and many other things create a mess that has to be straightened out before even beta readers should read the story.

 

The biggest issue with NaNo is in order to get that 50,000 word story finished, most authors need to turn off the Inner Editor. An Inner Editor is that little voice that insists that we correct all of the imperfections that happen in a first draft. Many times it’s difficult to turn that voice off and some writers spend unnecessary time going over and over a single chapter. But NaNo encourages you put a temporary gag on that voice and not listen to it for a couple of weeks. The results can be interesting to say the least.

 

Sending in manuscripts that have been hurried through the editing process doesn’t make you look professional. It is possible to receive a revise and resubmit but not likely unless you’ve given your NaNo project a good editing.

 

So to increase your chances of getting your NaNo project published, here’s a few steps to increase your chances.

 

Set it aside

First, set the novel aside for at least a few weeks. This allows you to distance yourself from the rush of a completed project. During this set aside time, it is important for you to write something elsea short story, an outline, the chapter of a different novelto help cleanse your mind of your NaNo novel. You will need that distance.

 

Read it through

Before you dive into editing, read your novel. This gives you a “whole picture” view of the story. It’s easier to see where your plot arc begins to fail or where you accidentally rename your main character. Make notes of things you notice so you know what to work on during the editing phase.

 

Edit, edit, and then edit again

Using your notes on the read through, begin to revise your story. Don’t worry if you scrap out chapters or completely rewrite most of the book. That’s actually normal. First drafts are where you put all the ideas you want onto the page. Your editing drafts are where those ideas all come together. Once you are done with a first pass, go back and check for spelling errors, misused words, and passive voice. Then go over it again, tightening up the prose.

 

Beta time

Through your eyes, every story is the best ever, but that’s because your mind plays tricks on you. All of those great ideas you thought you put on the page might be glossed over or miscommunicated through word choices. To have a better idea of how other readers will respond to your story, have some people (writers and readers) who are willing to read through your book and make suggestions. You might find that there’s confusion about your character’s past or that the ending seems weak. You might even find some unintended theme in your work that your beta readers pick up on.

Oh and while your story is being read by beta readers, start working on another story or even your synopsis. That way you’ll have a head start on things later.

 

Revise again

Yep that’s right. You get to revise that story again. Taking suggestions from your beta readers, you might have to do more revisions. Depending on the issues they pick up, you might need more work on some sub-plots or characterizations that need attention. But you don’t have to change everything even if a beta reader makes a suggestion. Sometimes a suggestion will go against the direction you want the story to take.

 

One last pass

Before you send your novel off, take the time to give it one last pass. You know, just incase your file didn’t save the changes you made or you make a glaring error on page one. Also make sure your manuscript is formatted properly. It’s the biggest reason for most rejections.

 

Once you have given your novel several editing passes, had it read by a select group and edited again, your novel is ready for submission. That is if you have the summary, synopsis and agent and publisher wish list ready.

 

Good luck!

~The Shadow Minion

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