Guest writer Denis Ledoux has been assisting people to write personal and family stories (since 1988) and training the memoir professionals who work with them (since 1996). For your free memory jog question book, go to http://turningmemories.com/memorylist.html.

“Worth the time to write?” I repeated—raising my voice into a question—when a man said to me recently that most people didn't have a memoir that was worth their time to write.

“Not only is every life worth writing about,” I countered, “but the writing of a memoir is a healing and developmental process for the writer. There is something precious in the telling of every tale.”

“I don't know about the healing,” he said, “but I do know that most people haven't done anything interesting enough to write about, let alone have someone else read it.”

“I don't think children and grandchildren feel that way,” I answered. “I've never met anyone who wasn't happy to have a memoir of a father or mother.”

“Well, okay,” he conceded, “but who else is interested?”

“The breadth of the audience is not what makes the writing of a memoir significant. There is worth in the telling itself.”

There continues to be an insatiable hunger to know about one's family and culture. Writing a memoir is a meaningful way one generation can transmit stories to another.

In the man's commentary, of course, there is an important point to consider. If one has not led a momentous life, are there things one can do if one wishes to write a memoir that goes beyond the interest of a small family readership?

Let me emphasize that it is appropriate to write stories solely to family readership. There is nothing “wrong” with a small audience. The value of any piece of writing is not measured by how many people—total numbers—have read it. This emphasis on size is a spin-off of the commercialization of worth. It is a result of the creation and promotion of the “superstar” in our culture.

But the true worth of a memoir is better measured by the inherent value to the writer and to its selected audience. The act of writing will change you and your relationship to your life. Writing is significant for itself.

Begin writing your memoir today!

Want to find a literary agent for your memoir—an advocate who will help you submit your memoir to major publishing houses? Writer’s Relief helps writers of memoirs get published by managing the submission process and targeting the best literary agents and editors who want to read true stories.

If a literary agent asks to read your entire manuscript, pat yourself on the back! Something in your book or novel piqued the agent’s interest—not an easy thing to do. The literary agent believes you may have something that he or she could sell to an editor.

BUT—before you bundle up your manuscript and send it off in the mail, there are a few things to consider. You’ll want to get the most mileage out of the agent’s interest in your book. A savvy and diplomatic writer may be able to use one agent’s request to stir up interest from other agents.

Here are some options and tips to help you decide how to handle an agent’s request for a complete manuscript:

Of course, the easiest thing to do is to simply send the manuscript ASAP, as per the agent’s request. No questions asked.

But sometimes, it’s not that simple.

Has the agent requested an exclusive read? If so, you may want to put the brakes on. There are a number of ways to handle a request for an exclusive, and we’ve written a post to help you make the right choice. READ MORE: When A Literary Agent Requests An Exclusive: Solutions For Sticky Situations.

If the agent is your top choice and you know that you’ll sign with the agency given the opportunity, then you do not necessarily need to drum up enthusiasm at other literary agencies. Doing so might feed your ego, but it may not be conducive to a strong partnership built on mutual respect and trust.

If, however, you’re hoping that a literary agent other than the one who requested your book will rep your writing, you may want to contact the agencies who have already received your query in order to inform them that you’ve received a request from another agent.

(TIP: Don’t call. Agents hate that. Email is fine. State simply that you want to let so-and-so know that another literary agency has requested your complete manuscript and that you want to extend the courtesy of informing said agency.)

You don’t need to drop the names of the people who are reading your book, but by informing the parties involved that your full manuscript is currently being read by others, you may just get bumped to the top of the slush pile. After all, no literary agent wants to get scooped by another agent.

Need help negotiating the finer points of the book publishing industry? Writer’s Relief submission strategists are here to help!

Striking the right tone in a cover or query letter is critical. Learning how to write a cover or query letter is like learning how to dress for an interview; while appearances aren’t everything, first impressions can be crucial.

Tone In Query Letters To Literary Agents
When querying a literary agent, be careful not to be too clever, too cute, or too anything! A good query letter doesn’t need to make desperate grabs for attention: It professionally and succinctly reports the facts about a manuscript.

Taking an understated, professional approach suggests that the query letter needs no bells and whistles to be impressive: It’s the manuscript itself that shines.

Again, think of it as if your query letter is on a job interview. Don’t be overly formal and stuffy (you must appear approachable, and you don’t want to look as if you’re overcompensating by dressing your book up to look inappropriately eye-catching). But don’t be too casual either (you wouldn’t show up for an interview in your pajamas!).

Also, in the same way that you would avoid wearing a clown nose or light-up sneakers to an interview, avoid phrases and clever gambits that may come off as ploys to get attention. Clever can be annoying to agents reading letters by the thousands. If your query letter has a gimmick, literary agents may assume your book needs a gimmick to sell!

Literary agents want the facts—not the hype. And when you give a literary agent what he or she wants, you position yourself as a person who is professional, courteous, knowledgeable about publishing, and easy to work with.

The bottom line: Want to strike the right tone? Be straightforward, concise, and professional. Leave cute and clever to infomercials.

Tone In Cover Letters To Editors Of Literary Magazines
Many writers make the mistake of thinking that the cover letter is the key to having their work chosen for publication. The truth is, editors at literary magazines are not normally impressed by what the cover letter itself has to say, and they will skim over it (or not read it at all) in order to spend more time reading your writing.

The key to an effective cover letter is to be selective and succinct. The overworked, underpaid editor’s eyes are more likely to absorb information from three well-crafted sentences than from three well-crafted paragraphs.

At Writer’s Relief we recommend that our clients keep their list of accomplishments and publications to a brief bio paragraph. This means that if your work has appeared in 30 literary journals, it may be a good idea to list only the highest-ranked journals on your list. If you haven’t been published yet, don’t be afraid to throw in a few relevant details (Do you have a degree in engineering? Have you attended writing workshops, etc.?). Read more: No Publishing Credits? Get Publishing Credentials: How To Build Up Your Writing Bio Super Fast.

It is just as important to know what information to omit as it is to include. Therefore, we must stress that you should not describe the plot and themes of your poetry or short prose in a cover letter.

When you send your work to a literary magazine, your submission will be read regardless of the content of your cover letter. By explaining your plot or motifs, you might inadvertently imply that you suspect the editor must be lured into reading a submission (and that means you imply that he or she is slacking off!).

Also, explaining a story, poem, or essay in a cover letter is effectually saying to the editor that he or she is not intelligent enough to figure out the plot and themes on his or her own.

The bottom line: Keep your wording simple. If your cover letter represents that first business handshake, save your creative style for the focus of the presentation: your writing.

Writer’s Relief has been helping our clients prepare (and strike the right tone in) cover and query letters since 1994.

Querying a good literary agent is the first step in getting your novel or book project into the hands of a publisher. What is a literary agent? A literary agent is the middleman between you and potential publishers—they are your best hope for getting your book published. But what does a literary agent actually do for a writer? And what don’t they do?

1. A literary agent’s top job is to find an editor who likes your book enough to buy it. Reputable literary agents have a wide network of contacts and relationships with acquisition editors at publishing houses. They know what the editors are looking for, and they’re experts at sending your submissions to the right people. Because editors know that submissions by literary agents have already made it through a stringent screening process, agented submissions usually go to the top of the pile.

Literary agents will NOT purchase the rights to your book and then turn around and try to sell your book to publishers. Nor can they promise to sell your book.

2. Literary agents pitch your book project to publishers and try to get you the best deal. It is in their best interest to negotiate lucrative contracts with publishers, as literary agents work on commission (usually 15 percent). They also manage your business affairs with the publisher once the deal goes through—contract disputes, royalty statements, collecting money—leaving you on good terms with the editor and freeing up your time to write.

Literary agents are NOT always attorneys, but they do specialize in book contracts and are well-versed in authors’ rights.

3. A good literary agent will often edit or critique a manuscript and offer valuable suggestions to increase its marketability. BUT you should never query an agent unless you have a completed, professionally formatted, and carefully proofread novel or memoir in hand. (Only how-to and self-help books can be pitched without having been finished first.)

Literary agents do NOT offer line-by-line edits or make rewrites. It’s up to the writer to incorporate the agent’s suggested changes. Agents are not interested in helping you master the art of writing. Their focus is on the business of writing, as in “How can this book sell the most copies?” Read more about how to hire the right editor for your writing.

4. Literary agents are authors’ advocates. They don’t make money unless you make money, so their goal is to get you the best deal. Most reputable agents will make a commission of 15 percent for domestic sales. They offer encouragement and support and help keep you on track with deadlines and rewrites. They can also help shape your career by suggesting new ideas, finding wider audiences, and keeping you abreast of changes and trends in the publishing industry.

Literary agents are NOT tax consultants, publicists, personal bankers, or writing coaches. They often offer moral support, but they are not interested in being your therapist. They will not handle your advertising and marketing. And they’re certainly not interested in being your personal answering service.

It’s up to the writer to take advantage of all the services a good literary agent can offer. As an author’s ally, a good literary agent can make a writer’s life more successful and rewarding.

The submission strategists at Writer’s Relief are also in the writer’s corner, and we offer a variety of services, from full submission services to our free newsletter. Feel free to check out other articles you might find useful when looking for a literary agent for your novel or book project: How To Land A Literary Agent, Nine Questions To Ask A Literary Agent, Do You Need An Agent For Your Book Project?

Often, writers e-mail us with variations on the same question: How can I get a literary agent for a self-published book?

Dear Writer’s Relief,

I self-published my book [enter number of months ago] and now I’m [A) Not happy with my publishing company or distribution B) Disappointed because I’m not getting any sales of my self-published book and/or C) Thinking of expanding my efforts by getting a literary agent and a traditional publisher for my self-published book]. Can you please tell me whether or not I can send my self-published book to literary agents and editors?

While each author who has self-published is in a unique situation and there is no single answer for every writer, it is possible to submit your self-published book to literary agents.

If you do want to transition from self-publishing to traditional publishing, here are some tips for getting a literary agent:

1. Be as positive as you can be about your self-publishing experience. If you chose that route, be sure to demonstrate that your choice was deliberate, educated, and professional (hopefully it was!). You don’t want to come off as the kind of person who forgets to look before she or he leaps.

2. Emphasize the success of your book by citing sales, quotes, and media coverage, if possible.
 
3. Be sure you hold all rights to your book. You can’t offer publishing rights if you don’t own them.
 
4. Don’t expect to use your own cover art, title, layout, etc. When you transition to a traditional publisher, you need to be prepared to give up much of your autonomy.

5. Be honest. If you find yourself in serious talks with an agent, don’t hide your self-publishing history. Agents will look you up online.

6. Be prepared to remove your book from Amazon and other online retailers. If you sell your book to a traditional publisher, you don’t want to undercut their sales. You’ll need to think about whether or not you want to “freeze” your book sales before you attempt to get an agent or editor. A freeze will cut into your sales, but it may also demonstrate a firmer commitment to traditional publishing. Weigh the pros and cons before making your decision.

7. Don’t mess with the system. Some writers have asked us if it’s possible to sell SOME rights to a publisher, but keep others for themselves. This is probably not going to happen. Publishers develop rigorous ideas about how they want to market, and for that reason they generally want control over nearly all rights. If you hold some rights and the publisher holds some rights, you will set yourself up as a competitor against your publisher.

8. Don't query with your bound, finished book; query with plain-old, 8.5 x 11 manuscript pages when necessary—as if the book had not been typeset and bound. Always follow agents' submission guidelines.

9. If you're querying literary agents for the first time with your project, it may be helpful to mention that. Some literary agents will suspect that self-published books are projects that failed to find homes at traditional publishing houses. If you've never queried before, your book may yet have a "freshness" factor worth mentioning.   

If you’ve self-published a book, Writer’s Relief may be able to help with the submission process if you’d like to begin sending your book to literary agents. Visit www.WritersRelief.com to learn more.

Has a literary agent offered to represent you and your book? Congratulations! This is an exciting and important milestone on the journey to getting published. It’s also the beginning of a process that can be a little more complex than meets the eye. Below you’ll find a list of questions to ask a literary agent while you’re in the “getting to know you” stage.

At the heart of the agent-writer relationship often lies a legal contract, so you should find out what you’re getting into before you get into it. While it might not be wise to inundate a prospective agent with too many questions, there are certain things that you should consider asking before you sign any contract.

Please note: some of these questions may be answered on the agent’s Web site or in other supporting materials. Be sure you don’t ask questions that don’t need to be asked if the information is already available to you!

* How long have you been in business as a literary agent?
No one goes to school to learn how to be a literary agent, but experience within the publishing industry can give an agent the edge when it comes to selling your book. Agents profit from their intimate understanding of editors’ reading preferences, so you’ll want someone who has strong connections. That said, don’t write off new agents. New agents are always hungry for manuscripts, so if you connect with a new agent at an established literary agency, you both may benefit from the partnership. Just be sure to do your homework and ask the right questions!

* What is your experience with this particular genre?
An agent who only handles romance novels might not have the right contacts to shop a thriller around. An agent might be trying to broaden his or her genre horizons, but you have to ask yourself if you want your book to be the guinea pig. If the agent’s enthusiasm is strong, it might be to your benefit to work with the agent in a genre that he or she doesn’t historically represent. Again, weigh the pros and cons by getting all the necessary information before you make a decision.

* Who will be handling my work within the agency?
Make sure you know who will be familiar with your book and to whom you can go if you have any specific questions down the road. Some agents at bigger companies will assign you to an assistant or a junior agent rather than rep your book personally. However, if you’re working with a boutique agency, you’ll probably be working with the agent you queried. Just be sure you know!

* What is your game plan for this project?
You should always be aware of what an agent has in mind for your book, including how the book will be positioned within the larger market and if there is a possibility of selling secondary rights (film, audio, electronic, etc.).

* How often will I be updated on what you’re doing on my behalf?
No one should do anything with your book that you are not aware of. Writers put a lot of trust in their agents, but what’s at stake here is your career. Communication is crucial. Does your prospective agent prefer e-mail correspondence or a phone call for a quick chat every once in a while? Find out ahead of time.

* Are you a member of the Association of Authors’ Representation (AAR)?
You may take heart in knowing that your agent is part of the AAR; however, if an agent is NOT an AAR member, you probably shouldn’t consider it a deal-breaker. The important thing is that the agent is in line with the AAR's requirements for ethics and handling clients' funds.

* What are your commission rates?
Anything over 15% on domestic sales suggests less-than-honest business tactics. Ditto to agents who require an up-front “marketing” fee or an editorial fee upon contract signing. See our articles Warning Signs: How To Spot A Literary Agent Scam: Part One and How To Spot A Literary Agency Scam: Part Two  for more information.

* What is the minimum time requirement on my contract?
Find out how long you are expected to work with this agent and what happens when one side no longer wants to work with the other.

* How will you be involved in my ongoing career?
Every agent has a different approach to building an author’s career: some are collaborators (working with authors on their projects in a very hands-on way), and others are more aggressively involved in the negotiation process. Ask your potential agent how he or she likes to work with clients.

In the end, your gut might be your best gauge when considering a literary agent. If after all your questions have been answered and you still feel wary of signing, it may be best to gracefully decline the offer. As nice as it is to be offered representation, proper treatment of your work by a trustworthy agent is paramount.

Writer’s Relief would love to help you find the right literary agent for your book! Our submission strategists can help target your book to distinguished literary agents to find which ones are best for you and your work. For more information about our services, please visit www.WritersRelief.com.

At Writer’s Relief our submission strategists are always on hand so our clients know the best ways to interact with literary agents. Even if you’re not a client, here are some deal breakers you’ll want to avoid when submitting your book. 

1. Beginning your novel with long descriptions of the weather or the scenery. Avoid an “information dump” right off the bat, including drawn-out descriptions of the main character or backstory.

2. Beginning your novel with a cliché. If it feels even mildly familiar, skip it.

3. Asking an agent for a detailed critique of your submission or for a detailed explanation of a rejection.

4. Writing clueless query letters. Queries that brag, grovel, and show a lack of professional know-how are a no-go to literary agents.

5. Missing deadlines. Writers who promise a synopsis within a week should deliver.

6. Insisting on becoming “part of the process” in areas best left to other professionals. Writers should not push their cover art ideas on a literary agent or second-guess the agent’s advice on legal contracts. There’s a big difference between integrating yourself in the process in an intelligent, well-informed way and being a royal pain.

7. Querying with inappropriate material. Agents who specifically represent one genre (westerns) are annoyed by submissions of other genres (horror). Do your research, or have Writer’s Relief do it for you.

8. Being a prima donna. If you land a contract, this is not the time to become high-maintenance.

9. Trying to get noticed with gimmicks. Agents aren’t impressed by authors who write their queries with silver gel pens on black paper or who include a miniature doll to represent their main character.

10. Reacting immaturely to rejection. Blasting an agent for rejecting your novel by blogging about them will only tarnish your reputation as a serious and professional writer.

If you’ve written a book and are trying to get published, Writer’s Relief would like to suggest the following strategy to get literary agents and editors excited about your book:

Publish an excerpt.

That’s right. Create a stand-alone short story or essay from within your book.

Creating a short story or essay from within your manuscript may seem time-consuming and counter-productive, but many writers have used this strategy to great effect. Often, when you crack open a book, you’ll notice in the copyright section that the publisher wishes to acknowledge other small presses that previously printed selections from the book. Professional writers will frequently convert the first chapter of a book into a story or essay and then publish it in a literary magazine years before the book is even done.

But, you’re thinking, how can I turn part of my book into a story?

A short story or essay is easiest to place when it is shorter than 5,000 words (here's why). If you decide to create some stand-alone prose from within your book, keep in mind that you are allowed to revise your text. Your story does not need to match the portion of your book word for word. Feel free to play with your prose in order to give your excerpt the best shape for the medium. Also, if you’d like to write a story that is very loosely based on an event in your book—or maybe even a spin-off—that’s fine too. The point is to be able to say in your query letter:

My story “Footsteps in the Hall,” which is [based on/excerpted from] my novel The Monster Keeper, was published in The Name-of-Magazine-Here Review.

Why do writers want to see their excerpts published? There are a number of reasons excerpts can get you where you want to go.

Book excerpts generate enthusiasm. When a literary agent or editor sees that a portion of your book has been published in a reputable literary magazine, you are immediately bumped to the head of the class. Literary agents and editors like to see that you are actively publishing—and it’s even better if what you’re publishing is from the book that you’re pitching.

Published excerpts indicate that there is a pre-existing audience. If a literary agent doesn’t have to hem and haw over how to position your book within the larger market, then you just might strike gold. When you publish an excerpt, you hint that there is already interest out there for your writing. You indicate that the masses are ready and eager for a writer like you.

Excerpts build up your bio. We’ve already discussed how extremely important it is to build up your bio when you’re approaching literary agents with a book project. Publishing an excerpt of your book demonstrates that you are a writer who is serious, professional, and capable. Skip this step at your own peril.

Writer’s Relief often recommends to our clients that they publish excerpts of their books in the literary magazine market, and we can help you submit your excerpt for publication. If you’re not ready for our intensely effective Full Service program, check out our A La Carte services. We can do as much or as little as you like to help you build up your bio and get your submissions to the literary agents and editors who will be most likely to enjoy your work!

1. Get the look. If you want people to take you seriously, you’ve got to present yourself in a serious way. When making your submissions to agents and editors, skip the bright-colored paper, the “clever” query letter intros (editors get sick of them fast), the thumbnail image of your face on the manuscript. Just be brief, straightforward, and businesslike. Also, follow industry standard formatting and have your work proofread. Interestingly enough, it’s often the veteran writers who are more inclined to appreciate proofreading than the newbies—but that’s probably why they earn veteran status to begin with.

2. Write to the right people. The first mistake of making submissions is taking the “blanket” approach: wallpapering the whole country with your query and cover letters. A few well-placed and specific queries truly mean much more than 50 that are almost well-placed. Queries that are almost well-targeted will almost get you published. Do the research (or hire someone who will) to make your submissions matter. (NOTE: We’ve found that writers who take this seriously tend to be more successful. Submitting selectively is a sign of a writer who knows what she or he is about. Selective writers put so much love into their manuscripts that they won’t submit to just anyone. Selectiveness is a very good sign because it demonstrates the right attitude for success.)

3. Be the tortoise, not the hare. Make submissions part of your writing habit. Submitting your work in dribbles and drabs is NOT a strategy; it’s a crapshoot. Sustainable and steady wins the race. To a certain extent, submissions are a numbers game. When you submit more regularly, it’s likely you’ll get published more often and more regularly. And the more you build up your bio, the more likely you’ll be well-received. Don’t give up on a story just because twenty places rejected it. Plan to submit to at least 100 markets. AND create a schedule to lock yourself into making submissions. When you create a calendar for your submissions (and deadlines for your writing so that you can make submissions) you will see your publication rate increase.

4. Organization is your friend. Some people are naturally well-organized but others are not. To truly make the most of your submissions, you need to keep track of who read what, who liked what (and why), who rejected what (and why), who wants to see more work from you, and who acquired what rights. It is a TON of work (that’s why Writer’s Relief takes on this burden for our clients). When the acceptance letters start coming in, you’ll thank yourself for the extra effort.

5. Chin up! Last but not least, work to maintain a good attitude. Negative thinking, getting glum about rejections, and believing yourself less than worthy... It’s easy to fall into those traps. Positive thinking takes real work when you’re getting bombarded by rejections (and you WILL get bombarded—it’s part of the process). Start looking at your rejection letters as proof of your dedication, devotion, and all-around awesomeness. Attitude is often the only difference between a nobody and a rising star. Every rejection brings you closer to acceptance, so submit regularly and chip away at those numbers. If you’d like to stay positive and motivated, we’re willing to give you a free E-book, Rejoice in Rejection (details here). We know it will help!

If you’re not able to develop a submission strategy on your own, or you just don’t have the time and patience for it, do yourself a real favor and check out Writer’s Relief. We can take on as much or as little of the submission process as you like so that you can focus on what you love: writing.

At Writer’s Relief it’s our business to work with our clients to develop a submission strategy that 1) keeps them focused on writing, 2) eases the stress and frustration of the submission process, 3) circulates manuscripts regularly (with no spamming) to generate interest, and 4) targets the BEST literary agents and editors (those most likely to enjoy the writing in question).

For more tips on making strong submissions, visit:

How To Write Cover and Query Letters That Get Attention 

Why Length Matters When Submitting Your Stories And Poems For Publication

How To Build Up Your Writing Bio Super Fast

Seven Techniques You Must Know To Make Editors Notice Your Poetry

If you have written a book or novel, you’ll want to be sure that your book meets the basic criteria of book publishers and literary agents. If your book follows the “rules” of your genre (whether romance, Western, thrillers, or horror), you will be more likely to be published.

The Rules Of Genre Fiction
Genre fiction refers to books that are published widely for popular appeal. Publishers tend to place high value on genre fiction books, especially when a writer shows a palpable enthusiasm for his or her particular genre. Usually, genre books are published in the smaller, mass-market book size.

Genre writing is all about crafting great stories that appeal to a distinct audience who have particular preferences. Do your research and learn what is expected from your genre. Read widely in your genre. Join a creative writers’ group. Research recommended book lengths and what publishers are buying—and not buying. Again, you don’t have to be a slave to the standards, but—just like with grammar and punctuation—a professional writer must know the rules in order to effectively break them.

Disclaimer: Please keep in mind that the below is an overview of generalized genre guidelines: always research information about your specific project for the best results.

The Rules Of Romance Genre Novels
A romance novel ends with a happily ever after. It starts with the introduction of characters and the conflict, and at some point the relationship is consummated in some way. The story usually emphasizes the heroine’s experience, and the reader should be drawn into caring about the characters and cheering on the eventual romance.

How long is a romance novel? A single title (or stand-alone) romance novel runs between 80,000 and 100,000 words. A category romance novel (like those published by Harlequin) is generally shorter, and each “line” or “imprint” will have its own strict specifications. Save yourself a lot of trouble: Research before you write!

Subgenres of romance include: paranormal, erotica, Regency, historical, contemporary, women’s fiction, Christian, time travel, erotica, fantasy/science fiction, and more.

The Rules Of Fantasy Genre Novels
Create the rules of your fantasy world in advance and stick to them. Design the environment (geography, weather), the characters (race, creatures), and other rules, such as magic, the history of your environment (wars, etc.), and limitations of powers. Avoid clichés in your characterization (no The Lord of the Rings impersonators), and let your theme (good vs. evil?) be consistent yet subtle. Pay attention to publisher guidelines: One publisher specifically states caveats such as “no time machines, please.”

Fantasy novels can be a little longer than traditionally published novels, and they are sometimes serialized as trilogies. Fantasy novels can be between 80,000 and 150,000 words (approximately).

Subgenres of fantasy include: alternate history, urban, dark, high, historical, steampunk, wuxia, fantasy of manners, and more. Be sure you’re familiar with the subgenres before you attempt to position yourself as an expert author in your field!

The Rules Of Western Genre Novels
Westerns should be set in the Old West (west of the Mississippi River and before the year 1900). Historical details should be accurate, but the story is what really counts: Focus on three-dimensional characters and strong plots, with the hero facing some sort of conflict. While Westerns are very specialized, take care to be sure that you’re not relying on clichés!

How long is a Western book? Westerns tend to be on the shorter side of fiction books, anywhere from 45,000 words to 75,000 (loosely).

The Rules Of Historical Fiction Genre Novels
The details are important in this genre. Set the stage carefully and accurately so that your 18th-century character doesn’t wear clothing and/or use products that weren’t around at the time. Pay attention to social customs, holidays, transportation, and food, and make sure they are relevant to the period. And don’t judge your characters by modern standards—a person’s behavior should be dictated by the customs and society of your time frame. Careful research is especially important for this genre.

How long is a historical novel? Generally, a stand-alone historical may be 85,000 to 100,000 words. For first-time writers, submitting a book longer than 100,000 words is especially difficult, but historical novels have been known to be longer than 100,000 words.

The Rules Of Mystery Genre Novels
Pay special attention to plot in this genre. Introduce the murder or the crime early in the story, and research the methods by which the crime was committed (is it really possible for a five-foot woman to decapitate a large man?) and how the investigation proceeds. Research forensics, criminal justice, and detective procedures to lend credibility. Avoid supernatural or unbelievable methods of solving the case, and create a solvable puzzle for your readers—mystery novels are supposed to be fun to read and fun to solve, and if the reader isn’t provided with plausible clues to follow, they’ll lose interest.

How long is a mystery novel? Mysteries vary in length depending on subgenre. Single-title mysteries may be between 75,000 and 100,000 words. Cozy mysteries, like those in a mystery series, may be on the shorter side of the genre.

Subgenres of mystery include: hardboiled, supernatural, crime, true crime, amateur sleuth, police procedural, cozy, and more. Be certain of whether or not you are writing a mystery or a thriller.

The Rules Of Thriller Genre Novels
Thrillers are designed to do one thing: thrill. Strong characters, tight plots, and an emphasis on action over flowery prose drive this genre to daring storylines. Thrillers often feature determined protagonists and clear antagonists, and they can be set in nearly any location imaginable. Thrillers can be graphic (gritty) or somewhat more subtle, but focus is always on suspense.

How long is a thriller novel? Thriller novels hit the genre-standard sweet spot of 90,000 to 100,000 words for new writers (loosely). Thrillers tend to go a little longer as well, but new writers will tend to see better results with shorter books.

Subgenres of thrillers include: action, conspiracy, disaster, crime, eco, political, erotica, legal, and more. 

The Rules Of Horror Genre Novels
Horror novels capitalize on emotion (fears, phobias) more than plot. Create a feeling of dread for your reader, and sustain the suspense throughout until you reach a climactic conclusion. Avoid clichés, like the monster that seems dead but really isn’t.

Horror novels vary in length, but generally, a stand-alone novel will be between 80,000 and 100,000 words.

Subgenres of horror include: psychological, ghost, weird menace, erotic, body horror, occult detective, and more.

The Rules Of Young Adult (YA) Genre Novels

Young adult (YA) fiction targets boys and girls between the ages of 12-18. The tone, style, and content of YA novels changes significantly, depending on the specific age a writer is targeting. YA writers write for a specific audience without "talking down." The genre can tackle G-rated issues or it can be very edgy. In all cases YA provides a safe place for young readers to explore the challenging situations that they may face in real life.

Young adult novels vary in length depending on demographic, but generally run between 40,000 and 75,000 words.

Subgenres of YA include most of the same subgenres of adult fiction. "Edgy" YA tackles especially controversial or difficult issues.

CLICK HERE FOR PART TWO: How Do You Know If Your Novel Is Literary Or Mainstream Fiction? How Long Is A General Fiction Book?