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 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.

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, 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?

Are you looking for the best literary agent to represent your book manuscript or novel so you can get published? Are you researching the literary agencies most likely to enjoy your particular type of writing? If you’re wondering how to get published by landing a literary agent, look no further. Writer’s Relief has helped hundreds of writers (novelists) just like you reach the literary agents who are best-suited for their book manuscripts or book proposals. Our goal is to help you land a literary agent and get published.

Writer’s Relief is an author’s submission service, not a literary agency, publisher, or publicist. We prepare and target our clients’ submissions to the best-suited literary agents and editors. Working with us is like working with a team of industry-specific personal assistants who save you time and who know the strategies that work. In other words, we help our clients get literary agents and get published.

Writers face many hurdles and difficulties during the submission process. All the hours and hours it takes to prepare successful submissions can get very discouraging, especially for writers working alone. Here are just a few ways Writer’s Relief saves our clients from the burden of making submissions to literary agents:

Problem 1. “I’ve been spending endless hours researching via Web sites, directories of literary agents, and market books (like Writer’s Market and Guide to Literary Agents) to find listings of the best agents. It’s discouraging and it’s a headache, and I’m not getting the results I want. Plus, it seems like I have no time to write and work on my books anymore!”

The Writer’s Relief solution: Our job is to save you time and stress. Our professional advice, research, and support can increase your acceptance rate. We prepare your query packets in the proper way and we target your submissions to the literary agents who will be most likely to appreciate your work—you just sit back and wait for the results to come in.

Problem 2. “How do I know if literary agent listings contain outdated contact information, especially if I’m looking for literary agencies on the Internet? I want to send my work to the right agents and be sure that I don’t get roped into a trick, scheme, or scam, but the information out there is unreliable and it wastes my time! Who can help me find a literary agent for my book?”

The Writer’s Relief solution: There are many online writers’ resources (and lists of literary agents) to help you land a literary agent, but many of them are out of date. Our database contains thousands of literary agents and agencies that are updated on a daily basis and are cross-checked through many sources. We carefully vet each agent or agency in our database, and we don’t submit to literary agents who are less than trustworthy. We’ve got our ear to the ground in the publishing industry at all times, and we help protect our clients from getting scammed. Also, we receive personal feedback on thousands of literary agent responses (rejections and acceptances) from our full client base—so we have detailed, personal information on literary agents and editors that you won’t find anywhere else!

Problem 3. “How do I write a query letter that gets a literary agent’s attention without looking like I’m trying too hard? Should I mention my self-published book in my query, or not? Should I mention if I’ve never been published? How do I write a ‘book blurb’ that will make agents pay attention to my novel?”

The Writer’s Relief solution: When you become a Full Service client of our submission services, we help you with the entire process of submitting your book or novel to literary agents. Our submission strategists will write an effective cover or query letter based on the strengths of your book. We KNOW what phrases, information, and organization works in cover and query letters to literary agents and editors. Our clients see results and are frequently asked by literary agencies for complete manuscripts for further review.

Problem 4. “I understand that I need to submit a lot of queries to literary agents before I should start expecting results. But it’s overwhelming. Once I start submitting, how do I keep track of all my submissions and responses? It’s such a pain and I’d rather be writing than doing paperwork!”

The Writer’s Relief solution: Let us do the tedious legwork for you. We have an effective system of targeting submissions and tracking literary agents’ responses. We help you develop a submission strategy that works. Please note that approximately 80% of writers who approach the Writer’s Relief Review Board are turned away. Our staff must feel confident in your book manuscript in order to ethically help you submit your writing to literary agents.

For pricing, packages, submission guidelines, and FAQs about Writer’s Relief, visit http://www.WritersRelief.com/.

If you’re interested in trying to get an agent without the advantage of professional assistance, here are some articles that may help:

• Top Reasons to Query Literary Agents before Editors.
• Do You Need an Agent for Your Book Project?
• How to Spot a Literary Agent Scam (part one).
• How to Spot a Literary Agency Scam (part two).
• The Query Letter.
• The Query Letter from a Marketing Standpoint.
• How to Write Cover and Query Letters that Get Attention.
• Savvy Salutations in Query and Cover Letters; How to Address an Agent.
• Submission Do’s and Don’ts.

Writer’s Relief was born with the intention of helping creative writers (poets, short story writers, novelists, and others) make well-prepared and well-targeted submissions to literary agents and editors. We’ve prepared query letters and query packets for thousands of writers seeking literary agents, and we can help you too. If you want to land a literary agent, you’ll need to use every tool available to beat the competition. We know we can help.

Take a moment to see how we can improve your submission strategy at www.WritersRelief.com.

You’ve been writing. Now what? If you are confused about what your next step should be, here is a great opportunity to take a giant leap forward in your writing career. We’re offering to share what we’ve learned about publishing in the creative writing industry. Take a look at the services we list below, and call us to discuss whether you and your writing are ready.

You already receive one of our useful tools for writers, so you know our FREE Writers’ Newsflash contains lots of articles that help you hone your craft as a writer.

Here is an outline of other services and tools available to you:

Our Blog (also FREE) is an amazing source of information for writers in all genres. You may search on topics such as how to write a query letter, how to choose a literary agent, where to submit children’s books, submitting poetry to the best markets, choosing point of view, why length matters for short stories, grammar and punctuation rules, etc.

$100: A La Carte Service—Get started right away! This is a more do-it-yourself service, with Writer’s Relief targeting markets and guiding you through the process. You’ll get 25+ submissions out into the world within three days. This service is simple, quick, and affordable. We provide the best market research available to creative writers. Info about our A La Carte Service may be found at http://WritersReliefBlog.com/post/Our-A-La-Carte-Service.aspx.

$200 - $250: A La Carte PLUS Service—Everything that’s fast and affordable about our regular A La Carte Service, with the time-saving bonus of full-service cover/query letter preparation. We will target the best markets for your work, prepare mailing labels, and create 25 to 30 personalized, professional cover/query letters. More information may be found at http://www.WritersReliefBlog.com/post/Want-Us-To-Create-Your-CoverQuery-Letters.aspx.

$339 - $399: Full Service—Our most inclusive level of service. Your work must be presented and accepted by our Review Board. We do not accept all authors. If you don’t have time to take care of all the tasks required to get your submissions in the mail, this service is for you. We’ll create cover letters, target and track submissions, research guidelines, assign you a personal submission strategist, etc. Everything you need to develop a high-level submission strategy is included. http://www.WritersReliefblog.com/post/Submission-Guidelines-For-Full-Service-Clients.aspx

Included with ALL services:

** Targeting 25+ literary venues that specialize in YOUR type of writing. (Your work will be targeted to the most appropriate markets based on the topics, word count, etc., of the particular piece [or group of poems] you’re submitting.)

** An online database that lists all your submissions. As an A La Carte client, you’ll have access to your submission list 24 hours a day for 30 days.

Our A La Carte Service, A La Carte PLUS Service, or our Full Service? Choose the one that works best for you and suits your budget. All services include targeting your work to the best markets. Go to this link to see which level of service is best for you: http://WritersReliefBlog.com/post/Three-Levels-Of-Service.aspx.

We invite you to give us a call for a FREE consultation with one of our submission strategists. Meg, Kriste, or Lisa will be happy to discuss your needs. Call us toll-free at (866) 405-3003 between the hours of 8:30 – 2:30 Eastern time if you need help deciding which service is best for you.

Writing fiction from real-life experiences isn’t as easy as it sounds. Fiction writers—writers of short stories and novels—must know when to use real-life details and when those details don’t work well in prose. Putting your real life in writing can be inspiring, but it can be dangerous too.

Creating Fiction From Personal Experiences:

Life is a wealth of material for writers. Most fiction is autobiographical to some extent, as writers draw from their real-world experiences—a first kiss, graduation, birth, death, marriage, divorce, career changes, the assassination of JFK, the invention of Spam (both kinds). Sometimes a story is created from the tiniest real-life detail. You notice a little boy digging in the sand at the local playground, and this sparks an entire spin-off—a full-length novel about a man who makes a living digging wells. (Sounds boring but of course you’ll make sure there’s a clever hook, won’t you?)

Creating Fiction From Other People’s Experiences:

Grab a National Enquirer and take a look at the headlines. Surely, there’s something that calls to your creative side in “Man Captures Muck Monster” or “How to Make Millions with Beet Juice.” Or drift back to your childhood/adolescence, and think about someone you haven’t seen since. Did Mary Sue, the terribly shy, mistreated girl who never spoke, become a radio personality or a serial killer? There are many possibilities.

On-the-Job Training:

There are many well-known authors who have used their work backgrounds to create believable, technically correct fiction. John Grisham and Patricia Cornwell come to mind. Grisham made a name for himself writing legal thrillers based on his experiences as an attorney; Cornwell worked in a medical examiner’s office and turned this experience into a series of medical examiner thrillers. The inside knowledge these two authors possess contributed to their success and made their fiction believable.

Warnings About Writing Fiction Based On Real Life:

Consider this story: Once upon a time there was a man who was born, went to school, became a teacher, got married, had two children, and died at the age of 82. This man collected stamps, was afraid of flying, and once broke two ribs in a silly fraternity stunt back in college. During his lifetime, he helped his children and his students become better, more well-rounded people, which is a great accomplishment. But is it a novel?

Most fiction stems from real life, but if you think about the lives of ordinary people, there’s not usually a novel to be had. Real life is messy and complicated and doesn’t follow the rules of fiction; it’s also boring at times…mundane. The trick is to lift characters, events, tragedies, and triumphs from the pages of real life and create a new existence for them—using literary techniques and a good dose of creativity to make them more exciting, more interesting, more disturbing—more worthy of being read.

Just be careful that you’re being honest with the way you show real life in fiction. If you become too emotionally attached to turning your real-life story into fiction, you may lose sight of those elements that differentiate a smooth, well-crafted story from a real-life tale. Emotion can be a stumbling block if a writer isn’t flexible.

Also, sometimes a real-life story simply won’t “feel” real in writing. For example, a story about a jaded “loose cannon” Italian cop who solves mafia murders in New Jersey might be cliché and unbelievable—whether he’s real or not. When real life becomes too unbelievable for good fiction, writing nonfiction is often a better choice.

Disguising a real-life story as fiction doesn’t necessarily ensure that you’ll avoid lawsuits. In a previous article on creative nonfiction, we discussed the possible legal ramifications of using real people in your fiction. Exposing the school principal’s quirky bedroom habits is a risky proposition that could lead to a lawsuit. Better to model a character after the principal; as a writer, you can improve on his character to better suit your story, and no one will be humiliated or prevent your child from graduating elementary school. The same holds true for transplanting Cousin Ida into your fiction; she’s a true character in real life, but she’ll likely need some tweaking if she’s going to feature in a story.

What is creative nonfiction?

Lee Gutkind, editor of Creative Nonfiction magazine, sums it up best: “This is perhaps creative nonfiction’s greatest asset: It offers flexibility and freedom while adhering to the basic tenets of reportage. In creative nonfiction, writers can be poetic and journalistic simultaneously.”

Creative nonfiction is a genre that holds great creative possibilities. It involves the use of factual events or characters to create dramatic nonfiction using techniques such as dialogue, scenery, and POV. It combines the fact-finding of journalism with the literary techniques of the fiction writer to create a dramatic story that just happens to be true. This is also called literary journalism, and, like journalism, it is a genre based on truth.

Suppose an author has written her memoir under the guise of creative nonfiction, but she has spiced things up with a near-death experience and perhaps a rape scene—things that never actually happened in her life. Ethically, this author must redefine her piece as fiction. The basic facts must be true in creative nonfiction.

If the same author wrote a biography about her great-grandfather, she has some license to fill in the blanks, as long as it doesn’t affect the outcome of the story. She most likely doesn’t know what her great-grandfather’s farmhouse looked like on the inside or what he liked in his coffee—ethically, the author has the right to create dialogue and other “facts” that make up the creative element of creative nonfiction. Some authors use disclaimers to make sure their readers don’t feel duped if names or minor details are changed.

Readers must assume that they are reading a biased interpretation of events as they view them through the author’s eyes. The basic facts are there, but the author is reporting his or her own version of those facts. The implied pact between writer and reader is this: I am telling you the truth, but the truth as it is filtered through my eyes.

Legal pitfalls:

While the people and places mentioned in creative nonfiction pieces are still around, writers often change the names of characters in their work to avoid conflict. As long as it doesn’t impact the story, changing Linda, the waitress at the Burger Barn, to Cynthia from the Hamburger Hut might save Linda some awkwardness. And if you’ve fudged the facts about her, changing Linda’s name just might save you from a lawsuit, but there is no guarantee. Linda can still sue you for defamation if she is obviously defamed, regardless of the name you give her in the book. Changing a person's name is not a guarantee of protection, but it might help.

Other ways to stay out of trouble:

Stick to the truth. In a defamation of character suit, an offending statement must be false for a plaintiff to prevail against you or your publisher. Untrue facts that negatively affect a person’s reputation or credibility are considered defamatory.

Be careful not to report facts that may cause damage to another person’s physical being or business. Revealing that Johnny from the bank is actually a mob snitch, even when the facts are true enough, can lead to physical harm to Johnny and legal hot water for you. And be prepared for an invasion of privacy lawsuit if you are exposing embarrassing or private facts about a person, even if they are truthful.

Protect yourself by getting written permission from people you wish to write about. And if they are no longer living, make sure you aren’t setting yourself up for a lawsuit from their family. (Obviously, you are fairly safe in writing about people who died long ago.) If the person is a public figure whose actions or background are a matter of public record, then you do not need permission, but be judicious about the facts you report. Senator Mucky-Muck may have an obsession with women’s feet, but leave his foot fetish out of your story, especially if it’s merely something you’ve thrown in to add some excitement to your story.

This article is for informational purposes only. For expert legal advice about your own publishing questions, always consult an attorney.

What is a thriller, aside from the obvious? This genre is known for the intensity of emotion it creates. Apprehension. Exhilaration. Anxiety. The main character (MC) has a goal, a nearly impossible one at times, and a heroic effort and/or sacrifice is required to overcome obstacles and reach that goal. Time is almost always a huge concern, as the MC must accomplish some feat (rescue his girlfriend, find the antidote, stop the terrorists) before disaster strikes. The level of intensity can either build slowly throughout the book or hit the reader from the very beginning, but it must generate a level of tension that keeps the reader turning pages. Most importantly, good thrillers keep up an intense pace, and the reader is swept along for an incredible ride.

If the author has done a good job with accurate research and an intricate plot, the reader will also come away emotionally satisfied with having learned something. Thrillers, by their very definition, create a thrill, but they also provide good information about the legal system, a medical procedure, the inner world of Soviet espionage, military weaponry… Patricia Cornwell writes a series of medical thrillers based on her knowledge of the medical examiner’s world—a world that fascinates her fans, who are sophisticated and want accurate facts, not vague explanations or made-up procedures.

Thrillers are often lumped together with mysteries, but there are key differences between these genres. In mysteries the MC is presented with a puzzle (a murder, for instance) and must look for clues to solve that puzzle. In thrillers the MC faces a nightmare of a situation (impending disaster, serial killers, airborne viruses) and must learn new skills to cope with the circumstances. Most, if not all, of the “clues” are provided in a thriller, and the reader expects twists and turns and surprises rather than answers. Thrillers appeal more to the senses than an intellectual exercise in detective work, considered too “tame” for true thriller aficionados. It’s the emotional connection that counts.

Here are some of the basic subgenres of the thriller world. Keep in mind that there are often overlaps between two or more subgenres.

Medical. Modern medical technology is used to harm rather than heal. Robin Cook is the master of this genre. Forensic thrillers are another popular offshoot.

Legal. Usually, a lawyer or someone associated with the law takes on the legal system, often putting their own lives at risk. John Grisham and David Baldacci are well-known in this category.

Disaster. The town’s dam is going to burst in 24 hours or less. A ship innocently heads to port, carrying a bomb that could wipe out half of California. A meteor hurtles toward Earth. Any natural or manmade disaster that affects a large group of people can become a disaster thriller.

Action-Adventure. Difficult to successfully pull off, thanks to the huge amount of action and plot required, this is nevertheless a hugely popular genre, especially when translated to film. It’s characterized by physical action, bravery, and violence, and you’re likely to encounter high-tech weapons and remote, dangerous locations. Think The Bourne Identity.

Horror. Silence of the Lambs is a good example of this subgenre, emphasizing mental, emotional, and physical trauma for the MC as he/she battles a monster, human or otherwise. This also ties in to Serial Killer thrillers, in which the MC must track down a killer who threatens a group of people. Lots of blood and gore; lots of suspense.

Techno. This usually focuses on military technology of some sort, and this technology is essential to the plot. Tom Clancy’s work comes to mind immediately.
In the rich literary banquet of thrillers, the reader can also choose from police, spy, romantic, historical, supernatural, political, erotic, and conspiracy thrillers—and, more often than not, a combination of one or more of these subcategories. It’s a wildly popular genre overall, thanks to the adrenaline rush, complex plots, and big storylines. Thrillers are exciting. They are dangerous. And they should leave us feeling satisfied that not only did the MC save the world from (insert global threat here), but we learned a little something in the process. And even if we’ll never need to know how to detect a false heart attack during an autopsy, it makes us feel smarter if we do.

by Gilda Haber, Ph.D., Department of English Composition, Literature and Professional Writing

As instructors some of us love to write, and some of us also enjoy attending writers’ conferences. This summer I attended three writers’ conferences—one in Manhattan at Marymount Manhattan College, one at UDC, and one at Georgetown University, held by Washington Independent Writers (WIW).

Prior to the conference registrants receive a program and a list of available agents. It is wise for participants to choose the panels they wish to attend and to research and make appointments with agents in your genre prior to the conference. The writing conference is a good opportunity for the serious writer with an idea or a manuscript to network.

We meet other writers and authors, share our interests, attend specific panels of choice (such as a fiction, nonfiction) or meet, one-on-one, with literary agents. Each member of a panel speaks on his or her expertise and takes questions on how to write and sell one’s work. Most importantly, serious writers usually sign up to meet agents who attend the conference. Although hard to get, agents are interested in finding new talent.

One of the goals of a writers’ workshop is to meet agents in person. But both panel speakers and agents are relentlessly focused on writing as a business. Either work is well-written and has possibilities of selling to the public or it isn’t. You may have one but not the other advantage. Agents and publishers also put in long hours without compensation for the love of bringing a book from conception to birth. You must seek out the agent right for you, one who has sold books in the field that interests you, and one with whom you feel comfortable. The agent not only judges your work, but judges you personally, as to whether he or she likes you. You do the same.

I came armed with business cards and with queries, hoping, in 60 seconds, to seduce some agent with the excellence, uniqueness, excitement, and salability of my work. Who else but a writer labors intensively, creatively for months or years for the love of writing, to create a work of art and with no sure reward in sight?

Frankly, I was terrified of meeting some of these agents in person, especially those who have represented famous people. So far I had only read agents’ credentials on paper and seen the kind of deals they made, the kind of books they sold. The agent I most feared seeing turned out to be friendly but strictly businesslike. From my experience and from agents met at writing conferences, I learned the following:

One needs talent to write but, to paraphrase Edison: "success is 99% perspiration and 1% inspiration." Work hard and be persistent in sending out your work.

Do not copy anyone else’s style. Be yourself and develop your own. Welcome constructive criticism. It is the highest form of friendship. Give constructive comments to friends’ writings. If your grammar is weak, find a good copy editor.

Writing groups are very useful for feedback. (I, myself, run a writing group.)

Find out which books are written on subjects that interest you and who was the agent, editor and publisher for those books. Such information is often found in the book’s acknowledgments or by Googling the book’s name and author. Get to know that agent’s background, even his/her hobbies and interests.

There are books in public and school libraries on publishing markets. Buy one.

Do not send work sloppy in appearance or make spelling mistakes.

Be professional. Make sure to spell the agent’s name correctly. Read the agent’s rules for submission, and strictly observe those rules.

Do not unduly flatter the agent or boast about your own work.

Research dates, times, names, events, even names of paintings for authenticity.

Use verbs. Avoid adjectives and adverbs; show and do not tell readers what happens. Where appropriate, use dialogue; but dialogue must move the action.

Prepare a query before writing to an agent. Your query can refer to one or two books that agent has sold but not to all the agents’ sales. This is gratuitous.

Your query should consist of: why you chose this agent; why you are writing this book; what the book is about; why you are qualified to write this book; and how it differs from other books written on the same theme; say who will read your book and what you can personally do to promote the book’s sales. All this information should be written on one page. This is one of the hardest parts of writing.

If the agent answers your one-page query and says he/she is interested, either you know what the agent wants you to send next or ask the agent what he/she wants you to send. Do not get too excited. This is only the first of many steps.

Only send material when it is your very best work. There are no second chances with an agent. Revise and share it with peers and/or an editor relentlessly.

Fiction should be complete before sending; nonfiction has different rules.

Do not expect to be accepted at once. Expect many rejections. Some famous books were rejected as many as 50 times before becoming best-sellers. Some great books never become best-sellers. Do not leave your job or expect to become rich unless, besides being a good writer, you happen to be lucky. When it is rejected revise, revise, and share your work with other writers. As you revise early work, you will become more adept; writing ages like fine wine. Revisions with constructive peer comments or editorial assistance will refine your writing.

Keep a journal or a diary to write down interesting material, even dialogue as it occurs.
This will make your writing fresh, even if you use the material years later.

Write what you know about, but be careful in writing about someone you know. People may sue a writer if they recognize themselves and object to your presentation of them, especially if their personal lives are revealed.

There are grave challenges and risks to take as a writer. One exposes all of one’s skills and charms, as well as one’s weaknesses and foibles to others. But what joy when I see one of my 40 articles or stories in print, and what a joy it is to write!!

Good luck! See you at the next conference!

A good novel is often revised several times before it makes its way to publication. As daunting as this seems, revision is simply part of the process of taking that first draft and turning it into a polished and coherent novel and, hopefully, one that will make you a star.

If the process seems intimidating, break it down into manageable steps. Some writers make one thorough sweep, and others make multiple passes, concentrating on different areas each time (characterization, plot, theme). However you work best, take the time to find those weaknesses that could halt the flow of your plot or take credibility away from your main character.

Set a date. Give yourself a firm deadline, and break down what steps you need to take and when. Stick to your deadline.

Take a break. Now, walk away from your masterpiece, and let it sit untouched for at least a week or two, longer if you can stand it. Give your brain some time to remove itself from the process for a more objective view.

Print it out. Have a double-spaced copy of your manuscript in hand, with two-inch margins for note-taking. A spiral-bound notebook and a few pens of different colors can help you stay organized. For example, use a red pen for deleting words or sections, a blue pen for additions, and use the notebook for more detailed revisions or notes to yourself.

Revision. As you go through your novel chapter by chapter, ask yourself the following questions:

1) Story line
• Is my plotline solid all the way through?
• Are there any holes that leave the reader confused?
• Is the story set in an appropriate time, place, season?
• Is my theme resolved at the end?

2) Point of view
• Is the point of view effective in telling my story?
• Is the point of view consistent throughout?

3) Characters
• Do my characters stay consistent throughout the story? If not, have I developed situations that account for any changes in personality?
• Are my characters flat or one-dimensional, or are they believable and richly developed?
• Are my characters unrealistic or stereotypical, or are they realistic, with flaws and idiosyncrasies?
• Do my characters evoke emotional responses from the reader?

4) Scene
• Are my scenes predictable?
• Do I provide concrete details or vague generalizations?
• Do they contain a good mixture of dialogue, action, narration, and introspection?
• Is each scene relevant to the story (moves the story forward) or could it be considered filler?
• Are my scenes bogged down by too much narrative (“telling”)?

5) Dialogue
• Is my dialogue practical and does it accurately reflect the character speaking?
• Is the dialogue essential to the scene?
• Is my dialogue weighed down by “he said, she said” construction?

Line-by-line editing 
 
Once you’ve resolved plot, character, and scene issues, make a final pass through your manuscript with an eye toward the basics: punctuation, grammar, word choice, and sentence structure. Run a spell-check and keep an eye out for embarrassing typos as well. (At this stage it is often helpful to have a well-versed grammarian and objective reader take a stab at this.)

• Have I repeated a favorite word or phrase too often?
• Is my sentence structure varied and interesting, or do I use the same length and phrasing throughout?
• Do I rely on clichés?
• Have I used gender-neutral language?
• Have I stayed consistent regarding hair color, age, dialect? Are my characters’ names spelled consistently throughout?

And, finally, once you’ve made these revisions, take a little break and then reprint your masterpiece (with one-inch margins). One more pass through should reveal how effectively your revision strategy has worked. When satisfied take time to revel in the moment. You’ve accomplished a monumental task.

If so, be sure someone else hasn't already written about your topic in this comprehensive list, published by EW.com.

Click here for the list and complete article, written by Kate Ward.

And after you've completed your original memoir, contact Writer's Relief, Inc. for information on how to target your work to appropriate literary agents.

Like E-mail, E-vites, and E-queries, E-publishing refers to electronic publishing, representing a brand-new concept in providing reading material electronically. The work can be published online or on a CD or in a format that is compatible with a handheld reading device. Aside from general formatting, the production and printing aspects have been eliminated from the publishing process altogether

It may seem like one of those sci-fi visions of the future—people reading books and magazines from electronic devices as they hover over to the next docking station—but E-publishing is here, and it’s probably just a matter of time before it becomes mainstream. Nothing will ever take the place of a cozy paperback to read by the fire, but in this age of eco-awareness and with the love affair humans seem to have with gadgets, E-books just might be here to stay.

One of E-book readers’ common complaints is that no one wants to sit down at a desk and read a novel off the computer screen, and even though you can curl up on the couch with your laptop, the resolution of the screens leaves much to be desired. So readability is a problem. Handheld reading devices were invented to resolve that issue, and there are several models on the market, such as the Sony Reader, Microsoft Reader, Amazon Kindle, and eReader. There are also Webpads and PDAs that offer E-book reading capability. Some of these devices have enough memory to hold dozens of E-books, including reference books that could be invaluable to students and business people. And they’re lit from within, so it’s easy to read in bed without disturbing your sleeping partner! The technology for these devices changes daily, and for now it’s a wait-and-see to determine what will become standardized in this market.

So far there are thousands of e-books to choose from, and this number is sure to increase dramatically if the concept catches on. Nonfiction and how-to books were the forerunners in this new technology, but Stephen King paved the way for more famous novelists to explore the medium. His E-book, Riding the Bullet, shook up the industry and forced publishers to begin the process of adapting to the changes. It took a big-name author to make publishers sit up and take notice, but E-publishing offers newer writers an alternative to traditional publishing.

For writers considering breaking into the world of E-publishing, there are a few things to consider.

ADVANTAGES:

• The author usually makes a higher percentage of royalties for E-books, and royalties are often paid more frequently—but sales numbers can be markedly lower than print, at least for now. And there are no advances paid to e-book writers.

• Because there is little financial investment required by the publisher, editors are more willing to take risks on new writers and nontraditional work.

• Electronic publishing is ideal for smaller work, since a print run on a small project is rarely cost-effective for a traditional publisher.

• Printing is the most expensive aspect of publishing, and E-publishing offers a more economical and eco-friendly alternative. E-publishing also offers a much faster turnaround—generally a few weeks or months after acceptance—compared with up to two years at traditional houses.

• It’s extremely easy and cheap to make updates to E-books that are already in circulation, which is invaluable for nonfiction, how-to books, and technology-related work that changes constantly.

• It’s easier to self-publish in E-book format when traditional publishers don’t feel the work would sell well. If E-book sales prove the publisher wrong, they are sometimes willing to pick it up and sell it in print.

• Authors usually retain all other rights to the work, while traditional publishers claim as many rights as possible.

DISADVANTAGES:
 
• The reading devices are still quite expensive, and it’s hard to commit to the price when the technology may be obsolete a year from now. And the price of the works themselves is not significantly cheaper than their paper counterparts, which hurts sales.

• E-publishing does not offer all the layers of quality control that traditional publishing provides. You, the author, are responsible for the editing of the book, and you must do all the marketing yourself. At a traditional publishing house, there are a host of professionals to provide quality control and up sales for your work.

• E-book publishing credits do not carry the same weight as print credits.

• Piracy is much easier with electronic work.

• You miss out on seeing your baby on the shelves of Barnes & Noble. (However, since e-books have ISBN numbers, your readers can walk into B&N and order a copy of your book.)

There is no substitute for the smell and feel of a brand-new paperback or your dog-eared copy of Wuthering Heights. But be prepared for a marked increase in online reading material and electronic reading habits. You may find yourself reading The Wall Street Journal in bed on Sunday mornings from an E-book reader sooner than you think.

When you send out a query letter, it has approximately two seconds to grab an editor's or agent's attention before being relegated to the Round File. Forget trying to "trick" someone into noticing your query by using bright-purple stationery or flashy fonts—instead, give the editor exactly what he or she wants: a concise, well-written synopsis of your work that shows you've done your research, both into what an editor/agent wants, and what the public will want.

Many writers rush through the process of writing the query, thinking that the focus should be on their manuscript, not their introductory letter, but editors and agents do not have the time to evaluate manuscripts individually. Your query letter must be convincing on its own, both in its ideas and the quality of the writing. Any number of mistakes can get your query passed over, and although it may seem unfair to be judged on a one-page letter, that's the nature of the business.

A query letter is what a writer sends to an agent or a fiction editor in the hopes of having the entire manuscript requested. It is a one-page, self-contained introduction that says, in essence, I have a unique book (short story/poem) I'd like you to read. If you are intrigued by my query letter, I have enclosed a synopsis and sample chapters (or the short story/poems).

The concept is much the same for nonfiction books, except that the work does not have to be completed. The query letter is a polite introduction to your proposed nonfiction work, with the hope that the editor will be intrigued and request a proposal. I have outlined a book on home-schooling, and here is why I believe it will sell.

There is no magic formula to help sell your ideas. The most writers can do is to educate themselves on the art of the query—by keeping current on industry guidelines, studying successful query letters, heeding the advice of editors and agents, and through practice.

There are four necessary parts to a query letter, and it's up to you to decide how to effectively order them. Writers with impressive backgrounds, publishing credits, or expertise in their subject matter may choose to highlight their credentials first thing. An unpublished writer may choose to wow the editor with the premise of his story right up front. The important thing is to cover all the important points:

1) The "hook"

This is where you "hook" the editor or agent. Describe the general concept of your work, or use a personal tie-in to show you either have done your research or have a commonality with the agent or editor you're approaching. One or two lines should do.

In 1642 a volcano wiped out an entire village in Malaysia. This is the story of the two lone survivors.

Or: We met recently at the Oakdale Writer's Conference, where you mentioned that you were interested in Civil War material. My book, Civil War Tales, takes a brand-new look at the battle at Gettysburg.

At this early stage an agent will likely make the decision to read further based on genre alone. Make it clear what you are offering, and define your work in terms of genre and length and perhaps the reason you wrote the book (if there's an interesting story behind it).

My book falls into the women's fiction category and was inspired by a family member who struggled with bulimia.

Or: My book is a science fiction novel based on my experience in DNA research and is complete at 150,000 words.

2) The overview

This is where you describe the plot of your story. Keep it to one paragraph, and give just enough information to describe the general plot, the setting, central characters, the conflict, and the resolution. Be specific. Your plot paragraph should include the time frame of your novel as well as the location or setting.

This novel takes place in rural Georgia in the 1960s—a time of strife and racial tension.

Introduce your main characters, but leave the minor characters for your synopsis. At this point you want to avoid slowing the editor or agent down with any unnecessary information. Keep it interesting and keep it moving.

3) Your credentials

This is an easy task for previously published authors and experts but a daunting task for the unpublished writer. Whether you've got a string of best-sellers behind you or this is your first writing endeavor, make sure you come across as confident (but not arrogant). If your query letter is good, your lack of experience need not count against you.

Highlight any publishing credentials (no vanity presses!), writing experience, and education.

I've published numerous short stories in Literary Magazine and have a degree in journalism from Impressive College.

Or: This book is based on my findings while on an archaeological dig in Africa for Stanford University, where I currently teach archaeology.

If your background experience has no bearing on the subject, leave it out. However, if your writing credentials are not impressive, by all means highlight anything in your background that merits writing your book.

As a mother of a child with Down's syndrome, I feel uniquely qualified to write about the subject.

4) Thank you

In closing, be sure to thank the editor or agent for his or her time and offer to send sample chapters (if not enclosed) or the complete manuscript. Enclose a self-addressed, stamped envelope for convenience, and sit back and wait—or start working on your next submission.

Watch for a future post when we will tackle the issue of marketability when approaching editors and agents.

Many writers have found success writing for the nonfiction market. The beauty of this market is that your book doesn’t have to be written before you can sell it. (In fact, many claim that it’s downright foolish to invest time and effort in a book that hasn’t yet been sold.) Unlike fiction, you can break into the market armed with nothing more than a killer book proposal, and we’re here to help you go about it.

In general, the nonfiction book proposal is designed to give editors a well-organized, detailed sales pitch describing what your proposed book is about and how it will make money for the publishing company. An additional bonus is that writing the book proposal forces the author to organize and focus the project approach. The book itself may go through many changes depending on editorial input, but the proposal should follow a generally accepted format. We’ll break down the anatomy of a book proposal and then give you some general tips.

COMPONENTS:

Title Page

Include your name and contact information with an approximate word count and the proposed title of your work. Make sure your main title describes the subject matter of the book to aid in keyword searches, and don’t rely on subtitles to convey vital information—subtitles are often dropped in computerized listings and library databases. Consider this your working title, as publishers may elect to change it.

**Optional: Summary (also known as the Overview, Synopsis, or Executive Summary) - 1 page maximum

Begin with a very short description of your book’s basic premise. Whatever makes your book stand out should be highlighted in the first few sentences. This is the "hook," so make it interesting and unique; powerful yet concise. Capture the editor’s attention right off the bat, and make it clear what you’re selling. If the editor has to hunt around for the point of your book, he/she is likely to toss it aside and review the next proposal in the towering pile.

Chapter by Chapter Outline - 1 to 4 paragraphs per chapter

Create a dynamic outline by highlighting each chapter’s major points. Emphasize each chapter’s unique and/or important function in relation to the rest of the book. By the time the editor has read this outline, he or she should have a clear idea of the overall book.

The Market

This section should include information about the book’s intended audience and why the book addresses the needs of that particular audience. Make sure that your market is broad (as in "women ages 30-60" or "people who buy cars"), and provide as many demographics of your targeted audience as possible. Include observations about current trends that favor your book and highlight what makes your book unique.

Also include information about the competition. If there are other books out there on the same subject, yours had best offer a new or original take. Identify current books that are similar, and explain how yours fills a specific niche. If there are complementary books out there, show how your book can be positioned to the publisher’s advantage.

Give the editor or agency enough ammunition to sell your work to their review board.

Author Information

This is where you list your education, writing credentials, contacts, experience—anything that makes you uniquely qualified to write this book. If you don’t have a journalism degree or a list of publishing credits, highlight other things that show you have what it takes to tackle the subject. For instance, you may be a parent of a special-needs child, and, although you have never been published, your experience qualifies you to offer a unique perspective—assuming that your writing is up to par.

You will also need to outline your own promotional ideas and resources to help market the book. Include information about affiliations, contacts, or endorsements you may have lined up. Do you have a prominent person willing to write the foreword? Media contacts? Web sites, bookstore appearances, newsletters, and possible sequels or spin-off information should be included in this section. To use the example above, you may be a member of the Autism Society of America, and with the contacts you have made within that organization you can offer greater promotional opportunities.

Specifications

This is where you outline an approximate word count, the number of chapters, and an estimated completion time frame. If your book will contain a number of charts, photographs, or illustrations, say so. You may also describe the general format you envision. However, be prepared to be flexible when it comes to length and format—the publisher will have the final say.

Note: A full-length nonfiction book contains 9 to 15 chapters. Don’t submit an outline for a book that contains less than 9 chapters. Make sure you have enough material (and time) to fulfill this obligation before you propose it.

Table of Contents

Quite simply, this is a list of chapter titles to give the agent or editor an idea of what will be included in your book.

Sample Chapters

If you have already begun the writing process, send one or two completed chapters (Chapter 1 and 2 are preferable). Do not send chapters from the middle of the book.

OTHER TIPS

Your book proposal should be similar in style to your proposed book. In other words, if your book is meant to be humorous and lighthearted, make sure your proposal is written in the same style.

Make sure the proposal is edited and proofread within an inch of its life. Agents and editors admit to passing over potentially great ideas if they have to wade through a sea of errors and typos and coffee stains.

Always include a self-addressed stamped envelope (SASE) for responses. Your material will be recycled.

When formatting, we recommend using a 12-point, easy-to-read font like Times New Roman or Arial, with one-inch margins all around, and left justification.

We love educating writers about ever-changing industry standards. Let us know if we can help you with any or all elements of putting together a stellar book proposal.

REMEMBER TO CHECK OUT OUR LIST OF WRITING CONTESTS and ANTHOLOGIES! You won’t find a better list anywhere (AND IT’S FREE!) of upcoming anthologies, special-themed journals, and contests. Find it by visiting:
http://www.writersreliefblog.com/post/Anthologies-Contests.aspx 

A blurb is a short summation of your book to help readers decide if they want to invest the time in reading it. The blurb can also be a sentence or two of glowing praise written by a fellow author to help market your book, but for this article we'll focus on the copy that appears on the back cover of a book. At Writer's Relief we help our clients prepare submission packets (including formatting, proofreading, tracking, and targeting the best literary agents). We also write blurbs for their books as part of our work in preparing their cover and query letters. We've helped many writers craft query letters that get noticed, and we're pleased to pass on some of our expertise to you.

A blurb is much like a short synopsis—you have approximately 250 words in which to summarize your book in a concise, engaging package. And before you panic, you should know that the traditional publishers have editorial staff to write blurbs for you, or they hire freelance help. But if you're self-publishing or need to write a blurb for promotional purposes, such as for your Web site, that's cause for celebration not panic—you have something to blurb about! Your task is to give potential readers an enticing peek into the nature of your book and leave them wanting more.

Here's how.

Carefully follow the publisher's guidelines for length and for other information that must be included. You may also want to study samples of blurbs on other books they've published. The average length of a blurb is between 100 and 250 words. You don't have much wiggle room, and the blurb is no place to try to cover the entire plot, so make each word count.

Identify your audience. If you've written a book of poetry, sum up the general flavor or tone of your work—it could be "a dark collection of soul-wrenching prose," or perhaps they're poems that focus on relationships or nature or Southwest culture. Either way, potential readers will want to know what they're getting into. If your book is an action-packed adventure, you'll want to focus on the major plot points. And a blurb for a romantic saga with a dashing hero should focus on the element of romance and the heroic character rather than the plot itself, unless the plot is as strong as the element of romance. The setting can also be a crucial detail to include if it is central to your book.

Identify what makes your book unique. If your book has a quirky take on a subject, convey this to your potential readers. Is it a true story or based on actual events? If your book is nonfiction, consider the benefits to the reader—does it teach something important and valuable? Impart unique wisdom? Use whatever hook you've got to engage readers.

Match the tone and style of your book to your blurb. If your book is humorous, make sure your blurb reflects that. A dark, ominous tone works well for a thriller but would scare off readers looking for historical romance.

Once you've sketched out your blurb, check to make sure it's clear, concise, and engaging. A rambling, unfocused, wordy blurb gives the impression that your writing will be more of the same. Test your summary out on fellow writers or friends and colleagues who haven't read your book. You need their honest opinions, specifically: Does the blurb make them want to read more? If it does, you've accomplished your goal. Congratulations!

In a previous post (http://www.writersreliefblog.com/post/Genres-Defined2c-Part-I.aspx), we defined the broadest categories of genres and broke them down into some common subgenres. For this post, we added a couple of genres and thought it would be fun to delve a bit deeper into some of the lesser-known subgenres…especially the newer ones with interesting names like cyberpunk and splatterpunk. Catchy, huh?

Romance:

We are all familiar with the romance genre. Every supermarket has an aisle with dozens of titles, so there’s no denying its popularity. It’s a genre with many subcategories, and most are self-explanatory. For instance, historical romances take place in—you guessed it—historical times. Combine a historical romance with a good mystery, and you have a historical romance mystery. Regency romances take place in the early 1800s and are set in England (when the Prince Regent ruled Britain). Inspirational romances have a spiritual theme, and multicultural romances involve characters from different racial backgrounds. There are also time-travel romances, where the characters travel back and forth between dimensions; paranormal romances, involving otherworldly elements; contemporary romances (set after the World Wars); and Victorian romances, which are set in Victorian times.

There are two criteria for a romance novel: there must be a central love story, and there must be an emotionally satisfying ending, as in marriage or a happily ever-after scenario. Once these two criteria are met, the writer can take a variety of directions and set the story in the present day, historical times, or even in a prehistoric setting.

Speculative Fiction:

The term "speculative fiction" is a broad umbrella that covers several genres, including horror, science fiction, and fantasy. It’s based on speculation about other worlds and otherworldly characters and events.

Science Fiction:

This is a genre bursting with interesting subcategories. Science fiction is based on futuristic concepts and technological advances—hence the name "science." From this common denominator, the genre can then take one of dozens of paths, depending on plot. These subgenres include time travel, adventure (space exploration, for example), robots and computers, aliens, parallel worlds, and even elements of romance, mystery, and horror.

Science fiction is loosely categorized as either "hard" or "soft," and defining these categories can stir up some hot debate among aficionados. In general, hard science fiction is based on scientific accuracy, and the science is absolutely crucial to the plot. The events in the story could conceivably happen based on technology as we know it, and there’s an element of realism involved. An example may be a novel about a fleet of robots, or a mega-computer that tries to take over the world. Isaac Asimov and Arthur C. Clarke are authors who employed this method.

"Soft" science fiction typically focuses on the people or the society who live in the fabricated environment; science and/or technology are a part of the story but are not central to it, and more focus is placed on character development and social issues than realistic scientific breakthroughs. Margaret Atwood’s The Handmaid’s Tale is a good example of soft science fiction.

One new and interesting subgenre has become known as "cyberpunk," based on the short story by that name by Bruce Bethke in 1980. Cyberpunk is usually set in the near future and is based on punk attitudes and information technology. It involves a complete breakdown or a radical change in the social order, and its characters typically live on the edge of this society.

Horror:

Under this genre, the subcategories are quite self-explanatory. They include medical thrillers, vampires, demons, serial killers, and monsters (both human and nonhuman). "Splatterpunk," however, is not quite as clear. The term, coined in the mid ’80s, refers to a category of horror where all boundaries of good taste are crossed, and nothing—absolutely nothing—is sacred. If you’re into gory, shocking, in-your-face horror, this is the genre for you.

Literary Fiction:

In literary fiction, the quality of the writing is the star of the show as opposed to the plot. Literary fiction explores the human condition, and it does so through outstanding writing, innovative language, and original ideas. It’s read by a niche audience and not targeted to the "common man" audience.

Mainstream Fiction:

Mainstream fiction is considered more "popular" because it appeals to a broader audience. Any genre can be used to produce a mainstream or widely popular novel. The plot must have elements to which a broad spectrum of readers can relate, usually focusing on relationships and personal conflicts. Mainstream fiction can be horror, romance, mystery, or science fiction, but it must have this in common: a wide audience. Many of Stephen King’s books, for example, appeal to readers who normally do not buy horror novels.

A genre is a category of literature, a way to organize and define various types of fiction. Writers are familiar with the main genres, such as romance or mystery, and readers are most familiar with them. Genre fiction is the most widely read fiction in the world, and every reader has a favorite. But the lines of genre are blurry, and new categories and subcategories are evolving all the time. The following are some of the best-known categories and their subgenres, and it is by no means a comprehensive list.
 
ROMANCE: A romance is a love story in which the central focus is on the development of the love relationship between the lead character and a love interest. The romance itself is the key element, as is the emotional engagement of the reader. The book should have a happy or satisfying ending.

Subgenres include:

Contemporary
Gay and lesbian romance
Romantic mysteries
Historical romance
Regency romance
Victorian romance
Ethnic/multicultural romance
Inspirational romance

SCIENCE FICTION: Science is the star of this show. Science fiction often takes place in the future and is based on technological advances, both real and imagined, and how they influence the characters and their world.

Subgenres include:

Hard science fiction
Soft science fiction
Cyberpunk
Time travel

FANTASY: Often grouped together with science fiction, fantasy tales are based on heroes, myths, folklore, fairy tales, and magic. The Lord of the Rings is a good example of fantasy fiction.

Subgenres include:

Fairy tales
Saga, myth, and legend
Dark fantasy
Sword and sorcery
Time travel
Paranormal powers

WOMEN’S FICTION: These are books that focus on women’s issues and relationships and are written and read primarily by women. While there are often romantic elements, the focus is not necessarily on one partner, and the endings are more realistic than the happily ever-after endings of the strictly romance division. Think Bridget Jones’s Diary. Often called "Chick Lit" or "Chic Lit," women’s fiction has birthed spin-offs such as "Mommy Lit" (focusing on motherhood) and "Chica Lit" (which focuses on Latinas).

HISTORICAL FICTION: This type of fiction is set against historical backdrops, where the setting is as important as the plot. While considerable research goes into these books, historical accuracy is not the immediate goal.

HORROR: This genre involves the supernatural, the monsters in the closet, and the fear of the unknown. The goal is to scare or unsettle the reader, and Stephen King has a corner on this market.

Subgenres include:

Medical thrillers
Supernatural thrillers
Psychological horror
Vampires and werewolves
Demonic possession
Mythological monsters
Splatterpunk

MYSTERIES: A mystery usually involves a crime (most often murder), the investigative process, and the resolution of the crime. The main character is often a police officer or a detective, and the reader is given clues, both real and false, to help solve the mystery.

Subgenres include:

Hard-boiled detective fiction
Crime fiction
Supernatural mysteries

ADVENTURE/SUSPENSE: Also called "thrillers," this category often combines elements from other genres. Readers of this genre can expect action, and lots of it. The main character will have to face a villain of some sort, and obstacle after obstacle will be thrown our protagonist’s way.

CHRISTIAN FICTION: This is fiction that reflects Christian views and focuses on the relationship between the main character and God. Christian fiction can include any of the major genres, such as romance or science fiction.

TEEN FICTION: Teen fiction encompasses all genres but focuses on characters near a teenager’s own age who deal with issues that are important to their age group, like relationships, teachers, and decisions about their futures.

When you’re writing a story, be it a short story or a full-length novel, you may have many objectives in mind. Sure, you want to see it published—a moneymaker would be nice, too—but don't you really want your reader to gasp when things get exciting? Jump when things are unexpected? Sigh when your heroine finds true love? When your reader feels what your character feels, you’ve accomplished that elusive goal and made an impact—brought your story alive through your character(s).

When planning your story, at some point you’ll have to make an important decision. In order to bring your character(s) to life, you must decide who will be telling the story. Whose point of view will engage us, the reader, most effectively?

First Person:

Many editors and publishers will tell you that a novel written from the first person point of view (I, we) is often a sign of an inexperienced writer, and—toss!—into the trash it goes. Check your local bookstore and take note of how many best-sellers are written in first person. They exist, but novels are far more often written in third-person narrative, and for good reason.

In first person, the character is also the narrator, either playing a central (active) role or a peripheral (sideline) part. As the first-person narrator, you have but one point of view to offer, and this can be limiting. There’s simply less opportunity to bring depth to the story. On the other hand, a first-person narrative creates an undeniable intimacy with the reader.

Poems and short stories don’t necessarily need to delve into other characters’ viewpoints, thoughts, and feelings, and writing in a first-person narrative works quite well. There are also a great many well-received novels out there written in first person, so don’t let sweeping generalizations deter you from choosing the point of view (POV) that works best for you.

Second Person:

This is a difficult and uncommon style to pull off successfully. Imagine an entire novel where the character, narrator, or even the reader is referred to as “you.” (“You walk down the street and notice the wide array of street people tucked into corners and alleys.”) Often considered an experimental form, this type of narrative would be nearly impossible to sustain through a full-length novel and would be more successful in a short piece. Examples include “How-To” stories, such as “How to Date a Brown Girl…,” by Junot Diaz.

Third Person:

Storytelling from a third person point of view (he, she) offers a clear distinction between the author and the characters, allowing the author complete freedom to travel through the story and its characters. The narrator is not a character and can therefore comment on every aspect if so desired.

Omniscient Narrator. Usually reserved for longer fiction, this narrator is all-knowing and can enter any character’s thoughts, interpret any character’s speech or actions, and provide commentary on their backgrounds and motives. As an observer with the knowledge of the characters’ history, the omniscient narrator makes judgments and offers opinions along the way. This is a technique that offers a great deal of freedom for the writer.

Omniscient Narrator (Limited). In this technique, the narrator’s knowledge is limited to one character—the protagonist. Other players are seen only externally. The narrator’s voice takes on the flavor and nuance of the main character, and no other information can be brought in from other sources (characters) other than what is observed through plot and dialogue. This is the most commonly used POV in short stories and novels.

Objective Narrator. An impersonal POV, the objective narrator offers no opinion and no value judgments, leaving the interpretation of events and dialogue up to the reader. The reader’s knowledge is limited to external descriptions, and the reader is invited to infer his or her own meaning from them.

Once you’ve chosen your point of view, consistency is a matter of personal preference. Switching POVs can cause confusion for the reader and interrupt the flow of the story. If you do choose to use multiple POVs, make it obvious when a new character takes over the storytelling. Use a new section (paragraph, chapter) for a new narrator, perhaps even labeling the section to make it abundantly clear whose point of view it’s coming from.