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.

Guest blogger Suzan L. Wiener has had many greetings accepted by Andrew McMeal, Gallant Greetings, Peaceable Kingdom Press, Yippie Cards, etc. Many of her tips on writing, short stories, poems, and other short works have appeared in major publications.

Do you wonder how some poets and writers manage to sell their greeting card verses while others miss the mark completely or only get an acceptance on a rare occasion? This Q & A will give you the information you need to see your writing in the greeting card aisle (and help you make a little money at the same time!).

Q. Where do you find companies who will buy your greeting card verses?

A. I look in market books for writers or online at www.google.com. Then search for "paying greeting card markets."

Q. How do I know what type of greetings to send to each company?

A. Always request the company's guidelines. Follow them to the letter. If you don't, your ideas may be disqualified just for that reason.

Q. If I only write rhyming verses, should I try to write unrhymed verses or one-liners?

A. Definitely. Why limit what you are writing? Who knows, you may have a flair for writing unrhymed verses. If you don't give it a try, you will never know. You could be losing out on sales. I find it is a lot of fun to write different types of greetings rather than limiting myself to one form.

Q. When should I give up on a company if I keep getting rejections?

A. Only you can decide that. If submissions have been rejected for a year, it's time to rethink what you are sending to the company. Something obviously isn't meshing. Either you can sell your greeting card verses to another company, or you can rework them and try again. I always find it is best to send my ideas to another company, wait a few months, and then send other ideas to the first company. An editor might move on to another greeting card outfit, and the new editor might love your work. This has happened to me.

Q. What if I'm not an artist? Can I still get my verses published?

A. In fact, unless you are a professional artist, publishers prefer you send submissions without artwork. They have in-house artists to do the illustrations. You can, of course, suggest a visual for your text directly on the card you are sending. Editors even appreciate stick figures. If you cannot draw, just give them an idea of what you are trying to convey.

Q. What rights do greeting card companies acquire?

A. Each company is different. Some will ask for all rights, others will ask for first-time rights, etc. Some will send you a contract and others just an acceptance letter. Giving away all rights isn't the best way to go, but if you want to write for that particular company, you will have to relinquish them, unfortunately. That means you cannot resell your card ideas at all. When acquiring all rights is their policy, they don't normally negotiate different terms.

Q. Do greeting card companies send you free copies of your cards?

A. Usually they do. It's a great feeling to see the greeting that you wrote on the card itself. Some companies will even include your name on the card!

Q. Is there any way to guarantee that a card idea you wrote will sell?

A. The answer, in a nutshell, is no. But if you keep practicing your verse writing, gear your ideas to what editors prefer, make them a me-to-you message—which greeting card enthusiasts refer to as "sendable"—you will have a much higher rate of sales.

Q. How much can I get paid for writing greeting cards?

A. Greeting card payments vary from company to company—anywhere from $50 to $300 per card. These rates can change, and it's best to check each publisher's writers' guidelines.

* * If you’re not already subscribing to our FREE Writers’ Newsflash, you’re missing out on regular publishing leads like this one. Get time-saving tips and important industry etiquette information delivered to your inbox monthly. Just visit this link!

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!

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

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

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

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

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

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

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

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

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

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

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

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!

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

For more tips on making strong submissions, visit:

How To Write Cover and Query Letters That Get Attention 

Why Length Matters When Submitting Your Stories And Poems For Publication

How To Build Up Your Writing Bio Super Fast

Seven Techniques You Must Know To Make Editors Notice Your Poetry

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!