It’s not easy to publish an essay collection unless you’re already a well-known author (or a celebrity), but it is certainly not impossible. There is a market for individually published personal essays—for example: newspapers, themed anthologies, literary magazines, trade and professional journals—but selling a compilation of them takes extra marketing savvy.

At Writer’s Relief we are often asked how writers can get their collection of essays published, and we recommend the following tips to help essay writers approach editors and literary agents with greater confidence and success.

How can I generate an editor or agent’s interest in my book of essays?

Publication credits. If you’ve previously published essays in reputable literary journals, make sure to include these credits in your query letter. We highly recommend that you build your publication credits before approaching an editor or agent with a collection of unpublished essays. The market for an essay collection is limited unless you have significantly newsworthy experiences or have a background that proves your writing has mass appeal. Wide publication credits will help indicate readers’ interest in your work.

If you are still in the process of building credits, investigate local venues for your essays—newspapers, newsletters, etc. There are also free specialty publications covering every imaginable topic (check out coffee shops and bookstores) that may be receptive to personal essays. (Hint: you can find many of them in our Writers Classifieds!) Start locally but aim for national exposure for the best results. If you’ve published a personal essay in a reputable national literary magazine, you’ve increased your odds of selling a collection by quite a bit.

Theme. Collections do well when they include essays with a common theme. For example, David Sedaris is best known for his humorous essays, and C.S. Lewis once published a collection of religious essays. Other themes may include women’s studies, travel, sports, or city life. Unique themes get attention—people love to read about real-life experiences that are highly unusual—but even the most outrageous stories must be backed by good writing.

How can I find editors or literary agents who work with essay collections?

Research, research, research. Study the essay collections at local bookstores and libraries—and don’t forget to investigate the nonfiction areas such as travel, cooking, or parenting. Note who publishes these collections and what kind of essays are selling. Check the books’ acknowledgment pages for possible references to literary agents or editors.

Study book reviews and buy compilations of essays (for example, The Best American Essays) to learn where each was published. And don’t forget about networking. Writers’ groups, college English departments, conferences—get to know fellow writers and ask questions.

Search for literary agents who welcome  essay collections. You can find thousands and thousands of resources online and in bookstores. You’ll need to examine literary agency listings carefully in order to determine which are best for you. And, if you’re short on time, Writer’s Relief can help you. We maintain a database of information—current and constantly updated—to help you target your submissions more successfully. We’ve been helping writers get their work published since 1994.

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. 

Often, we at Writer's Relief read query letters from writers who will mention more than one book. They mention prequels and sequels, previously published books, unpublished books, self-published books, and more. But is it a good idea to mention other book projects in your query letter? 

Though every writer’s situation is unique, here are some things you’ll want to take into account before you mention other projects when you are pitching via query letter.

Books designed to be part of a series. Certain books are by their very nature meant to be part of a series—such as some fantasy and mystery novels. But always keep in mind that before your agent can sell a second or third book, she or he has to sell a first book. So focus on book one, and then casually mention that the book could be (or is being) developed into a series (to make it clear that you’re not going to put the cart before the horse by pitching second and third books before the first one has proven that it is viable). 

Manuscripts you wrote a long time ago. Many new writers who do not have writing credits tend to include phrases in their bios such as “I have written five books.” This leads the agent to wonder: five published books (if so, why didn’t the writer mention the publisher?), five self-published books (if so, what is the writer trying to hide?), or five books that are sitting under a bed somewhere (if so, will the writer try to pawn off those stale old manuscripts on the agent who takes that writer on?). If the writer is deliberately vague about the “five books,” the agent will generally assume the writer is an amateur. Rather than mention that you’ve written five books that you were not able to publish traditionally, it may be better not to mention them at all. Focus on building up your bio with publication credits in the literary magazine market or by demonstrating a commitment to the craft. 

Self-published books. For more on the question of whether or not to mention a self-published book in your bio, read Self-Publishing: When (Not) To Include Your Self-Published Book In Your Cover Or Query Letter Bio. For more information on how to get an agent for a self-published book, read After Self-Publishing: How To Find An Agent And A Publisher For Your Self-Published Book. 

Spin-offs. Some writers will indicate that they are already in the process of spinning their single title book into an alternate venture—perhaps developing the story of the secondary characters, or perhaps taking the story to the next level with a prequel. Again, be sure you’re only pitching one book at a time. If you’ve already completed your spin-off projects, it may be better to hold off on mentioning that those projects are already complete until you and the agent are in serious talks. 

Other unrelated books or genres. If you’re writing a romance novel and you want an agent to work with you on another project (a thriller), it's best to focus on one project at a time. The query letter is not necessarily the place to mention multiple projects. If an agent shows interest in one of your projects and you feel you can develop a rapport, then that’s the time to mention your other ventures. But until that point, try not to overwhelm him or her. 

The moral of the story: an agent can only represent one of your books at a time. Generally, if you are entering a new relationship with an agent, you don’t want to overwhelm him or her by suggesting he or she represent previous projects, future projects, or side projects. A good query letter pitches one book only—and perhaps in certain circumstances, it may casually allude to other projects (if the writer is careful in his or her allusions). And if an agent asks if you have any other projects in the works, then feel free to share. But in general, play it safe by focusing largely on one book in your pitch. 

At Writer’s Relief we work with our clients to write strong query letters, and we advise them on strategies and tactics regarding the submission process. For more information, visit www.WritersRelief.com. 

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Here are the most common mistakes we at Writer’s Relief see in the query letters that are sent to our Review Board. Don’t make these amateur errors when you’re submitting your work! Some of these may surprise you.

Cheesy lead. Don’t be cute. Skip the rhetorical questions. The “What if you were stuck on a sailboat in a hurricane with a mysterious killer” teasers get old fast. Better to lead with the facts; otherwise your reader may feel as if you’re trying to manipulate him or her to create more sensation than pure fact warrants.

Bobbled blurbs. The biggest problems we see with blurbs are 1) too many characters and secondary characters when only the main character should be the emotional hook, 2) a description that’s more thematic than plot-driven (i.e., this book is about peace and love), 3) the author attempts to tell the whole story, including the ending, when he or she should use the blurb as a teaser instead.

Appearance. The letter looks bad, smells, is printed on cheap paper or photocopied, etc. We also receive e-queries that are poorly formatted (all caps, colored and silly fonts, goofy pictures in the signature line) or that lose their formatting once they are sent. TIP: Do yourself a favor and test your e-query to make sure it keeps its formatting by sending it to a bunch of your family members and friends to see what it looks like in their inboxes. Then you can send it to agents.

Mentioning prior manuscripts (and/or certain self-published books). If you’ve written three unpublished book manuscripts in the past, best not to mention them. Otherwise the agent in question may be intimidated by your prior projects, thinking, “If I take on his/her current project, the writer will probably pester me to represent all those previous books that, for whatever reason, didn’t sell.” The same goes for self-published manuscripts, which agents will look at the same way as unpublished manuscripts UNLESS you have significant accolades for your self-published book. (Read more about the best way to mention your self-publishing credits.)

The multiple personality bio. Often writers will inadvertently begin their bios in first person, but wind up in third. Be on the lookout for pronouns gone wild! Also, some bios will begin in present tense, but then end in past. And, as always, it helps to have a strong bio! Read more about bios: Building Publication Credits and No Publishing Credits? Get Publishing Credentials: How To Build Up Your Writing Bio Super Fast. 

Groveling. It may seem like it makes sense to acknowledge your own humility by pointing out a lack of experience, but resist this urge. Confidence wins hearts.

TMI. While it’s always good to convey your own unique personality in your bio, be careful not to include too much information. If your novel is about sailors, it may help to include your background in the Coast Guard. Be personable and interesting, but do so with care.

Listing publishing credits that aren’t really publishing credits. Be careful that the publishing credentials you’re listing are not part of poetry contest scams or anthology scams. Including bad credits suggests you don’t know the market (and therefore don’t know good writing).

Copyright. Industry standard is to not include the copyright symbol on your work. If you do, it’s like tattooing your pages with the word “amateur.” Do it at your own risk. (For more information on copyright, read: Urban Legend: The Poor Man's Copyright).

Cover art. If you include cover art, you show a) that you don’t know how the industry works (since writers get almost no say over their covers), and b) that you might just be the kind of high-maintenance writer who wants complete control.

If you flatter, mean it. Agents can often see straight through the “I greatly admire your agency” bit; they know a generic form letter compliment when they see one. If you’re going to take the approach of flattery, be specific in your praise.

Some common phrases that authors should not use in query letters:

This is the first book I’ve ever written! If this is true, you don’t need to say it; better to position yourself as a person who knows the biz (which means you must be a person who knows it!).

I’ve been writing since I was five. Writers who feel compelled to explain that “I’ve been writing since I was X years old” or that “It is my greatest wish to get published” inadvertently declare to agents, “I am a newbie.” It’s presumed that you’ve been writing since you were X years old and now want to get a book published. That’s what every writer wants.

This would make a great movie. Almost everyone thinks his or her book could be a great movie. You want your query letter to ask your agent to do one thing and one thing only: represent and sell your BOOK—not a screenplay, not a series of action figures, not your foreign rights. Let the agent in question decide if your book is screenworthy or not.

This book will appeal to readers of all genres. Literary agents want to work with writers who understand that each genre appeals to a very specific demographic. When you say, “This appeals to everyone,” an agent will read, “This appeals to no one in particular.”

My friends/parents/teachers like my writing. We often read how new writers get a favorable response to their writing from close ones. But unless your mom or dad is a renowned literary critic, leave off any amateur praise.

Oprah will love this book. If the story is solid and the writing is strong, there’s no reason an author should feel obligated to proclaim that a book is the next Harry Potter. Don’t promise what you have no control over. Your work should speak for itself.

Writer’s Relief works closely with clients to prepare powerful query letters and target them to the best-suited agents. If you’re not ready for our intensely effective Full Service program, check out our A La Carte services. We can do as much or as little as you like, to help build up your bio and get your submissions to the literary agents and editors who will be most likely to enjoy your work!

Since we work closely with our clients to write stellar query letters (and since we read many, many query letters via our Review Board), the team here at Writer’s Relief has put together some tips to help you write a better book blurb for your own query letter.

Here are some important things to consider when writing a blurb about your book:

Characters. A good blurb will only introduce one character in an intimate way. Your book may have more than one main character, but because the mini-synopsis is limited in length, there’s usually not enough room to introduce more than one person. Pick the character who is most sympathetic and focus your blurb there. Let any other characters be introduced via the experience (and perspective) of your one main character—always keeping the focus on the “MC.” That way, the reader can develop a bond with (and root for) your character. The most common mistake we see in blurb writing is naming too many characters in a single blurb.

Focus on specific conflict. Rather than talk about how your main character wishes to “get right with her family,” go into detail about her efforts to achieve her goal. What specific steps does she take? What specific obstacles stand in her way?

Skip the thematic descriptions. Some blurbs are so burdened with theme descriptions that there seems to be no story. Toss out vague sentences like “This book is about peace and love.” Or “This story will warm your heart as the main character learns to stand on her own and make the best of things. She sees how important family is and tries hard to reconnect with those from her past.” Both of these ways of talking about theme are too fluffy to have any bite. If your theme is strong, you shouldn’t have to point it out. It will already be there, inherent in the story itself. 

Appeal to the human element. To create a good blurb, be sure that your story appeals to universal human emotions and desires—elements that everyone can relate to. Show what specifically your characters want, then go for the kill. Ask the reader (in not so many words), “Don’t you want to find out if she will make it in showbiz/save her family from danger/repair her relationship with her aunt?”

Length. A book blurb should be no more than one or two paragraphs. You want to focus on the highlights, not the details, of your story.

Flashiness. A blurb is not the best place to show off your billion-dollar vocabulary or your ability to construct sentences the length of football fields. Keep it simple for ease of reading. Agents will be skimming your letter to start with, so make it easy for them. If your story looks promising, they’ll give your letter a more thorough read. 

Subplots. A blurb should focus on the main plot of your book. Although you (rightly) love your subplots, your blurb must be short. Use the two paragraphs you have to drive the main focus of your story home, and leave out the extra.

Endings. A blurb should NOT necessarily tell the ending of your story. Think of your book blurb as a sales pitch: the idea is to make literary agents so eager to know what happens to the characters that they simply must request the complete manuscript to find out what happens.

Precision. Because a blurb can’t go into detail, you’ve got to find precise, gripping language to convey your plot. Choose strong words over weak ones. Pick exact verbs instead of spineless ones like “seem” or “being.” Also, go for language and phrasing that reflect the tone and style of your book.

If you want Writer’s Relief to help you with your query letter (and with targeting that query to the best-suited literary agents), please visit www.WritersRelief.com.

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

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

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

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

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

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

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

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

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

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

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

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

Publish an excerpt.

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

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

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

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

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

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

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

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

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

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

Whether or not you decide to partner with Writer’s Relief to help with your submissions (via our exceptional Full Service or our budget-friendly A La Carte Service), NOW is a very important time for serious writers. Here’s why you should get those submissions in the mail ASAP.

1. Many markets are open in the fall. Almost all literary journals that are affiliated with colleges and universities open their doors to new writers for the academic year. Editors are actively searching for exciting new writers; send your work now to take advantage of their enthusiasm.

2. Remember the excitement and importance of those first few days of school? The chatter, the competition, the feeling of beginning again? It’s the same in publishing. When summer hours end, there’s a communal sense of starting fresh.

3. Because fall is so busy for publishing—and there are so many submissions making the rounds—the sooner you send your work out, the better. Although response times vary from market to market and submission to submission, it’s been our experience that replies tend to arrive more quickly in the fall. When student readers and interns arrive at literary magazines in the fall, the response time tends to improve.

4. Since so many writers are submitting in the fall, you’ll be among the publishing movers and shakers. There’s a party going on, and you’re on the guest list. BUT if you want to roll with the in-crowd, you’ve got to show up!

5. Winter is coming, and with it comes the holiday season. Although many writers go into November and December with good intentions of writing and submitting, it’s extremely easy to drop the ball when the days get shorter. Send out a round (or two) of submissions sooner rather than later, and you’ll see better results.

If you want to simplify the submission process but you’re not ready for our long-term Full Service, check out our A La Carte Service. Starting at just $100, we can help you get a round of submissions in the mail in just a few days!

What is an exclusive (or right of first refusal) from a literary agent? Sometimes, when a writer sends a query off to a literary agency, the agent will request an “exclusive”—that is, the privilege of reading a manuscript before any other literary agent is allowed to see it. An exclusive is a kind of “right of first refusal” for agents.

The word “exclusive” tends to make writers panic. What if I grant an exclusive and another agent wants to read the book? What if I don’t want to grant an exclusive because I’m holding out for some other agent? What if I’ve already given the manuscript to someone else before the request for an exclusive?

In any of these situations, there’s no reason to panic. In fact, you should be THRILLED to have such a great problem. If a reputable agent wants to see your work badly enough to request an exclusive, you’re in a good position. Congrats!

Here are a few “problem” scenarios and some steps you might take to wiggle out of them. Keep in mind that every situation will be unique, so these concepts cannot work as a one-size-fits-all solution to your problem. But they may help.

What if the first literary agent who wants to read my book asks for an exclusive?
If the first agent who requests your book wants a guarantee that you won’t send it to anyone else until he or she is finished, don’t panic. First, evaluate your feelings about the agency. Is it your first choice? If so, you may need to be flexible. You do have the power to decline an agent’s request for an exclusive; however, we recommend that instead of turning an agent down flat, consider granting an exclusive for two weeks only. Another option is to indicate to the agent that she or he is the first to request the complete manuscript, and while you cannot grant an exclusive read, you will keep the agent informed if any other literary agencies request the manuscript. This may be enough to put the agent at ease.

What if a literary agent asks for an exclusive, but there’s already another agent reading the book?
If this happens, thank your lucky stars. It means there’s a lot of interest in your book—and you can use that momentum to keep the enthusiasm going. Politely state that the response to the book has been very positive, and you’re unable to grant an exclusive because another agency is already reading the book. Then be sure to go back and tell the first agent that another agent has put in a request. (Note: This isn’t something you’ll want to do unless you can be tactful. You can take the “I was just checking in and oh by the way” approach, or you can say, “I felt it was only right to let you know that another literary agency has requested to see the complete manuscript.”) When agents think other agents are interested in you, they become more interested in you.

How to approach big-time agents who have a lot of rules and demand exclusives.
If you’re querying a big-time agent and he or she wants an exclusive, you may need to be prepared to give it or lose a potential deal. When you approach the bigger agencies (the ones that don’t accept unsolicited queries, the ones that don’t take unpublished writers, the ones that refuse simultaneous submissions, etc.), the rules of making submissions change. You’ll want to query just one agency at a time. If your top agent wants an exclusive, give it—and then stop sending out queries and be very patient. Why? Because if you continue to query agents after you’ve given your top agent an exclusive read, it's like a tease to tell any others who request your book, “Can you wait until I hear back from someone I like better than you?” You’ll botch that deal faster than you can say New York Times Best Seller.

At Writer's Relief, our submission strategists work closely with our clients to answer any of the questions that arise when writers get serious about their submission strategies. To learn more about how to make our submission services part of your effective publishing strategy, visit our Web site today!

We’re approached by countless writers every year who want us to help them submit their short story collections to literary agents. The short story is a unique art form that many writers enjoy. But few writers ever truly understand how to get a collection of short stories published.

It takes talent to make short stories work. Some novelists begin their careers writing stories and working their way up to longer works (novels or memoirs). Other writers prefer to work in the short form and, eventually, find themselves with a stack of stories inches high, wondering, “Why not turn my short stories into a collection?”

Short stories are becoming increasingly popular, not only because they are mini works of art, but also because busy people have shorter attention spans. There are hundreds of literary magazines and journals looking to publish individual stories (and Writer’s Relief keeps tabs on all of them), but finding a home for a collection of short stories is no easy task.

Major publishers want novels because they sell and infrequently consider novellas or collections of short stories. Short story collections are harder to place because editors are unwilling to take chances on unknown writers; unless you’re Alice Munro or William Faulkner, you will find it considerably more difficult to sell your work. Publishers tend to do some marketing for their novels, and perhaps if the same marketing momentum were applied to short story collections, authors of short stories would stand a greater chance of landing a deal with the big boys.

Before you protest about the number of successful anthologies on the market, be aware that anthologies are generally collections of stories by a number of different authors—collections appealing to those who are looking for a particular theme or subject matter. Anthologies of work by a single, unknown author are very difficult to sell.

Don’t let us thoroughly discourage you from trying to get your collection published—there are some things you can do to increase your chances.

Publish selected works. It’s easier to sell a collection if you’ve had at least a few short stories previously published in reputable literary journals. Submit individual stories to quality magazines on a regular basis, and with each publication credit, your credibility will increase. At Writer’s Relief we highly recommend that writers build their credits first rather than approaching agents with a collection of unpublished stories. National exposure in quality magazines is key to attracting an agent or editor’s attention.

Theme. It also helps if the stories have a common theme or subject to tie them together. James Herriot was a country vet, not an aspiring author, but his collection of stories had a cohesive theme, and the series is still popular today.

Go for a novel. Some agents recommend scrapping the whole idea of a collection and refashioning the collection into a novel. They might also recommend selling the collection as part of a two-book deal, with the story collection designed to generate interest in the second book, which would be an actual novel.

Win big. Enter as many short story writing competitions as possible. An award-winning story can land a publishing deal. It can also boost a writer’s self-confidence—always a bonus.

Market. Many writers get frustrated and end up self-publishing their work, especially if they’re simply looking for limited quantities to give to family and friends. But for a writer looking to sell a decent number of books and see his or her collection at the major bookstores, the marketing process can be a nightmare. When you self-publish, you are responsible for nearly all the marketing and publicity efforts.

Consider small presses. There are far more small presses than big publishing houses, and they tend to specialize in niche marketing. They also tend to publish out of love for the genre and may be more receptive to a short story collection if they love the quality of your work.

Get an agent. If you have an agent, your chances of selling a collection are better than for unagented writers. To be a writer who gets an agent for a short story collection, you’ll need a strong bio. Also it may help in your query letter to mention that you have a novel in the works.

Get schooled. Short story collections are far easier to sell when their authors have top-notch credentials: publication credits in quality magazines, awards, grants. Graduating from a quality MFA program is a plus as well.

To learn more, check out How To Write A Query Letter For A Short Story Collection. We help writers submit their individual stories for publication because we’ve found it’s the best way to help writers improve their bios (so that they can be competitive when approaching agents). If you would like Writer's Relief to help you submit your individual short stories for publication, or if you would like us to consider working with you on a collection, please give us a call!

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

The Rules Of Young Adult (YA) Genre Novels

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

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

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

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

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.

“How can you tell if a literary agent or agency is legitimate and not a scam?” New novelists and veteran writers can fall prey to literary agency scams—hidden tricks that literary agents use to fake legitimacy or make a quick buck on a book. Writers should be wary of scams when approaching literary agencies or individual agents.

The way that a reputable literary agent should make money is by selling books. That’s it. If an agent is asking for any fees (reading, evaluations, marketing, or retainer fees), let the red flags unfurl.

Reading fees at agencies weren’t always a red flag, but because several agencies began abusing the system—charging fees without having any genuine interest in the material itself—the practice was abolished by the Association of Authors’ Representatives or AAR (the trade group for US literary agents).

The same goes for evaluation fees. If an agency offers an evaluation of your manuscript, it should be free. Disreputable agencies will sometimes charge the writer for a “critique,” which is generic, widely applicable, or performed by an underqualified staff member. The AAR frowns upon this practice and so should you.

Other dubious fees fall under the category of administration, marketing, or submission costs. A good agent will only charge the client for expenses that are above and beyond normal and reasonable expenses, such as long-distance phone calls and shipping costs. These are usually deducted from the client’s royalties and should not be up-front costs. Watch out for agents who demand money up-front, especially for such vague reasons; if in doubt, request an itemized list of any charges—you should not be billed for every Post-it your agent uses.

Sometimes an agent is not dishonest, but merely inept. This is an agent who uses questionable methods to submit your work to editors—sending your work to editors who aren’t looking for what you are trying to sell; bundling several queries into one package; using shotgun types of submission methods; and not doing their homework. These agents quickly develop a reputation among editors, and their clients can expect their work to be ignored. Some writers feel that any agent is better than none at all, but this simply is not the case.

Reputable agents do not need to advertise in magazines or search for clients online, and they never send spam. If you are approached by an agent without ever having contacted them, beware. Dishonest agents often troll online writers’ forums or purchase subscription lists from writers’ magazines to beef up their client list.

Note: Once in a great while, an agent will read your work in a magazine and contact you directly; this is a legitimate practice, and you should be able to tell that it is not a generic form letter, that the agent actually read your work and admired it.

Read Part Two.

What steps can you take to help determine if an agency is legitimate or a scam?

Query only established agents. Not a writer and editor/agent or a PR person/publisher/agent. Some agents do write and agent, but it’s important that agenting is his or her first priority. A good agent will have more than he or she can handle wearing one hat and one hat only.

Check track record/sales. The number one indication of a successful agent will be their track record, and they should be eager to share this with you. If they claim their recent sales are confidential, this is a red flag. Feel free to ask for recent sales, published works, recommendations from satisfied clients, etc. Or look up your agent on www.publishersmarketplace.com, a Web site that chronicles publishing deals. However, there is a fee for this site.

Note: There’s a difference between an agency that doesn’t want to share their track record and an agency that has a minimal number of sales. Many quality agencies start out small, and sometimes this can translate into more personal attention. They may not have a long track record yet; check for quality versus quantity.

Look for professionalism across the board. Is the agency’s Web site or correspondence with you full of typos and/or grammatical errors? Does the agent get defensive or angry when you ask questions about fees and contract issues? Are your calls ignored for weeks? In general, look for professionalism and general courtesy when dealing with an agent.

Note: Again, don’t necessarily dismiss an agency that is operated out of the agent’s home, or that doesn’t have a full staff or a Web site. (In fact, some of the big agencies don’t have Web sites.) Many good agents start off small and keep their costs down, and they may be more willing to represent a new writer. They may also have more time to work harder for their clients.

Watch for “recommended services.” If your agent gives your work high praise…and then suggests that it will only sell if it is professionally edited, you should immediately go on high alert, especially if the agent already has an editor for you. This is usually the sign of a kickback referral scheme that preys on the hopes and dreams of new writers, and it is highly unethical. The same goes for illustrators. A good agent knows that publishers prefer to do the matching of authors and illustrators, and they should not push you to hire one they recommend.

Beware of agents who are looking for poets and short story writers. Most legitimate agents do not make any money off poetry and short fiction—unless the writer is already very strongly established.

Beware of agents who shower you with excessive flattery and praise or who make grand promises. (Good agents don’t make promises they can’t keep.)

Beware of signs of incompetence. There are plenty of mediocre agents out there who engage in unprofessional practices such as using the client’s own query letters, employing random submission strategies, and insisting the client pay for 8x10 photos, fancy binders, and marketing plans (all of which are unnecessary and off-putting to editors).

If it sounds too good to be true, it probably is. Do your homework. Google potential agents, search writers’ forums, and check for references. Writers are a close-knit group and good about protecting each other. When a naughty agent is lurking, chances are there are savvy writers putting out the word to others. You have the power not to get caught in a literary agent scam!

Read Part One.

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!

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

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

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

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

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

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

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

Included with ALL services:

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

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

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

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

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!

Many of our clients here at Writer’s Relief tend to shy away from tooting their own horns. So we’re happy to do it for them this month!

Here’s some information about our wonderful writers!

We had 157 acceptances in this December – February cycle: Please note that many magazines accepted work presented by more than one client. (We love when this happens.) The following magazines will be publishing work from Writer’s Relief clients. All of these journals accepted work within the past two months alone:

Agni, Alabama Literary Review, Alembic, American Literary Review, Argestes, Atlanta Review, Bat City Review, Bayou, Cadillac Cicatrix, Cairn, Center: A Journal of the Literary Arts, Chaffin Journal, Chautauqua Literary Journal, Compass Rose, Connecticut Review, CQ (California Quarterly), Cresset, descant, Dislocate, Eclipse, ellipsis . . . literature and art, Emrys Journal, Eureka Literary Magazine, Evansville Review, Fourth River, Grasslimb, Healing Muse, Hurricane Review, Inkwell Magazine, Iodine Poetry Journal, Kerem, Lullwater Review, Lungfull!, Minnetonka Review, Old Red Kimono, Paper Street, Passager, Permafrost, Pisgah Review, Portland Review, Quercus Review, Quiddity Literary Journal, Rambler, Red Wheelbarrow Literary Magazine, Rhino, Rio Grande Review, RiverSedge, Salamander, Schuylkill Valley Journal of the Arts, South Carolina Review, Sou’wester, Sulphur River Literary Review, Tampa Review, and Willow Springs.

In addition, the following agents requested manuscripts this cycle:

Ann Rittenberg
Brandt & Hochman Literary Agents
Elyse Cheney
Nicholas Ellison Literary Agency

Also, we had six clients nominated last cycle for The Pushcart Prize and another client nominated this cycle!

We love to celebrate with you!

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!

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

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

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

In a previous issue we talked about the query letter and its components. Now let's look at the business aspects of your query and focus on marketability.

Every day agents and editors receive countless queries and unsolicited manuscripts. As they sift through the backlog, they are looking for one thing and one thing only: work that will sell. Publishing is an industry, and if the editor can't get a clear idea of what kind of work you are submitting, he or she can't tell if it is marketable. It's your job as the author to present this information up front in your query letter.

Visualize your work as a commodity. Suppose you approach a store and tell Mr. Jones, the owner, you have a brilliant new gadget that would sell well in his store—but you hem and haw and never quite make it clear to Mr. Jones what your product is or who might buy it. There's a long line of salesmen waiting outside to pitch their products, so the owner dismisses you, irritated that you have wasted his time.

Editors and agents are also pressed for time and looking to weed out work that they can't sell. One of their first criteria is genre, so it's important to make this clear right away. This is a 100,000-word historical fiction romance. Make sure you target your historical romance to an agent or editor who actually represents this genre.

Address the following when composing your query letter:

Fiction or nonfiction
It may seem obvious but clearly state what you're submitting.

Genre
Identify your genre right away. Horror, science fiction, romance, Western, chick lit, children's lit—if you don't know what genre your work is, keep reading.

Audience
Who will be buying this book? Women ages 25-40? Single fathers? Beginning readers? This is where you determine your target audience. Be specific and avoid sweeping generalizations like "This book will appeal to everyone who breathes oxygen!"

What makes my book different?
You don't want to approach an agent with a query that says, "I have written something just like Margaret Atwood's The Handmaid's Tale." Your book might appeal to the same readers who would purchase Atwood's book, but it must be unique in some way. Compare your book to a similar title that has sold well if you can, but don't expect to sell a Harry Potter knockoff unless you've found a truly original angle.

Marketing
Publishers have their own marketing departments, but you should do some brainstorming of your own. It's impressive to note that you're an expert in your field and have some valuable contacts who may help with visibility. Or you have an idea for a Valentine's Day tie-in and have some verbal agreements for book signings. Show the agent or editor that you've been thinking of your work as a commodity, and they will too.

If you're having trouble determining your work's genre, you'll need to start with some research. First, find other authors and books that are similar to yours. Then, either do a Google search or go to the largest chain bookstore in your area and hunt down those titles. If your book would fit in with the others on the shelf, you've found your genre. Check the back of the book too, as the genre is usually identified there.       

An editor will notice if you've done your research, and this lends you credibility and professionalism. This begins with targeting the agent or editor who is most likely to read your query. Read trade journals to narrow the field, and do your best to find the most current editor and the correct spelling of his or her name. If the editor does not publish horror, do not send horror. If you're not sure of the agent's gender, do not make assumptions. (Address your letter to the agent's full name to avoid any embarrassment.) And, above all, give the agent or editor exactly what he or she needs to make a decision. This alone will set your query apart from the others.

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