Agents and publishers are receiving more manuscripts than ever, and a writer needs every advantage to get noticed. A professionally formatted, well-polished manuscript has a much better chance of discovery than a manuscript riddled with grammatical problems and typos. It goes without saying that a writer should only submit work that has been carefully edited and proofed. The following tips and hints will help you find the right freelance editor to critique your fiction or nonfiction writing.

When should I hire an editor?

      •     Self-published books are not edited or proofed in-house unless you pay for the service. If you’re having a book edited by the book production company’s editors, you will likely have a choice between different levels of editing—from a line by line review (copy edit) to a more extensive edit (content edit). You can also hire your own freelance editor outside of your production company.

      •     An agent will tell you if your work needs revision before shopping it around. Many times these revisions are something you can take care of yourself. Other times the scope of the revision may require an editor’s helping hand.

      •     If a publisher requires revisions that are beyond your ability, a freelance editor may be able to help.

What type of editor should I hire?

Copy Editor. If you’re simply looking for someone to clean up your grammar and spelling, a good copy editor will not only go through your work line by line, correcting punctuation and grammatical errors, they will also flag inappropriate word choice, confusing sentences, redundancies, and other stylistic issues. Copy editors will standardize a manuscript, verifying that your characters’ names and location references are spelled consistently. They will perform fact-checks and alert you if there are any inconsistencies in the manuscript, such as faulty time lines.

Content Editor. For a more complete overhaul, you’ll need a content editor (often referred to as a book doctor). A content editor specializes in analyzing the work overall, making larger revisions and suggesting more sweeping changes. This may include a review of consistency of style, mood, or presentation of content; consistency of point of view and tense; clarity and effectiveness of content or story sequence, including support and resolution. A content editor will also examine the flow and transition (the continuous pace and progress) of the story and evaluate sentences for clarity, flow, and readability.

Substantive Editor. If you’re simply looking for an evaluation of your book to determine its marketability and general appeal, a substantive editor can help. Former acquisition editors at publishing houses and literary agents are well-qualified for this job.

Tips for choosing the right editor.

Match your genre. Editors specialize in many different areas—academic writing, magazine article writing, nonfiction, and fiction, for example—and in the general fiction category, editors tend to specialize in specific genres. If you’ve got a mystery, look for an editor who has experience in this style.

Ask for references. When you’re considering an editor, check his or her track record. Good editors will have editing experience in your genre or category and should have a list of published books they’ve edited under their belt (self-published books don’t count). Take a look at the quality of these books and judge for yourself. Also, take a look at the editor’s qualifications: education, previous experience, etc. If you find an editor who has worked at a large publishing house, all the better.

Recommendations. Ask colleagues, members of your writers’ group, members of university writing programs, or published authors for the names of well-qualified editors. Sometimes authors thank their editors on the acknowledgment page of their books.

Look it up. The Literary Marketplace has a listing of editors, updated annually, and The Editorial Freelancers Association (www.the-efa.org) maintains a Web site of freelancers who are generally well-screened. You can also take your chances on a general Google search, but keep an eye out for less-than-qualified freelancers and scam artists. No editor should ever promise they can get you a publishing contract, and make sure you are comfortable with their credentials and the quality of their work (with a sample edit, for example) before you send a check. (Most editors will ask for a certain percentage up front, with the balance due once the project is completed.)

Get specific information up front. Make sure you and your prospective editor are clear about what is expected. Do you want a line edit or an overall edit? What would each entail? What exactly will the editor be looking for, and what will they not take on? One way to make sure you’re on the same page is to ask for a sample edit. Most editors will edit a small section at no charge, say 5-15 pages, which you can then review. It’s important that the editor is able to follow your particular style and improve your writing without changing your voice.

If you do engage the services of an editor, take the time to study their changes and learn from them. Not only will it help your future writing, but you may have the confidence to make the edits yourself on the next go-round.

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 

If you’ve ever suffered through a bad critique, you know how damaging feedback can be to the creative process. Here are a few simple tips to help you determine how to find and choose a critique partner to help with your writing.

Why do I need a critique?
If you’re looking for an honest and objective viewpoint, a critique partner (or beta reader) may be the answer. Your best friend might shower you with well-intended praise, but a good critique partner will spot problems in your writing that you may be unable to see.

Where can I find a critique partner?
Check your local writers’ groups, libraries, bookstores, and the English department at local colleges and universities. If you live in an outlying or remote area, many online writers’ sites offer the opportunity for writers to connect with beta readers. If you write in a specific genre, check writers’ sites and critique groups dedicated to that particular genre (i.e., horror, mystery, romance, and science fiction).

What should I look for in a critique partner?
First, avoid family, friends, neighbors, or anyone who may be afraid to hurt your feelings. Feedback that showers you with praise and feeds your ego will not improve your writing skills.

Second, choose a fellow writer, someone with experience and credentials—someone who knows the ups and downs of the publishing industry and is familiar with the market, the genre, and the nitty-gritty business of writing. If your partner can’t qualify his or her opinion based on education and/or experience, you may be receiving bad advice. Get a sense of your potential beta reader’s writing in advance—if you don’t respect their writing, you won’t respect their comments.

Third, look for a critique partner who will be respectful and helpful. General comments such as “Pretty good story” or “I hated the plot” aren’t constructive—neither are rude and belittling comments like “Where’d you learn to write, anyway?” Your partner should be able to point out specific areas of concern without leaving you feeling small and stupid.

Above all, be patient. Like affairs of the heart, it might take several partners before you find that perfect fit.

Be clear about your expectations from the start.
Are you looking for an overall opinion on plot and pacing? Worried about your point of view? Concerned about your characters? Or are you simply looking for a line edit to catch grammatical errors and typos? Let your critique partner know exactly what you want and avoid conflict down the road.

Go over your expectations of turnaround times. If you want to submit your novel or short fiction in a specific time frame, will your beta reader be able to deliver?

Will you be expected to critique your partner’s work as well? What kind of volume and frequency will be involved?

Online versus face-to-face critique partners.
Interacting with your beta reader online offers greater flexibility, such as submitting your novel at 2:00 a.m. while in your pj's, and allows for e-mail accessibility at all hours (why wait for next month’s meeting?).

Face-to-face critiques can sometimes get heated; online feedback can be more tactful. Your online reviewer has time to carefully frame his or her comments, and you have time to absorb the feedback in private, giving your ego a chance to recover before you respond.
                                                           
People can be influenced by a physical presence—sloppily dressed, mumbling and muttering people may be perceived as strange and sloppy writers, and witty, charismatic people may offer substandard writing despite their dazzling personalities—while online critiques are based solely on the writing itself.

Interacting in person with a critique partner offers a social respite and often inspires idea-generating brainstorming sessions. Writing can be a solitary business, and many fiction writers benefit from interacting with other writers on a regular basis. Online interaction is less personal, less social.   

Other considerations.
You don’t have to implement every change your critique partner suggests. Think about his or her suggestions carefully before you implement them.

Be prepared for criticism. This is a business rife with criticism and rejection, and thick skin and determination to improve your craft are essential to succeed. If you break down in tears every time someone finds a problem in your fiction, you may not be ready to take your writing to the next level.

If you are critiquing for your partner, give them the same respect and consideration you would expect in return. Provide concrete, specific comments and advice in a respectful manner. And don’t hesitate to point out what you like: well-developed characters, certain passages that really caught your attention, anything that stood out in a positive way. Writers should be aware not only of their weaknesses but also of their strengths. And let’s face it: a little good news is always welcome in this business.

Twitter, a microblogging Web site that restricts posts to 140 characters at a time, can be a fantastic networking tool for writers. If you’re a writer and you’ve never used Twitter before, taking that first step can be a little intimidating.

“I’m totally going to tweet that.” Huh? What does that mean? “Tweeple retweeting tweets.” Say that five times fast! Not many social-networking Web sites have their own vocabulary, but then again, no other social-networking Web site has become part of the Internet’s subconscious in quite the way Twitter has.

Think tweeting is for the birds? Twitter may seem like frivolous fun; but with a little time and some clever effort, Twitter can become a writer’s best microblogging friend.

The Twitterati. Twitter boasts an impressive population of literary agents, book publishers, and industry insiders. Many of them tweet writing tips, news, and helpful leads to keep followers in the loop. Some notable literary Twitters: Lit Park, Grammar Girl Mignon Fogarty, workshop guru Michael Geffner, literary agent Nathan Bransford, and The Creative Penn. There are also many successful writers on Twitter, from Neil Gaiman to Margaret Atwood to Deepak Chopra, who actively tweet about their upcoming projects, thoughts on writing, and everyday life.

Know your limits. A blog gives you unlimited space to write in a Kerouacian first-thought-best-thought manner. Twitter, on the other hand, gives you a mere 140 characters to say what’s on your mind. Such confinement can actually be liberating for your writing by forcing you to say exactly what you mean. Boil off the excess fluff and tweet only what you must say, concisely—you’ll be surprised how easily this habit will make its way into your actual writing.

Promote yourself. More than ever before, people are tapping into Twitter’s marketing potential and using it to reach the Internet masses. As you navigate the site and follow people with similar interests, they will begin to follow you back. Once you’ve built up a decent following, you can include links in your tweets to drive traffic to your Web site or online portfolio. This is a great way to not only get your name out there, but to point people’s eyes toward your work.

Hands across Twitter. Above all else, Twitter is a social-networking Web site. As you build up your list of followers, you will be able to connect with fellow writers across the globe. Because of its instantaneous nature, the site allows you to throw questions out there and get answers back just as quickly. Try not to use it as a soapbox—start a discussion, join a debate, retweet what others have to say! Give inspiration and encouragement, and you will receive the same.

Writer’s Relief is on Twitter too! Follow us (@WritersRelief) for writing and publishing tips, lively discussions, and a dose of inspiration every day.

It’s easy to label yourself a writer. Jot down a poem and call yourself a scribe. But building a reputation for yourself as a writer is the evidence others need to label you a writer. Whether good or bad, writers’ reputations follow them wherever they go, either paving the way for success or putting up roadblocks in the path to getting published or developing a readership. It’s essential that creative writers take into consideration the way their peers, agents, editors, and readers view not only the quality of their writing, but their credentials and career path as well. It’s far easier to create a solid, professional reputation than to undo the damage of a spotty record and poor public persona.

Creative writers can brand themselves in any number of ways, and successful writers use more than one self-marketing method.

1. Take advantage of social-networking sites. Competition in the writing world is fierce, and when a creative writer wants to generate interest in their novel, it takes more than word of mouth. Attending writers’ conferences and joining writers’ groups have always been good ways to connect with others in the industry, and now writers can also take advantage of online social-networking sites such as Facebook, MySpace, and Twitter to create a buzz about their work by shaping connections nationwide—even worldwide—quickly and efficiently.

Facebook, for example, offers the opportunity to create both a personal profile and a “fan page”—a space where artists and writers can highlight their work. Writers can connect with readers by sharing news, writing samples, photos, and links. MySpace also allows users to create extensive profiles, while Twitter is a simplified version of the two. Social networking online helps writers engage others in their work and melds well with more traditional marketing efforts like book reviews, book signings, and tours.

2. Join an association. If you are published, investigate joining a professional writing association, such as the Mystery Writers of America or the Horror Writers Association. It’s another opportunity to network, and belonging to an association of like-minded writers offers other benefits to your craft such as industry news, useful links, and discussion groups.

3. Create a Web presence. It’s important that someone doing an online search of your name is able to find a profile page that showcases you and your work. Many authors have Web sites in addition to user pages on social-networking sites to maximize their exposure. A profile page should feature your name, photo, and a brief biography. You can post your writing credentials, excerpts from your novel, poems and/or short stories, and favorable reviews. If you are a published author, your profile should link to a site where your books can be purchased. Be sure to use links to your profile at every opportunity—in e-mail and forum signatures, on Facebook, MySpace, or other social-networking sites, and on business cards and stationery.

4. Blog. It seems that everyone has a blog these days, but it is especially useful for writers to take advantage of this marketing strategy. Your entries are firsthand examples of your writing—so make them good and edit well—and this can generate interest in your other work. Update frequently and be creative in your blog; include helpful links, insights, even humor to keep readers interested. If you are published, make sure it’s easy for a reader to purchase your work with a handy link to Amazon.com, for example, and include links to any site that features your writing or reviews of your writing.

Another useful feature of blogging is that it is interactive and personal—readers can leave comments or suggestions, and you can respond to them directly. You can keep them informed of any book signings or works in progress and answer any questions. It's best to update your blog as often as possible to keep it fresh and interesting. Be sure to use keywords in each post (title and text) to optimize search engine results. The Internet is an amazing tool for writers looking for exposure, so be sure to use it to its full potential.

5. Explore different genres. Working outside your usual genre can expand your writing palette and even improve your writing. If you’re working on a full-length novel, for example, you might also consider pitching some article ideas (about something you're proficient in) to magazines. Not only will you be boosting your publication credits and exhibiting flexibility in your talents, but the things you learn in one genre can nourish your skills in another.

6. Exude personal professionalism. Whether you’re submitting query letters or have already secured an agent, it’s crucial that you handle yourself professionally and put forth your best efforts. Wrinkled, stained, misspelled query letters give a bad impression to a potential agent. For those who have agents, return their phone calls promptly, follow their instructions or requests conscientiously, and deliver materials on time. Develop a professional reputation with agents and editors, and remember that you’ll be judged for every piece of writing—this means not firing off a quick e-mail riddled with errors and Internet lingo.

7. Finally, stay current. Keep up with publishing trends and market preferences by reading industry magazines, newsletters, and articles. Take courses and seminars whenever possible to brush up on your writing skills, and practice the actual craft of writing at every opportunity.

Imagine yourself in a secluded cabin overlooking a peaceful lake. With laptop in, well, lap, you gaze out at the local wildlife as you work, uninterrupted, on your novel. The only other people around occupy the cabins nearby, but they are also quietly pursuing their writing projects. Sounds ideal? This is the beauty of writers’ colonies.

The demands of everyday life often leave little time for the actual craft of writing. Between day jobs, errands, family, and the never-ending submission process, it’s hard to carve out time each day for creativity. This is why many writers seek residencies or writers’ colonies. They offer a place for writers to live in a community of fellow writers and artists for a specific period of time. They offer instructors, discussion groups, and direction for those who want it; best of all, it’s a place where writers can set their own schedule and concentrate on craft. Personal space and free time for creative writing—who wouldn’t jump at the chance?

Here’s how to begin the search for the perfect retreat:

There are hundreds of writers’ retreats and residencies to choose from. Would your muse take flight in a cabin in Alaska or in the southwest desert regions? Perhaps even overseas? Keeping transportation costs in mind, narrow your choices to those areas that appeal to you. Search the Internet for “writers colonies,” “writers retreats,” or “writers residencies,” and you’ll be amazed by the diversity of choices. The Alliance of Artists Communities (www.ArtistCommunities.org) maintains a comprehensive database for a small yearly fee. Also check out www.writing.ShawGuides.com.

Start the application process early, as spaces are highly coveted and limited. Be prepared to go through the application process, which can be lengthy. You’ll provide samples of your work and a mission statement outlining your goals and/or projects. You may be asked to submit details on a specific project, although some colonies are more flexible and writers can work on whatever they choose. You’ll also submit professional references and, of course, an application fee. Some programs offer scholarships as well.

Your work will be judged by a panel of professionals who will choose the most outstanding candidates. There will also be a short list to replace candidates who are unable to take their spots.

Apply for residencies that pertain to your genre or area of interest, and make note of what they’ll require once you’re there. If you work best in total and utter silence, do not choose a residency in which you will be sharing a house with six other people. Some people are stimulated by urban settings, while others flourish in the mountains. Some programs offer more amenities than others, and some can be more like camping trips. Are you prepared to hike your food in to a remote area, or do you require Internet access and close proximity to a Starbucks? Are you looking to network with other writers or simply hoping for total seclusion?

If you want to work with writing gurus and have your writing critiqued, look for programs where this type of interaction is available. You should also be aware of any expectations—will you be expected to lead a group, teach a class, or share your work with others?

To improve your chances of acceptance, apply to as many programs as you can afford. Summer residencies are the most popular, and you might have more luck applying for spring, fall, and winter programs. Include a few high-end residencies in your application process, plus a few that might be easier to get into. It’s a competitive venture, but one well worth investigating…especially when the cat is throwing up on the carpet, the plumbing’s on the fritz, the car won’t start, and the kids want dinner.

The gift of free, uninterrupted time is yours if you want it.

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 

If you’re writing literary or mainstream fiction (also called general fiction), the word-count requirements and style guidelines are often not as strict as they are for genre novels. In a previous Newsflash, we offered an article to help you determine if your genre fiction novel meets editors and literary agents’ guidelines for publication. Now, we’re tackling nongenre books. How do you know if your novel is literary or mainstream? Let’s start by looking at the difference between mainstream and literary fiction genres.

What is Literary Fiction? How Do You Know If Your Book Qualifies As Literary?

Literary fiction is fiction of ideas. While the story must be good, emphasis on action is not often as important as emphasis on the ideas, themes, and concerns of the book. Literary fiction tackles “big” issues that are often controversial, difficult, and complex.

Aside from subject matter, literary fiction tends to be written with emphasis on prose style. While genre fiction is “transparent” (readers can see through the text to escape into the story itself), literary writers want the reader to notice how beautiful the writing is. Sometimes the writing prevents the reader from escaping into the story, but that’s not a bad thing in this genre.

Many writers wrongly assume that if their book is not genre fiction (like mystery, romance, or thriller), then it must be literary. But that’s not the case. Literary fiction is very specialized and difficult to do well. Literary readers (especially readers of experimental and “high literary” forms) are very demanding and are sometimes regarded as a niche market.

What is General Fiction? How Do You Know If Your Book Qualifies as Mainstream?

Mainstream fiction, which goes by many other names (like general fiction and literary light), is driven by a mix of genre fiction and literary fiction techniques. In mainstream fiction, the writer must have a strong “hook” or premise. The story must be readable (it must have a traditional plot arc and be relatively plot- and character-driven). Controversy is welcome, but it is not presented in as nuanced a way as in literary fiction. Insight and emotionality are important, but they are often of equal importance as the story.

Mainstream fiction tends to blend transparent language with occasional bouts of prose that feel more literary in tone. Writers of general fiction can have a variety of voices and write in a variety of styles, but all are accessible and not too difficult to read. Insight and perspective are important but should not overshadow story.

Determining How To Market Your Book (Whether To Market As Mainstream Or Literary)

Most novels that don’t fall into the literary category or the genre fiction category are mainstream fiction. If you do not know if your book is literary or mainstream fiction, it is probably mainstream (given that literary fiction is so specialized). Trained literary writers know literary fiction when they see it (and some tend to look at mainstream fiction as one of the commercial genres, as opposed to art). So if you’re not sure that your book is literary, you may want to err on the side of caution by calling your book “mainstream.”

If you are writing literary fiction, it will likely help your cause to have been formally educated or very widely read in modern literary fiction. Having a degree or lots of publication credits in literary journals and magazines goes a long way when an editor is deciding whether to market you as mainstream or literary. For more information on why having a strong bio matters, read Building Publication Credits. Writer's Relief has been helping writers build up their bios by preparing professional submissions since 1994. We can help you build your writing credentials.  

If you don’t have a strong background, you may want to position yourself as a writer of accessible, mainstream fiction (and if you’re trying to produce a best seller, that’s a great place to be).

How Long Is A Literary Novel? How Long Is A Mainstream Novel?

A literary novel can be between 40,000 and 120,000 words long. If you’re a new writer, literary agents and editors will likely want to see a novel between 70,000 and 100,000 words from you. A mainstream novel is usually best-suited when it hits the 70K-100K mark as well.

If you’ve written a literary or a mainstream novel and would like help submitting your work to literary agents, please check out our various packages. Writer’s Relief takes the headache out of the submission process and increases your odds of acceptance. Our clients are multipublished and award winners. For questions, e-mail info@wrelief.com.

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.

We at Writer’s Relief believe there’s no substitute for patience when it comes to creative writing. But if you want to build your writing credentials quickly, here are some ways to improve your professional writing bio AND your writing skills.

Please note: It goes without saying that you should only use these strategies if you can implement them with honesty and true dedication to your craft. Agents and editors can and will see through superficiality. In other words, when it comes to your devotion to writing, good technique is better than lip service. Also, there's no substitute for good old-fashioned publication credits at literary journals, independent presses, and large publishing houses (we help our clients build their bios regularly with reputable publishers). But when you're in a pinch, it's our opinion that demonstrating an authentic commitment to craft and to the writing community can work in your favor.

Develop a good submission strategy. When you’re sending work out into the world, you’re creating opportunities for yourself. When you’re not sending out your writing, you’re not making opportunities for yourself. You’ve got to knock on doors if you want them to open. So develop a good submission strategy and you’ll see results. Writer’s Relief’s A La Carte service can get your work into the right hands within just a few short days. Check it out!

Join a well-known writing organization. Are you writing romance? Join Romance Writers of America. Are you into high-end literary works? Check out the Association of Writing Programs. You will probably need to spend some money to join these organizations, but the benefits are endless. First, you’ll get to put their well-known name on your cover or query letter. Second, you’ll get access to lots of great resources and you’ll score great networking opportunities. And third, you’ll show the agent or editor of your dreams that you’re committed to and serious about your writing—whether you’ve published anything or not! The credentials in your writing bio will be much improved—stronger and more impressive. 

Join a little-known writing organization. Writers all over the country are conducting workshops, and they may be meeting in your area. By being able to write “I attend a weekly writing workshop meeting,” you show that you’re resourceful and diligent. Not only that, your writing technique will benefit greatly, and you may meet other like-minded writers and make friends! Many times these types of meetings are free. You can find them by looking into various social-networking sites online; just be sure to take all necessary precautions to stay safe.

Volunteer. If you love writing or reading, it’s important to pass that love on. By volunteering for the spring cleanup at your local library—or by devoting your time to other worthy endeavors—you demonstrate that you care deeply about literacy. It may be brutal, but it's honest: Editors and agents like to see writers who truly have hearts of gold!

Take classes. Even if you don’t have many (or any) publishing credentials, taking a class at your local community college or online establishes your dedication to being a professional writer. It will help your technique and your reputation. Editors and agents like to see writers who are diligently committed to their craft. Being able to write, “I took a class at the University of XYZ” may strike a chord with agents and editors, who are familiar with many writing programs. If you can’t get to a school, check out online classes at www.ed2go.com or www.gothamwriters.com.

Go to a writing conference. If your budget permits, attend a writing conference. Not only will you learn and network, you’ll also be able to write that you attended said conference in your bio. The idea is, a writing conference is like a party—everyone who’s anyone will be there. If an agent or editor recognizes the name of the conference (maybe he or she attended or perhaps just knew a colleague who did) that may tip the scales in your favor.

These are just a few ways you can quickly improve, expand, or develop the biographical section of your cover or query letter. You may not have great publishing credits—maybe you’ve never published anything—but by proving that you care about your work and your craft, you demonstrate that you are reputable, dependable, and devoted. Good luck!

If your dream is to land a publishing contract with Random House and see your book in stores across the country, we recommend that you consider building your publication credits by submitting shorter pieces to journals and magazines.

Some folks believe that it’s not important to have published any short works before approaching an agent. If you’ve written a fantastic book that can stand on its own, you may well be able to find an agent without any publication credentials at all. But getting shorter pieces published before querying an agent is a strategy that gets your foot in the door, and based on our experiences in preparing submissions since 1994, writers who can boast publication of shorter works tend to have an easier time getting agent interest.

There are a number of reasons publishing your individual poems, essays, and short stories can help you get ahead.

1. Being published shows agents that you can manage submission deadlines and guidelines and that you are a serious writer with serious goals. You establish yourself as savvy and in-touch by being published in smaller markets, and you lay the groundwork for a career in lengthier fiction.

2. If editors like publishing your short works, it means they believe that their readers will enjoy your writing. When an agent sees that other people are getting excited about your writing, he or she will be more likely to want in on the action.

3. Having credentials in the small press market may help you get a leg up on the competition. Most agents are aware of how difficult it is to secure one single publishing credit. It may be enough to sway an agent into representing you. If an agent is offered two books of equal merit—with the only difference being that one author has a history of publishing short works and the other doesn’t—you can guess which book will get the contract.

4. Not only will publishing your shorter works make you a more interesting prospect, having those publications is emotionally rewarding. Acceptance letters from literary magazines go a long way toward keeping you motivated as you write your book. A short story can be written in less than a week, whereas the novel can take years. Keep your dream alive with smaller publications of short fiction.

5. Also, publishing in literary magazines might help you directly with getting an agent. A number of our clients have been approached by big New York agencies because an agent read a story in a literary magazine. Getting your work, your name, and your bio out there can get you noticed in the same way that a model might get noticed simply by hanging around at the hottest nightclubs. Add a blurb to your bio that you are “currently working on a novel,” and those who have enjoyed your work can be on the lookout for future projects.

6. Collections are especially difficult to place for writers who have not published any of the works within the collection. Because collections are generally not considered as lucrative as other book-length forms, agents and editors like to be assured of an author's potential for "popularity" by seeing some selections from the longer work published.  

At Writer’s Relief we help our clients build their portfolios as they work toward publishing a book. Some of our clients publish stand-alone works from within a larger book in order to show that their book is marketable. Others write stories that are entirely separate from their books.

There are literally thousands of journals and literary magazines out there, and it should not be an impossible task to find a home for one of your short stories or poems—provided your writing is strong and your submissions are targeted and professional. We have an up-to-date database containing detailed information on hundreds of nationwide publications, their editors, and their guidelines, and we’ve helped hundreds of writers reach their publication goals.

Here are some general tips for submission.

Research carefully. Find the perfect home for your work by submitting to magazines and journals that publish work like yours. Don’t waste your time (or an editor’s) by not doing your homework or blindly submitting to any old publication.

Start small and work your way up. Naturally, if you’re confident, feel free to go straight for the big guns, but most writers start with the smaller markets. You may have to forgo paying markets at this time in order to get your foot in the door.

Follow guidelines to the tee. If the magazine is looking for work under 4,000 words, do not submit 5,000 and hope that your work is good enough to be accepted despite the length or assume that the editor will be willing to cut it down to size for you. Pay attention to submission dates, submission formats, seasonal themes, the genre and style the magazine accepts, and any other rules they set forth. Follow them carefully.

Submit to the proper person. Again, do your homework and make sure you have the most current editor’s name for your submission. Details like this go a long way in impressing an editor and can increase your chance of being noticed.

Call Writer’s Relief (or e-mail us at info@wrelief.com) if you’d like us to help you build up your publication credits. We’ve helped writers fine-tune their personal submission strategies since 1994. We’re looking forward to hearing from you!

The term “blog” is a derivative of “Weblog,” a phrase coined by Jorn Barger to describe his online journal, Robot Wisdom. A “blogger” is the person behind the blog—a collection of online journal entries. And the “blogosphere” is the community of blogging sites as a whole. Got it? Here’s some history.

Back in 1995 FrontPage was released by Vermeer Technologies. It was one of the first Web publishing tools, and it was designed to allow ordinary people (those without coding skills) to publish their own Web sites. Two years later Ritual Entertainment hired Steve Gibson to write journal entries online full-time, making him one of the first professional bloggers. And today there are too many blogging sites to document.

Weblogs originally were defined by one single characteristic: the site had to contain a series of dated entries. From there Weblogs differed in scope and content, style and tone, but they all contained individual commentaries, personal thoughts, and links to related sites. A blog may contain videos, photos, sketches, even music. Read one person’s journal-type blog over a period of a year, for example, and you get a pretty good idea about what it’s like to walk in that person’s shoes for a while. It’s socially appropriate voyeurism.

Blogs also help filter the unbelievable amount of information floating around the Web. The writer behind a literary blog has filtered through a great deal of other literary sites and blogs and has linked to his or her favorites. Depending on the expertise of the blogger, this can save the reader valuable time. Blogging also creates a platform for anyone to be published. You can practice your writing by making regular entries, and you may find yourself an appreciative audience. Many bloggers develop confidence, even fans, through the strength of their blogs alone.

There are so many different types of blogs. From personal reflections on the nature of life to topic-specific sites, there’s sure to be a blog for everyone. The following are just a few types of blogs you may come across:

Personal or journal blogs. This type of online diary is the most common form of blogging, usually containing personal feelings, day-to-day activities and observations, complaints, favorite quotes or poems, trivia, aspirations, or essays. Absolutely anyone can maintain a personal blog, whether it’s for select eyes only or for a community of readers.

Political blogs. These have become an important part of campaigning and can contain long essays or short comments on hot topics or current events, links to articles, etc.

Business blogs. Some corporations use blogs for branding purposes, public awareness, or to create a more personable “face” for the public. Some business blogs serve to advertise or sell products.

Literary blogs (“litblogs”). These blogs focus on the literary community, publishing, and the craft of writing. They are further categorized according to genre and specialty.

Media blogs (vlog). These are blogs comprised of video clips.

S-blogs. Blogs dedicated solely to the art of spam.

Photoblog and sketchblog. These are comprised of photos and sketches, respectively, and serve as a showcase for artists looking to share or promote their work.

Legal blog (blawgs). These are blogs by law students or lawyers (“blawgers”).

Travel blogs. Modern travelers can share their experiences with those unable to explore the world. They can include restaurant and hotel reviews, little-known hot spots, photos, and videos.

News blogs. These blogs can cover anything from celebrity gossip to sports happenings, to local and national news events.

Magazine blogs. These not only provide additional exposure for a specific magazine, but offer additional content that’s not in the print issue. For a magazine that comes out monthly or even quarterly, a regularly updated blog is a way to stay current and prominent in readers’ minds.

Book blogs. These blogs offer serialized stories via postings every few days, much like the way Charles Dickens' novels were serialized in the 19th century. A cousin of the book blog is the "wovel," or Web novel.  

And, of course, there are topic-specific blogs for anything from fire suppression technology to the study of earthworms. There’s even a blog called Disapproving Rabbits, chronicling the “constant judgment, censoriousness, and general moodiness of the rabbit kingdom.” You see the possibilities:

Clawging: blogging about animals or women with inch-long nails.
Log Blogs: blogs about the logging industry.
Emo Blogs: blogs for emoters and high disclosers.
Flog Blogs: blogs for those with a penchant for violence.
Hog Blogs: blogs for pork lovers.
Frog Blogs: blogs for dissectors.
Char Blogs: blogs for outdoor grilling enthusiasts.
Toblogging: blogging about the great sport of sledding.

Feel free to chime in with some of your own. It’s addictive.

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.

Authored by Cindy LaPenna, the Head of Reference in a public library. She is the author of the book Around Bangor, a pictorial history of the Pennsylvania town she grew up in. She has had news and feature articles published in various newspapers, and her poetry has been published in Poetic Voices, A Common Sense, Perigee-Art, and the International War Veterans Poetry Archive.

Before writers write they do research.

Research can be a daunting task, especially for beginners. Even with the availability of online resources, you may still find yourself asking, “Where do I begin to find the information I need?”

Most library research is done through the Reference Department, so talk to the Reference Librarian on your next library visit. Don’t overlook this step, even if you think you can navigate the library on your own. Maybe you can but not everything is readily visible to the visitor. Librarians are trained professionals, and they are there to help you.

Try to be as specific as possible when speaking with the librarian. Instead of saying, “I’m looking for information on writing children’s books,” try saying, “I’m a freelance writer who needs information on how to write children’s books. I’ll need to know how to format my manuscript and need a list of publishers.”

If the librarian asks questions of his or her own, resist the urge to get annoyed or assume that he or she doesn’t understand you. Most likely, they are just trying to determine the best sources, which can be several in number and can be in various forms such as books, magazines, or subscription databases.

Keep in mind that while librarians are information experts, they are not geniuses in every field and don’t know every book ever published. They may not be able to tell you how to write the perfect query letter, but they should be able to direct you to the sources that can help.

Most libraries carry the “bibles” of the writing industry, such as Writer’s Market and Literary Market Place—two directories that contain contact information of publishers. Books In Print, which tells you just that, is helpful for market research, and The Reader’s Guide to Periodical Literature will tell you what subjects have been covered in magazines. Beyond these basics most libraries have other sources all writers need from time to time, such as dictionaries, thesauruses, books of quotations, and books on grammar and the craft of writing.

To avoid frustration and disappointment—or worse, missed deadlines—don’t wait until the last minute to do your research or request materials.

Research, by its very nature, takes time and sustained effort.

Even if the library owns what you want, it might be checked out by someone else, or there could be restrictions involved with lending certain materials.

Most libraries today “share” their resources as part of a bigger network, so even if your library doesn’t own what you need, they might be able to get it elsewhere in a relatively short period of time.

In all likelihood you will need to become a patron (a card-carrying member) in order to take advantage of all services, so bring official identification with you, such as a driver’s license. Allow yourself time to determine what you need and what’s available, and give yourself, the library staff, and your career a chance to shine.

Staff Note: If you’re not the kind of person who has the time and patience to research ever-changing literary markets—if you’d rather be writing than researching—please check out our A La Carte Services. Our cutting-edge database contains detailed information on tens of thousands of agents and editors. We can create a strategic list of the most opportune markets for your specific work. We can also create each of your cover letters and save you valuable time. Click here for more information: http://www.writersreliefblog.com/post/Our-A-La-Carte-Service.aspx.

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 

Psychologists have long been aware of how the words we speak, read, write, and encounter can have a powerful impact on our lives. In her book Every Word Has Power, Yvonne Oswald explores the idea that changing the words you use can change your life. More information is available at http://yvonneoswald.com.

Writers have their own special challenges with words, given that “rejection” makes up a big part of a successful writing career. For that reason we excerpted a few words on Oswald’s list that writers should either avoid or use frequently. Take a look at the lists, and consider how often you use positive and negative language to describe your writing. The results might surprise you!

High-Energy Words
Achieve, Believe, Choose/Choice, Dream, Easy, Free, Future, Harmony, Knowledge, New, Please, Positive, Profit, Success, Sweet, Top, Unique, Value

Low-Energy Words
Afraid, Anxiety, Bad, Bottom, Broke, Cheap, Control, Criticize, Difficult, Doubt, Envy, Failure, Fear, Hate, Idiot, Lazy, Poor, Shame, Small, Sorrow, Trying, Weak, Worry, Worse 

Do you have a short-and-sweet tip that might help your fellow writers? We’re compiling a list of Writer-to-Writer Tips. We’d love for you to share yours.

Send your writing tip to our Newsflash. Just e-mail your tip to Lisa@wrelief.com. No attachments, please.

Here’s our first Writer-to-Writer tip below!

Using Line Numbering

Tip submitted by Don A. Campbell
Text by Writer’s Relief Staff

Make the most of the “line numbering” feature of your word-processing program.

If you are inputting corrections from paper to your screen, line numbers make comparing formats easier and faster. Just be sure to input the corrections by starting at the end and working backward. Making adjustments from the beginning may cause the line numbering to change as you work down.

In critique groups referring to a line number is much easier than referring to the “second paragraph from bottom, second to last line.”

To learn how to incorporate line numbers, search for or type “line numbers” in the help feature on your personal word-processing program.

Don’t forget to send us your tip today!

Recently an anonymous "angel" got in touch with our office to give the gift of 25 submissions to a promising writer who could use a little help. Though we cannot publish the name of the donor, the recipient wanted the opportunity to say thanks. You'll find his letter below.

To My Unknown Benefactor:
 
Thank you for your end-of-year kindness in bestowing a Writers Relief "scholarship" on me. The last few months have been very trying due to employment/financial difficulties and subsequently my being forced to relocate to a different country to find work. As a result, I was forced to suspend any active attempt to find homes for my poems. Your generosity has enabled me to continue in that endeavor and, more importantly, was a very unexpected demonstration of human kindness from a stranger.
 
May you be well rewarded in this world and beyond for your selflessnesss.
 
Sincerely,
 
D.V.

If you or anyone you know would like to give the gift of submissions (anonymously or not) don't hesitate to call our office. You can learn more about how to purchase a gift certificate by clicking here. We were all deeply moved by this random act of kindness; it was a warm and wonderful way to send off the New Year.

There are weird words in every industry, and the literary world is no exception. We’ve listed some of the stranger-sounding industry-specific jargon common to writers, editors, and agents that may need some clarification.

Anaphora. Too many sentences in a row that begin the same way. Sometimes this is deliberate and effective. Sometimes this is sloppy. Sometimes it is simply irritating.

Avant-garde. Usually associated with artwork, this term can also be applied to literature that is considered new or experimental. If your work has been labeled avant-garde, you can be proud of your innovation. Much better than “same ol’, same ol’.”

Backstory. The history of your characters before the book's present action.

Blurb. This sounds like a bodily function, but, in actuality, it refers to the synopsis on the back cover of the book. Its function is to “hook” the reader like a fish.

Dead metaphor. This is a poor little metaphor that is no longer relevant (“long in the tooth”) and has been overused.

Head-hopping. Jumping from one person’s thoughts to another's or switching back and forth between points of view. This is just another way to give your audience a headache.

Hook. Whether it’s the first line of a query, a novel, or part of the blurb, a hook is designed to capture the reader’s attention. We know that readers aren’t fish. But it paints a cool mental picture.

Novella. Sounds like something vaguely racy. In actuality it is a short novel (approximately half the size).

Round file. A nice word for trash can. A not-so-nice place for your manuscript to end up.

Slush pile. If you live in northern climes, the slush pile usually refers to the pile of slushy snow that threatens to grab your tires or fill up your boots. In writer’s lingo the slush pile is where the hundreds upon hundreds of unsolicited or misdirected manuscripts go—usually a dusty pile in the corner of an editor’s office.

Widows and orphans. A “widow” is the last line of the paragraph floating alone and lonely at the top of the next page. An “orphan” is the first line of a paragraph that languishes at the bottom of the page, all alone.

YA. Young adult. Or “Yikes! Anaphora!”

Feedback from critiques, editors, and agents can also contain some confusing notations we should clarify. Your MS is voicey and organic but switches POV indiscriminately. What the heck? Translation: Your manuscript has a strong, well-defined voice and rings true and authentic, but your point of view switches back and forth. Comments like “Boring and too long” or “I hated this” are fairly self-explanatory. Others are not quite as clear.

No legs. Can your idea or novel stand on its own in the big, scary market? If not, your work may suffer from “no legs.” (You see the metaphor.)

Organic. No, not vegetables. This is writing that is authentic, uncontrived. If your character is organic, it means he comes across as real, not as an artificial, unrealistic protagonist with zero faults and great, big muscles.

Quiet. This work has been labeled as more literary than commercial and, therefore, harder to sell.

Stale. Again, a food reference. If your story has been labeled stale, it’s time to take a “fresh” approach.

Tight. Good job! You’ve eliminated all the unnecessary filler and made it nice and concise and really tried to be spare with your words and things like that, which makes your writing not too padded and fluffy, and you have taken out all the nonessentials.

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!

First of all, don’t be intimidated by this task. It is no longer necessary to be a Web designer to create a classy, interesting Web site to showcase your work. A great site can also help you sell books, gain readership, and create a Web presence. There are several hosting programs that are inexpensive, professional, and user-friendly. And, if you get stuck, there are always computer-savvy college students willing to help out for a few bucks.

Some tips:

Choose a domain name that accurately reflects you and your work. Use your own name or your pen name. If your name is very difficult to spell or pronounce or if it’s already been claimed, you may want to use the name of the work you’re promoting.

Keep it clean. One of the quickest ways to lose a reader’s interest is to force him or her to scroll through miles of text, navigate blinking graphics and pop-ups, and struggle to turn down the volume of your favorite techno beat just to get to the heart of the matter—you and your work. If your content is simple, keep it all on a single page, in an easy-to-read format. (By easy-to-read, we mean no white text on black backgrounds.) Additional content? Create and post links on the (front) home page; for example, one can click on Publication Credits and Educational Background, which will lead readers to this information about you.

Speaking of keeping it clean… Unless your site is promoting colorful picture books for children, stay away from using too many font styles and sizes or bright-pink and purple backgrounds. Don’t let your graphics and layout distract the reader from the important stuff. However, feel free to use a nice, large, and prominent font when displaying your name on your home page. Being shy won’t help your readers remember your name.

YOUR HOME PAGE:

Contact information.

Make it a snap to contact you. At the very least use a professional-sounding e-mail address with your name or pen name (no cute monikers, please). Some writers include a phone number, but you can decide what other contact information to post.

Ordering information.

If you have books to sell, make it as easy as humanly possible for people to buy them. If you aren’t set up for credit card processing and your books are only available through Amazon, for example, provide a link directly to it. Feature a picture of your book’s cover, a very brief summary, and a great review or recommendation if you’ve got one.

Make sure links to additional pages are prominently displayed.

ADDITIONAL PAGES:

Samples of your work.

If your site is dedicated to promoting your published work, be sure to post excerpts from your work as text. Choose scenes that are sure to pique the reader’s interest. You may also want to include excerpts from other as-yet-published work, either as text or as downloadable files. You may also use this section to promote future projects.

Bio page.

Include a page that describes who you are. Describe your background, interesting facts about your life, your professional credentials—anything that ups your credibility as an author. Include a professional photograph to make it more personal.

Do you give motivational speeches? Organize workshops? Provide editing or mentoring? List any other services you provide here.
 
Blog or journal entries.

If you write a regular blog or journal entry, keep your audience in mind, and give them relevant information—or make them laugh or cry or identify with you in some way. Keep the content new and fresh and update frequently.

Testimonials.

Let ’em fly. Do not hesitate to fill the entire page with glowing praise about your work.

Media room.

If members of the press wish to contact you, make it easy for them. Use this page to display your contact information (again), and include downloadable photographs, press releases, a bio page, and a link to the testimonial page.

OVERALL:

Keep your audience in mind when designing your site. Instead of creating a sales site (Buy now! You won’t regret it!), let your personality shine through, and hook your readers with what makes you and your work unique. Give them something to take away from your site. For example, you can share some of the publishing pitfalls you’ve run into and how you dealt with them. Offer links to sites that have helped you with grammar or finding a literary agent or that inspired you on days when the muse flew the coop or the rejection letters overwhelmed you.

Above all, have fun with it. Your readers will notice!

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  

DON’T:

Be a stalker. It’s not okay to lurk around corners and “accidentally” run into the agent you’ve been trying to contact for a year. It’s not okay to follow them to their hotel room and pretend you’re delivering room service. Barging into their restroom stall might get you arrested, and kidnaping is illegal if you’re considering that route.                  

Wear dumb costumes. That bear suit probably won’t get you any attention—positive attention anyway. A bunny suit might if you can pull it off. It’s even possible that wearing a pirate getup and running around, saying “Aaargh” to promote your manuscript about the high seas will get you noticed, and clown costumes are always a hit. Everyone loves clowns…

Pass out huge tomes. Agents don’t get much exercise and can’t really lift heavy things, so don’t hand them your 300-page manuscript and expect them to lug it around all day. Have copies of your synopsis and sample chapters available, and leave the suitcase of paper at home.

Pass out. Drinking heavily may liven things up for a while, but you probably don’t want to be remembered as that guy or gal who took a little nap in the hallway—covered in vomit and clutching a bottle of whiskey.

Interrupt lectures. Turn off the cell phone, put out the cigarette, and refrain from telling jokes to the woman sitting next to you until after the lecture. It’s weird, but speakers don’t usually enjoy the sounds of your awesome new ringtone or your raucous laughter while they’re trying to make a serious point.

Be a suck-up. It’s good to be polite and even fake interest. It’s bad to fawn all over an editor or give him your firstborn son. (Passing out money might work.)

Be a rude slob. Take a shower, wear deodorant, and don’t drink coffee if you can’t manage to keep it in the cup. You probably shouldn’t make fun of other writers’ clothes, ideas, or genres. Or their religion. No, it’s not a popularity contest, but that great agent might remember the writer who ran around pointing fingers at people and saying, “Children’s lit isn’t REAL writing!”

Steal. Whoee! All those great freebies are definitely a bonus, but somebody might notice if you stuff your briefcase full of them. You’ve gotta save room for the sugar packets, napkins, and cute little soaps from the bathroom.

Dress inappropriately. Tuck in your shirt, zip up your fly, and leave the tube top/miniskirt combo at home.

Be overly aggressive. Don’t get us wrong—editors love aggressive, in-your-face writers looking for an “in.” Really, they do. But physically elbowing someone else aside so that they fall into the potted plant might get you kicked out of the conference. Save that kind of behavior for church.

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

There are far too many blogs out there that follow a theme and bore their readers with so-called "valuable" information. If you're tired of tagging along behind other, more experienced bloggers, we say follow your own rules and see what happens. Who knows, it could make you popular, famous, and rich!

Avoid themes.

Make sure your blog can't be forced into a box. If you target a specific audience, say, literary types or computer aficionados, think of all the other people who won't read your blog. Don't let The Man give you a label, man.

Provide irrelevant and/or outdated information.

Your readers don't want statistics or helpful hints. They want trivia! Titillate your audience with daily minutia from your own life, such as the current temperature in your part of the world. What you had for lunch. Gossip about an uncle on your father's side. Good stuff like that. Or you can give hints on making your electric typewriter more efficient or how to clean an eight-track tape machine.

Post inactive and/or irrelevant links.

If it's too easy, it's no fun! What reader wants to click on a link and go directly to the site? Make your audience work a bit—do a little investigative clicking, as it were. It's fun to make up sites too—try hyping a fantastic new site called www.grasshopperlegsforfancytimes.com, and let the frustration and confusion begin! You can also post links that are unrelated to your topic du jour and leave your readers wondering what they're missing...

Get personal.

What better forum to air your grievances? If your best friend or significant other has offended you in some way, start typing. A long, personal, privacy-shattering rant will make you feel much better than an e-mail or a simple phone call would. Everyone else will surely be interested in your personal problems too.

Copy and paste.

It's sure a lot of work to come up with new material on a regular basis. Feel free to copy and paste from other people's blogs or Web sites. (It's okay, everybody does it.)

Don't waste your time editing.

This is the number one problem in blogging—overediting! If you continue to waste your time proofing for typos and checking for libelous statements, you'll never keep up with your blog. No one really minds wading through the meandering stream of your consciousness, and we know that you do know how to spell basic words and use punctuation. You just have better things to do—like trying to figure out whose blog to plagiarize next.

We're kidding!! We're kidding!!

A writer's group is an informal gathering of writers who meet once a month or more to share their work, offer advice and criticism, and generally support each other. These groups are also a great source of writing-related news and industry leads (especially online groups).

Writing is a solitary endeavor, so it's only natural that some writers are drawn to groups of like-minded souls. No one but a fellow writer can properly appreciate the pain of a terse rejection or the angst of yet another creative block. And when it comes to encouragement and constructive criticism, leave it to your fellow writers to step up.

That's the concept behind writer's groups. Reality is often different, and even if you find a group that fits your criteria, you may find that you don't work well in a group dynamic. If you do work well with others, you may have to try out several groups before finding that perfect fit.

What to look for:

Dynamics. Does each member contribute more or less equally? Or does everyone defer to the strongest personality in the group? Does everyone contribute work to be read, as well as read other writers' work? Or do the same two people do all the critiquing while the rest do all the writing? Look for a group dynamic where equality reigns.

Positive atmosphere. There's far too much rejection in the writing world already, and an overly negative atmosphere does not do anyone good. Look for a group that offers constructive criticism as well as encouragement and praise. If you feel like a minnow in a pool of bloodthirsty sharks, it's time to seek out another group.

No fawning! Just as biting comments and harsh criticism hurt, so do the insipid remarks of the well-meaning. While "It was so great!" feeds our ego, it does nothing to improve our craft. Intelligent insight is welcome—vague, obsequious praise is not.

A common goal. If your goal is publication, find a group with the same collective goal. Or it might be your intent to get your feet wet and start learning how to be a better writer. Find a group that will help you with your particular goal.

Logistics. Obviously, you're more likely to attend meetings if they aren't held 40 miles away at 9:00 p.m. And you prefer meeting in a bookstore or a quiet café over that punk rock bar in the red-light district.

Online Groups

Online writer's groups are also very popular and especially handy for those who live in less populated areas. It's also convenient to operate this way, as you may pick and choose what you want to crit, when you want to crit. However, this can also translate into a lack of commitment, as folks pop in and out as they like.

In a physical setting, each writer gets their work read and critiqued. In an online group, stories and poems and portions of manuscripts are either posted online or e-mailed to select members. Critiques can be posted in either a public forum or on the writer's personal area. You have the freedom to choose to critique work of a certain genre or form (only poetry or horror, for example) or by a few select writers whose work you like.

A word of caution, however. Sometimes it's easier to be cruel when you're not looking a fellow writer in the face, so take care with your criticism when in cyberspace. On the other hand, if you've encountered someone who is offensive to you in some way, it's easier to avoid them than if you sat next to them in a physical setting.

In a real-world situation, you're generally forced to deal with the members of your group. And while this is a wonderful opportunity to make new friends and gain valuable input from your peers, there are always those members who make you a bit uncomfortable. We've listed a few types to avoid if you can possibly help it.

Dysfunctional Writer's Group Members

--The Warrior. This is the member who can't just make a point—he has to win the author over to his side of the argument and fight to the bitter end. It's all about winning. And chest-thumping.

--The Alpha-Critiquer. Don't argue with her. She's right at all times, and you are but a lowly, no-talent wimp.

--The Wimp. This is the member who bursts into tears at the first sign of a frowny face, yet has no trouble whatsoever hurling literary barbs at others.

--The Name-Caller. If you write a passionate love scene, you're a sicko. Every sci-fi author is a freak, and watch out if you've used a naughty word or two—you might be labeled a Perv with a capital P. You know this lady. If it's not G-rated and based on her idea of classic American literature, she's not going to like it. And you might end up with a new nickname.

--The Lecturer. This guy has several obscure degrees and was published once in the 1970s. His crits tend to go on for quite some time and are often delivered in a mocking, condescending manner. Gird your loins and grab your dictionary, because this guy uses all the six-syllable words at his disposal.

--The Vampire. This woman lives for blood spillage. She delights in other people's misery and considers writing a combat sport. Sit far away and protect your neck at all times.

--The Egomaniac. This guy has confused "critique" for "brag," and he is a good friend of The Lecturer. Everything he says is designed to show others just how much he knows, how insightful he is, and how many books he's read. You may have to remind him there are others in the room. Don't be surprised if it doesn't help.

--The Genre Freak. Everyone should stick to writing in this woman's favorite genre. Anything else and she'll try to convert you.

--The Wanna-be. She wants to be a writer but doesn't actually want to do any of the work. So she hangs out with writers and talks the talk instead. Give her a goal of 20 pages a week and watch her slink away.

--The Out-of-His-Leaguer. This guy hasn't yet mastered the art of a simple sentence, and the last book he read was in 1980. (Unfortunately, it wasn't a book on improving basic writing skills.)

--The Time-Waster. This woman manages to divert attention from anything related to writing and spends an inordinate amount of time fiddling with her things, clicking pens, searching through her bag, and generally doing anything but paying attention.

--The Obsessed. This writer uses one theme and one theme only for all her work. Or all her characters have red hair and green eyes—no exceptions. Mention this trend and watch her head explode.

--The Creep. This guy's work is a little too focused (obsessed) on preteen girls and their physical development. Plus he wears a trench coat all year round?

Create Your Own Group

If you have tried out a few groups or searched in vain for anything resembling a writer's group, you may have to start your own.

--Find like-minded writers. Teachers, librarians, people who hang out in bookstores, and college students are great candidates. Don't feel guilty about picking and choosing members carefully—it's important to find a good mix of personalities and writing styles.

--Some groups find it best to keep the skill and experience levels of their members similar. You may want to ask for a writing sample from prospective members to make sure they are serious.

--Keep it small, between four and eight members. If you have 20 members, you'll find yourself buried in critiques. Create a plan to keep membership under control.

--Lay out the specifics up front and in writing. When and how often will you meet? What is expected of each member? How much is each person expected to submit and critique?

--Agree on a setting that is quiet and doesn't distract from your work. Avoid meeting places where you have to spend more than the price of a good cappuccino, and make sure it's a location convenient for everyone.

--Set time limits for crit sessions and stick to them. Each person may have ten minutes to evaluate the writer's work, and then it's time to move on.

--Discourage too much chitchat and avoid a happy-hour atmosphere. Make plans to socialize after the meeting.

--Set a positive tone and encourage submission goals. Support, support, support.

Critiquing 101

Critiquing another's work is helpful for you as well. You hone your self-editing skills and fine-tune your sense of what works and what doesn't. You don't have to be filled with the wisdom of the ages to give a good crit. Your input as an intelligent person and a lover of books is valuable. If your first impression is that the work is jumbled and disorganized, the plot difficult to follow, or the characters contrived, the author needs to know this. More experienced writers/critiquers will likely spot more technical problems, such as transition or weak character development, than the general, overall suggestions of the newer writers in the group—but both perspectives are useful.

A critique may well be glowing, but this kind of review is rare and may not be helpful. What is more helpful are specific areas of praise: I loved your transition to the city scene in Chapter 2, or Great metaphor! Criticism sounds like a negative word, but constructive criticism serves a higher purpose. It is designed to give insight from a fresh perspective, and if delivered politely and respectfully, again with concrete examples rather than "I just didn't get it," then it is a positive thing.

Keep an eye out for elements of pacing, characterization, plot, transition, conflict, and dialogue. This is not the time to point out comma errors or typos, unless you've been specifically asked to proofread. You may go over the work more than once with different elements in mind.

Listen to the writer and take your cues from her. If she is a new writer and hesitant to hand over her work, be gentle. This is not the time to tear into her work, or she may never get up the courage to share it again. Some broad, helpful advice is warranted here. On the other hand, if she insists that you be "brutal," then she's looking for some honest advice no matter how hurtful. If the work is posted online, be sure that it is work open for criticism and not just posted for sharing.

Take a moment to assess what the writer is trying to accomplish before you begin your critique. If you take the time to realize the author is going for a dark, humorless stance, you won't irritate him by insisting that he "lighten up." Give specific suggestions and comments. Don't ask the writer to explain himself. This is a group endeavor, not a debate.

Keep it short and to the point. Unless you're posting online crits, you don't want to take up the others' time with long, rambling speeches. It's not feasible to cover every point you'd like to make in one session. Take notes and approach it from another angle next time, if appropriate.

If the writer is hurt or angry over a crit, back off. There may be many reasons for her defensiveness, and you're not going to help the situation by belaboring your point.

Dealing With Criticism

As a writer, you're used to dealing with rejection. Be sure you are able to accept constructive criticism as well, as painful as it may be. Especially when the wide-eyed youngster joins your group and says, "I really loved your characters, but the plot was, like, totally boring!" It's especially painful if the youngster is right. What won't help is to take a defensive stance. If you feel the need to clarify the point, a level-headed discussion is fine if time permits. Sometimes these discussions lead to wonderful and enlightening conversation, but, for the most part, your job is to sit back and LISTEN.

Take notes and review them later when the crit is less fresh (read: less painful). After your ego has had a chance to recover, you may find that your critiquer had a valid point.

Be prepared for many different forms of critique. You may get a story or poem returned with only technical errors pointed out, while another's take might be more theme-oriented. Some members may hate your work, while others love it. Embrace the input as a whole, and take away what you find valuable.

End on a positive note, even if you have to fudge it a little. Egos are fragile, and it takes courage to lower the walls of defense and share your most personal creations. Don't kill this spirit of sharing by trying to be too "helpful."

The common lot of writers is that we all share the anxiety and fear of rejection, whether we're newbies or experienced, published authors. And we all share the love of the written word. So, set your ego aside for a while, and open yourself up for a little constructive criticism. If it doesn't kill you, it'll make you a better writer!