Let us research the 25+ best-suited markets for your work! Our A La Carte Services are affordable, there’s no commitment, and you don’t have to go through the Review Board.

SAVE TIME and MONEY! Combine your legwork with our expertise to keep costs down.

Put our expertise to work for you!

Basic A La Carte Service: $100
Let us research markets that specialize in your type of writing AND prepare 25+ mailing labels for your submissions. PLUS, you’ll get an important step-by-step Submission Guide to achieve professional results!! Partner with us to get your work into the right hands AND save time for writing. Learn more: http://www.WritersReliefBlog.com/post/Our-A-La-Carte-Service.aspx.

A La Carte PLUS Service: $200 - $250
Along with the step-by-step Submission Guide and targeted mailing labels, you’ll also get 25+ personalized cover/query letters—each strategically composed AND individually addressed. We rescue you from the tasks that eat up your valuable time: writing and designing your cover/query letters; researching addresses and agent/editor names; individually addressing and printing each letter; PLUS making coordinating mailing labels. Learn more:http://www.WritersReliefBlog.com/post/Want-Us-To-Create-Your-CoverQuery-Letters.aspx.

When your work gets into the right hands, it’s more likely to be published. Get the professional advantage you need.

We’re in your corner. We get results.

Our A La Carte Services are a great way to combine your do-it-yourself abilities with all the knowledge we’ve gained since 1994.

Call us TODAY at (866) 405-3003 to get your writing on the market—it’s easy, fast, and affordable! Or e-mail info@wrelief.com.

We’re looking forward to hearing from you.

We’re so excited to tell you about our newest E-book, Insider’s Secrets: A Step-by-Step Guide To Proper Proofreading in the Creative Writing Industry! Our E-book will tell you everything you need to know to start or expand a professional proofreading business. If you’ve thought about starting your own freelance proofreading business, or if you want to hone your own proofreading skills, this E-book is for you.

If you’ve asked yourself:

• How do I start my own freelance proofreading business?
• Where do I find proofreading jobs?
• How do I expand my freelance proofreading or editing business to include creative writers, such as poets, novelists, and short story writers?
• What do I need to know to proofread my own writing?
• How do I become a better proofreader?
• Where can I learn to proofread specifically for creative writers?
• What are proofreaders’ marks (proofreading symbols)?

We have the solution for you. We know you don’t have a lot of time, so our E-book cuts through the “filler” and gets right to the point. Improve your proofreading skills and your freelance business.

Click here to learn more: http://www.WritersRelief.com/proofreading-manual-for-creative-writing-and-publishing-industry.aspx.

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.

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. We outline all three services and costs at http://www.WritersRelief.com/comparison.asp.

Full Service: Your work must be presented to, then read and accepted by our Review Board. 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. http://www.WritersReliefblog.com/post/Submission-Guidelines-For-Full-Service-Clients.aspx

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. If you’re a do-it-yourselfer, our A La Carte Service is quick and easy. 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.

A La Carte PLUS Service: Everything fast and affordable about our regular A La Carte but with the added 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.

It’s simple AND affordable. Keep reading and printing!

Included with ALL services:

** Targeting 25+ literary venues that specialize in YOUR type of writing. (Your work will be targeted to the best 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. You’ll have access to your submission list 24 hours a day for 30 days.

We invite you to give Meg or Kriste a call to discuss your needs. They are trained as personal submission strategists here at Writer’s Relief and will be happy to speak with you.

Writers wishing to benefit from the Full Service submission assistance program that we offer at Writer's Relief must first apply to our Review Board. Now is a great time to kick-start your submission strategy and start seeing the results you want. We can help you get your work to the best-suited agents and editors in the best format possible.

There is no reading fee for our Review Board.

NOTE: Our FULL SERVICE clients enjoy our most comprehensive service, with lots of personal attention and our highest success rate; therefore, Full Service clients are invited only upon approval by the Review Board. A LA CARTE clients prefer a more do-it-yourself approach to working with us in order to keep costs down; therefore, A La Carte clients do not need to apply to the Review Board. Click here to compare pricing and services: http://www.WritersRelief.com/compare-our-writers-services.aspx.

Wouldn't it be amazing to get your submissions in the mail to all the best publishers and agents? Writer's Relief has successfully helped writers beat the procrastinator in them since 1994. We help clients find the time to write.

Keep in mind that we must turn away 80 percent of the work that comes to us. However, if your writing is strong, don't let procrastination, hesitation, lack of marketing experience, or fear stop you from submitting your work. We can help you make effective submissions. Send your writing for consideration today!

HOW TO SUBMIT YOUR WORK TO THE REVIEW BOARD

For online submissions: Visit http://www.WritersRelief.com/submission-guidelines-for-review-board.aspx.  Use our simple online form to get your work to us quickly. This is our preferred method.

Regular Mail Submissions: To apply, mail us your COMPLETE contact information (mailing address, phone number, e-mail), biographical information, a list of publishing credits, and a few words regarding what you would like us to accomplish for you. Include a self-addressed, stamped envelope for our reply. If you would like your work returned, be sure your SASE is the right size, with the right amount of postage. MAIL SAMPLE PAGES ACCORDING TO GENRE: Poetry (10-12 poems); Short prose (three stories or essays); Novels (a synopsis and the FIRST 25 pages); Nonfiction books (proposal and sample pages as needed, up to 30 pages total).  

If you are accepted into our FULL SERVICE client list:

If you've been putting off getting your work to our Review Board, now's the time to send it to us. Writers who submit their work regularly and extensively increase their odds of acceptance…dramatically. Act now to get your submissions into the world ASAP!

Writers have been looking to us for years to help them alleviate the countless hours needed to research ever-changing writers' markets. We continue to have the most current and best writers' markets included in our database. Because our database is updated daily from information we receive from all of our clients, as well as thousands of journals and agents directly, our lists are more up-to-date than any market book or online source.

We want to be your partner in the submission process. Call us toll-free (between the hours of 8:30 a.m. and 2:30 p.m. Eastern Time) if you have any questions. One of our personal submission strategists will be happy to spend a few minutes with you on the telephone.

You can e-mail your questions to info@wrelief.com.

Our A La Carte PLUS Service:
You have already heard about the affordable alternative to our Full Service—our A La Carte Service. You may be interested to know that we now offer an A La Carte PLUS Service. Writer’s Relief will prepare your COVER/QUERY LETTERS in addition to targeting markets and preparing preaddressed mailing labels.

Clients have been requesting this service:
We are delighted to offer you an additional service that helps to fulfill your personal submission needs. We can now prepare a succinct cover/query letter and provide printed cover letters for each of the markets specially targeted for your work. You’ll save lots of time and avoid errors.

We know what editors and agents want in a cover/query letter:
Editors and agents want you to follow industry standards when composing these letters. We’ve been creating successful cover/query letters for clients since 1994. We’ve happily provided clients with information on how to do this themselves. In spite of your fear, there is no big mystery involved. If you love to create cover letters, great! If not, we can alleviate the stress associated with developing and addressing these letters. You’ll also save hours of worry and preparation. We know, if you’re like most writers, what you want is more time to write.

Here’s how the PLUS part of this service works:

1) We’ll ask you for the information we need to insert into your cover letters. This will include your name and contact information, as well as some biographical information and publication/writing credentials (if you have acquired any).

2) Writer’s Relief will create the template for a universal cover/query letter for you. This will be based on the information you give us in addition to the standards set by our industry.

3) You will review the letter, return it with your feedback, and send any proposed changes or your final okay. (Pricing allows for one back-and-forth or revision before we prepare final letters.)

4) Writer’s Relief will target submissions for your work and prepare an individually addressed cover/query letter for each of your 25+ submissions. (Please note that industry standard now requires letters be addressed to the editors’ full names. Example: Dear Ronnie L. Smith, as opposed to Dear Mr. or Ms. Smith. This is the format that we follow.)

How much will it cost?
If you wish to sign up for our A La Carte PLUS Service and receive printed cover/query letters, the total cost of this service is $200 – $250 (plus $6 for US postage and handling; international rates vary) to target and prepare cover/query letters and labels to 25 markets.

Stop spending your time wondering if your cover/query letter will do its job, and stop worrying whether you’ve typed all of that contact information correctly. Let us help you by providing this additional service that so many of you have asked for—just think how amazing it will be to send out professionally prepared cover letters with your submissions in a matter of days! A list of itemized services and prices may be found at http://www.writersrelief.com/comparison.asp.

If you would like to sign up for this service, please call us toll-free at (866) 405-3003, and ask to speak with Meg or Kriste. They are specialists in handling A La Carte clients and cover/query letters.

Dialogue can be tricky to write and, sometimes, tricky to punctuate. A few pointers:

I. It is standard form to give each speaker his or her own line of dialogue.

     "Brad, I’d like you to meet my sister, Joanne,” Jill said as they walked into the room. 
     “It’s nice to meet you, Joanne. Or may I call you Jo?” Brad said.
     “I go by Joanne, but you can call me anything you want,” Joanne answered with an impish grin.

Sometimes this rule can be broken.

     “Quick, grab the rope,” he yelled, but when he turned around, his partner quietly said, “It’s too late.”

II. Other times, a character’s dialogue continues for more than one paragraph. In this case, use an initial quotation mark for each paragraph, and insert a closing mark at the end of the final paragraph.

     Doug said, “Dialogue paragraph one.
     “Dialogue paragraph two.
     “Dialogue paragraph three.”

Now the reader knows that Doug is finished speaking, even though he’s rambled on for three paragraphs…

III. Never use quotation marks in a screenplay, where every line is dialogue.

IV. And, finally, do not use laughed, smiled, or grinned as speech tags. These should be used as separate sentences, as it is impossible to grin or laugh a sentence.

     “Oh, you think you’re so funny.” She grinned. “But you have mustard on your face.”

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

When the protagonist of your story pauses to think something, you need to set it apart somehow from the regular text and dialogue. There are a few different ways of setting characters' thoughts.

The most straightforward way to do this is to paraphrase the characters' thoughts into the narrative. For example:

When the brothers climbed up the riverbank, their school clothes coated with mud and filth, it occurred to them for the first time that their mom would be furious. Why hadn't they gone home first to change into play clothes? Oh well, they were already in trouble for being late for dinner, and they might as well get it over with. The trio trudged home reluctantly.

Another useful technique is to use italics, which is an effective tool when both thoughts and spoken dialogue are interspersed. This technique is becoming standard practice among publishers—and for good reason. The different type style makes it quite clear when a person is thinking versus speaking aloud:                                   

When the brothers climbed up the riverbank, their school clothes coated with mud and filth, it occurred to them for the first time that their mom would be furious. Why didn't we go home first to change into play clothes? Roger thought. "We're already in trouble for being late for dinner, so we might as well get it over with," he told his brothers, and the trio trudged home reluctantly.

This style is also popular with science fiction and horror writers, who use italics to show telepathic communication between characters. Some writers use quotation marks to set off thoughts, but this can get complicated, especially when thoughts and spoken dialogue are mixed. 

When the brothers climbed up the riverbank, their school clothes coated with mud and filth, it occurred to them for the first time that their mom would be furious. "Why didn't we go home first to change into play clothes?" Roger thought. "We're already in trouble for being late for dinner, so we might as well get it over with," he told his brothers, and the trio trudged home reluctantly.

There is nothing to differentiate between the spoken sentence and the thought. This can be avoided by using single quotation marks around the thought, but this is an awkward fix, and we don't recommend it.

When the brothers climbed up the riverbank, their school clothes coated with mud and filth, it occurred to them for the first time that their mom would be furious. 'Why didn't we go home first to change into play clothes?' Roger thought. "We're already in trouble for being late for dinner, so we might as well get it over with," he told his brothers, and the trio trudged home reluctantly.

If your character is thinking something to himself, it is redundant to say so.
 
Wow, that sure is a small car, the large man thought to himself.

But if he is thinking out loud, tell this to your reader. 

"Wow, that sure is a small car," the large man thought aloud. 

Finally, whichever style you choose to follow, make sure it stays consistent throughout your work, and make it easy for your reader to follow what your characters are thinking, as well as saying.

As with so many aspects of the writing world, formatting issues are a gray area, and writers struggle with the burning question: One space or two after closing punctuation?

When in doubt, creative writers often turn to the Chicago Manual of Style, whose official view is that there is no good reason to use two spaces after a period for work that is to be published. (Obviously, this rule does not apply to personal correspondence, notes, etc.)

In the days of typewriters, extra space was necessary to create a more defined space between sentences for the reader's eye. Typewriter fonts are monospaced, which means that all the letters take up the same amount of space, and most of us were taught in typing class to add that extra keystroke at the end of a sentence. But computerized fonts are proportionally spaced, and a single space is sufficient to provide a visible break. The exceptions are the fonts Courier and Monaco, which are monospaced, but it's probably best to switch to a font such as Times New Roman or Arial rather than using the double space.

So save yourself a keystroke; there's something to be said for efficiency.

The Shorter Oxford English Dictionary, a compact, two-volume version of the 20-volume set, was recently released, and it has caused a small stir among those who care about such things: the SOED editors have done away with the hyphen in approximately 16,000 words, throwing a wrench into the works of hyphen-addicted old-schoolers. Shortly afterward, The New York Times printed an article about it, along with a graphic of a gravestone inscribed with: Here Lies The Nearly-Departed, Seldom-Understood, Soon-To-Be-Forgotten Hyphen. It was a fitting epitaph. http://www.nytimes.com/2007/10/07/weekinreview/07mcgrath.html?_r=1&oref=slogin

The hyphen has long been a misunderstood creature, and there are no hard and fast rules about its usage. In general, it is used to provide breaks in lines, and in the spelling of certain words, such as father-in-law or anti-American. Hyphens are also used as "suspension hyphens" to indicate a stand-in word (four-, five-, and six-gallon containers) and to link compound adjectives that precede a noun (We gave the six-foot man a wide berth). Hyphens can also be used to avoid confusion as in 30-odd people. Without the hyphen, we might be looking at 30 strange people wandering around rather than approximately 30 folks. We have also traditionally used hyphens to set off prefixes such as "self" and "ex," and when two vowels need separation as in "pre-eminent," although, today you'll find "preeminent" in most standard dictionaries.

If you're a little uncertain about the use of hyphens, don't despair—you're not alone. The English language is terribly unregulated, and your hyphen decisions should be based on common sense and consistency. If in doubt, look it up. At Writer's Relief we use Merriam-Webster's dictionary as the final authority, and the no-hyphen trend has been spotted there as well.

The SOED has provided us with thousands of newly de-hyphenated words that, according to editor Angus Stevenson, are "only reflecting widespread everyday use." So, now we have bumblebee, airstream, leapfrog, and ice cream (instead of ice-cream). The editors at SOED have been tracking trends for many years and report that the hyphen seems to be falling by the wayside. It is not, however, in any danger of disappearing for good. Otherwise we may get confused and go searching for a good looking date—you know, a date who is good at looking—or a fine tooth comb with which to comb our teeth.

If you pick up a newspaper and a novel, you'll find that numbers are treated differently in each. A newspaper, for example, uses AP style, while most publishers of creative writing follow The Chicago Manual of Style. And while each publisher has its own modified in-house style guide, there are some basic rules you can safely follow for handling numbers in your text.

Spell out whole numbers from one to ten. I found seven mistakes in your essay.

Use numerals after ten. She noticed 37 spotted deer and 46 squirrels.

Round numbers should be spelled out. This year, twenty thousand people are expected to show up. More than six million people crowded the desert city in 2002.

Spell out the number if it is the first word in a sentence. Twenty-four hours are not enough. Nineteen forty-two was a banner year for the company.

Spell out simple fractions, and use numerals for mixed fractions. Altogether, we walked two-thirds of a mile. Use 3¼ cups of milk.

Always use numerals with a.m. or p.m., but spell them out with "o'clock." It is 6 p.m. They'll arrive at seven o'clock tomorrow.

Use numerals to emphasize exact times of day. Catch the L train at 6:23 sharp.

When time is expressed in hours and minutes, use a hyphen (six-thirty) but not if the minutes must be hyphenated (six forty-five).

Spell out the "percent" symbol in creative copy and use numerals. She found 70 percent of the pieces.

For organizations and products, follow the organization's style. 7-Eleven, Six Flags

Use numerals for decimals. Measure it to .09 inches.

Stay consistent within a sentence unless the numbers are unrelated. I needed 6 new patients, not 60! OR: I needed six new patients, not sixty! I have 60 new patients but only three new nurses.

Some other examples:

SPELLED OUT
a hundred years
the nineties
a hundred dollars

NUMERALS
107 years
'90s or the 1990s
$2.41
Highway 66
3198 Main Street
pages 35-37

Here at Writer’s Relief, our staff is expert in the business of writing. We’re here to organize, encourage, and facilitate the process of writing for creative writers who don’t have time to tackle the business side of their craft.

Unfortunately, there are a few areas in which we are fairly useless:

We can’t fix your parking tickets, leaky faucets, or that pesky termite problem.

We can’t house-train your new puppy (or your toddler).

We can’t smooth wrinkles, halt hair loss, or lower cholesterol.

We can’t refinance your mortgage, negotiate a raise, or solve the social security crisis.

We can’t change your world view, your mind, or your gender.

We can’t locate lost pets, old friends, or wandering muses.

We can’t make you more popular among your peers or cure the heartbreak of psoriasis.

We can’t school you in the art of flower arranging, give you a position of power, or tone your abs.

And we can’t even hook you up with your true love…or the hottie who lives down the street.

What we can do, however, is save you valuable time and effort researching markets and guidelines and keeping track of submissions. You can focus your time and energy on writing, while we relieve you of the burden of promoting your own work. Here’s how it works.

You send us unpublished samples of your work, which we review for quality. We only accept and submit work from writers we believe have the ability to be published. Our review board takes from one day to one month to contact you, depending on the genre being submitted and the timeliness of your submission. We do not charge a reading fee.

After we’ve completed our review, we’ll quote you flat fees for our various services. You tell us how much or how little to do. Our clients stipulate how much work we will complete, so their fees are not open-ended. In other words, you set the pace and budget the time spent by telling us how much work to do for you.

We’ll help you get your act together. We proofread your work with a keen eye for detail. Then, we target those publishers and agents most appropriate and make certain your writing is professionally prepared. Your writing will be organized and targeted to appropriate markets. We will also help with query and cover letters, and we constantly update guidelines for literary journals and agents to make sure your work gets to the right person. Our database contains the most up-to-date information on creative writing outlets available anywhere.

We keep accurate records of all costs related to your work and provide an itemized list with your billing. This service is invaluable at tax season. And most exciting, we create a personal database for each client that details the status of each submission and all titles, acceptance information, etc. and is available to you online 24 hours a day.

Formatting titles gives some writers a headache. There is so much to remember (and so many exceptions) in the English language . . . titles aren't really that difficult. When you're trying to remember if you're supposed to use underlining or italics or quotation marks, here are a few simple rules. Remember that people used to type their work or write it longhand. When titles needed to be italicized, those italics were represented by underlining. With the age of computers, we can choose to do one or the other.

1) Underlining and italics serve the same purpose. Never do both. Do NOT use quotation marks, underline, or italics together.

2) For any work that stands on its own, you should use italics or underline. (Stories or chapters from within a book are considered PARTS of the book.)

3) A work that is part of a larger work goes in quotation marks.

4) No quotation marks around titles of your own composition. 

Books: Italics or Underline

CDs: Italics or Underline

Articles (Newspaper or Magazine): Quotation Marks

Chapter Titles (not chapter numbers): Quotation Marks

Magazines, Newspapers, Journals: Italics or Underline

Names of Ships, Trains, Airplanes, Spacecraft: Italics

Poems: Quotation Marks

Poems (Long): Underlined or Italics

Plays: Italics

Short Stories: Quotation Marks

Song Titles: Quotation Marks

Special Phrases ("let them eat cake"), Words, or Sentences: Quotation Marks

Television Shows and Movies: Italics

Television and Radio Episode Titles: Quotation Marks

Whether your have just completed the perfect screenplay, or are about to start writing your debut movie script, do not make the mistake of sending your creation to contests, competitions, or screenplay agents without using proper script format. The following are a few general guidelines for script formatting (the formatting suggestions listed below are based on letter-size 8.5 x 11-inch paper):

. To allow for three-hole punching, set left margin at 1.5 inches, right at 1 inch.

. Use 11- or 12-point Courier New font. Use one space after end-sentence punctuation.

. Place page numbers in the upper right-hand corner, 1 inch from right, ½ inch from top, with ½ inch between number and text.

. Capitalize sluglines and scene setting indicators. "Interior" and "Exterior" are abbreviated INT. and EXT. Example INT. LIVING ROOM — DAY (note punctuation and spacing).

. Descriptive text is 60 characters, or six inches wide, left justified and single-spaced.

. The first time a character appears in descriptive text, the character's name should be in all caps. Afterward, initial cap only. Sound effects also appear in descriptive text in caps.

. Capitalize character names for dialogue and set at 4 inches from left margin.

. Place parentheticals one or two tabs (depending on length) to the left of the character name. (Parentheticals give extra information about how a line is to be delivered. Use sparingly.)

. Dialogue is indented left and right and is 3.5 inches wide.

. If descriptive text interrupts a character's dialogue, insert (cont'd) or (cont) to the right of the character's name the second time the name appears.

. Try not to break dialogue across pages.

. If a character is speaking offscreen, insert (O.S.) to the right of the character's name. If you want to indicate a voice-over, insert (V.O.) to the right of the name.

. Double-space between dialogue blocks and blocks of descriptive text.

. Ideal page length for feature film or full-length stage play is 110 to 115 pages, about two hours.

. For the title page center the title and your name in the middle of the page. Don't use quotation marks. Type your name and address in the lower right-hand corner.

. Copy your script on three-hole paper and bind with metal fasteners.

Setting up your own computer
Using the above margins and tabs, any word-processing program can be set up to format a screenplay. You can also purchase screenwriting software that automatically formats as you type. Final Draft 8.0, Hollywood Screenwriter, Movie Magic Screenwriter 6, and Scriptware are popular screenplay-formatting programs.

For more general tips on formatting, see our other articles: Formatting Numbers In Creative Writing, Don't Let Misused Hyphens Muddle Your Writing: Basic Hyphenation Rules, Manuscript Proofreading and Formatting, and Don't Leave Your Readers Hanging: Avoiding Dangling Modifiers In Your Writing. 

It’s easy to get tripped up when writing dialogue. In North America the rule is to use double quotation marks around the words of the speaker; this seems simple enough but the most common problem lies in the placement of punctuation other than quotation marks. Writer’s Relief expert proofreaders offer some tips!

The standard rule is to include periods and commas within the quotation marks:

She said, "I don’t believe you are telling the truth."

"I don’t believe you are telling the truth," she said.

"I don’t believe you," she said, "and I no longer trust you."

"I don’t believe you!" she exclaimed.

"Should I believe you?" she asked.

"Fine, don’t believe me," he replied. "You’ve never trusted me."

Note that dialogue tags (she said, he replied) must be a "speaking action," whereas non-speaking actions (he snorted, she glared) are not punctuated as tags and should be treated as separate sentences:

"I don’t believe you are telling the truth." She glared at him.

"Fine, don’t believe me." He snorted with disgust.

Use single quotation marks to mark dialogue within dialogue:

"And then I looked at him and said, ‘I don’t believe you!’" she said.

She said, "And then I looked at him and said, ‘I don’t believe you!’"

"And then I looked at him and said, ‘I don’t believe you!’ and he walked away."

Another general rule is to start a new paragraph for each new speaker. It makes for a clearer picture of the give-and-take of a "conversation" and helps the reader switch from speaker to speaker.

Some writers use italics to set off dialogue, while others use no special punctuation at all. However, unless you’re Hemingway or Joyce, our proofreaders believe it’s best to save the italics for quoted thoughts and use traditional punctuation for your dialogue. For clarity’s sake, whatever format you choose, keep it consistent, and your readers will thank you.

Formatting your creative writing for submission can be frustrating. Have you ever wondered  how to create a header in Microsoft Word without said header being on the first page? Have you ever wondered how to create a header without having to type in every single page number? If you’re submitting novels, poems, stories, or essays to literary agents or editors of literary journals, you’ll need to know how to properly format headers. Here are step-by-step instructions to create headers in Word:

1. In the View menu, click Header and Footer.

2. In the Header and Footer toolbar, click Page Setup (looks like an open book).

3. Click on the Layout tab.

4. Check the "Different first page" box, then click OK.

5. Go back into the first-page header and delete the text.

If you still find yourself frustrated by formatting issues and manuscript preparation, our expert proofreading staff can help. We will carefully proofread your submissions, format your novel, short story, or poetry to industry standards, and fix formatting issues (like creating headers and footers, correcting pagination, and adjusting margins). Your work will have the professional touch that editors and literary agents are looking for!

The prospect of writing cover letters and query letters often sends writers into a state of anxiety, but we’ve been helping writers compose cover and query letters since 1994, and we’re happy to share our tips with you. What follows is a basic and fundamental guide to what to put in a cover or query letter.

What is the difference between a cover letter and a query letter?
What is a cover letter? The term cover letter is generally used to refer to the letter of introduction that accompanies your poetry and prose submissions to literary journals and magazines.

What is a query letter? A query letter is a type of cover letter that is geared specifically toward literary agents. There are many articles on this blog that discuss strategies for strong cover letters. Please use the search box on this Web page to find more information, or see the articles below.

In the freelance writing industry, the term query letter can be used to refer to a letter that is pitching a nonfiction article to an editor. But in the book publishing industry, query letter describes letters that are sent to pitch books to literary agents.

What do cover and query letters have in common?
Both literary agents and editors at literary magazines want concise, clear, and to-the-point information. They don’t want to be distracted by gimmicks or bogged down by long-winded explanations.

What’s the bottom line with cover and query letters?
Literary agents receive hundreds of query letter per day, so your letter must stand out and be easy to read or skim. We offer many articles about query letter writing.

Editors at literary magazines may or may not read your cover letter, but you’ll still need to follow their guidelines carefully in order to be taken seriously.

For a detailed description of how to write a cover or query letter, please read Checklist for Creating Cover/Query Letters.

Here are some other important posts about cover and query letters:

Writer's Relief Can Compose AND Prepare ALL Your Cover/Query Letters:
http://writersreliefblog.com/post/Want-Us-To-Create-Your-CoverQuery-Letters.aspx

More Cover And Query Letter Basics:
http://WritersReliefBlog.com/post/The-Query-Letter.aspx

The Cover Or Query Letter From A Marketing Standpoint:
http://WritersReliefBlog.com/post/The-Query-Lettere28094From-a-Marketing-Standpoint.aspx

How To Handle Salutations:
http://WritersReliefBlog.com/post/Salutation.aspx

Self-Publishing: When (Not) To Include Your Self-Published Book In Your Query Letter:
http://writersreliefblog.com/post/Self-publishing-When-(Not)-To-Include-Your-Self-Published-Book-In-Your-Cover-Or-Query-Letter-Bio.aspx

How To Write And Send E-Queries:
http://writersreliefblog.com/post/E-queries.aspx

At Writer’s Relief, we have spent many years learning what literary agents and editors are really looking for in the submission process, and we’re happy to share our expertise with you. The following cover and query letter checklist will help you master the basics and get your writing published!

If you haven’t already read our cover and query letter basics post to learn the difference between a cover letter and a query letter, please feel free to do so!

Introduction: State your purpose, and list the title(s) of the work(s) in question. Click to learn how to write the salutation in your letter.

Biographical information: A cover or query letter should include, if warranted, your education (college degrees), publishing credits (no “vanity” presses or pay-to-publish credits), and any interesting facts (such as well-known authors you've worked with). You may share a short sentence or two of personal information. Just don't get too cutesy or talk about your grandchildren for two paragraphs! To learn more about composing a good bio, read Building Publication Credits.

Blurbs: If you are writing a letter to an editor at a literary magazine, do NOT write up a description of the work that you are submitting (editors may find this insulting and amateurish). However, if you are writing a query letter to a literary agent, you will need to write a killer book blurb.

Length: How long is a cover or query letter? Your letter should NEVER be longer than one page with one-inch left and right margins (top and bottom margins may be adjusted if more room is needed). Click here to learn more about how long a book should be. Click here to learn the best lengths for poems, stories, and essays.

Contact information: You must include your name, address, phone number, and e-mail. Having your own letterhead adds interest and professionalism.

Show appreciation: Thank the reader for taking his/her time to read your submission.

Short and sweet: Write a cover or query letter that provides the essentials and leads the reader to be curious about your writing.

SASE: All submissions should contain your self-addressed, stamped envelope.

Appearance: Use high-quality bond paper (at least 24 lb. weight) and easy-to-read font, no larger than 12-point in the body of the letter, and no larger than 18-point for letterhead/contact information. Be certain your cover letter is presentable—no bent corners, smudges, etc. First impressions count!

Don’t let the process of writing a killer cover letter or query letter intimidate you. If you’re struggling with the question of how to write a cover or query letter, give Writer’s Relief a call.

When submitting your writing in the hopes of getting published, it’s important to know how to address a literary agent or editor in a cover or query letter. Should you write Dear Agent? Dear Editor? Dear Pat Doe? Dear Mrs. Doe? Dear Ms. Doe? Dear Mr. Doe? How do you address a letter if you don’t know the gender of the person you are writing to? 

Many writers over the years have insisted on using salutations such as Dear Mr. So-and-So or Attention Ms. Whoever. Addressing editors and agents using Mr. or Mrs. or Ms. used to be the norm. This is no longer true.

You should not assume the gender of the reader of your cover or query letter, no matter how certain you may be that Sue and Pat are females. And it's not acceptable to call up a literary agent or editor and ask, "Are you a female or male?"

In order to avoid embarrassment and alienating an editor, follow what have now become industry standard rules for addressing these decision makers.

Simply use the first and last name of the editor or literary agent to whom you are sending your submission, without a Mr. or Mrs. salutation (example: Dear Pat Doe). This technique is sometimes used for mass mailings, but because it is useful and gender-neutral, it has now become standard business protocol for professional correspondence.

Using both names for your submissions won't be held against you. But if you address an editor or literary agent by the wrong gender, that will make you look out of touch.

In the US, gender-neutral names are becoming trendier each year. Before 1960, these names were almost nonexistent. Since then, more and more parents have turned to names such as Dakota, Drew, and Zane.

Also, when dealing with names from cultures other than your own—don't assume. Be cautious and tread lightly because you don't want an editor turned off by your lack of knowledge.

If you feel uncomfortable about names in general, you can always begin your letter with "Dear Editor." Using a personal name is still considered the best option, so choose "Dear Editor" rarely (the exception to this is when submission guidelines specifically ask that submissions be sent in this way or when no name is given).

Here is a partial list of some of the names that we've run across over the years. Can you tell whether you should choose Mr. or Ms. when addressing your submission? Remember that the wrong assumption may cost you that good first impression.

Sam, Dale, Shemayahu, Fran, Aziz, Joel, Herm, Bobby, Sydney, Kinza, Marion, Gerry, Kerry, Joyce, Keiko, Gale, Flo, Jamie, Pupa, Thikhathali, Corey, Thabo, Zujun, and Don't Forget . . .

Ronnie!

For more tips on preparing cover letters, writing query letters, and following submission guidelines etiquette, sign up for our FREE newsletter for writers, delivered monthly by e-mail. At Writer’s Relief, we want to help you get your creative writing published. Whether you’re a do-it-yourself type of writer or you’d like a little help with the process, Writer’s Relief has the expertise and the experience to help you reach your writing goals.

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