Guest writer Denis Ledoux has been assisting people to write personal and family stories (since 1988) and training the memoir professionals who work with them (since 1996). For your free memory jog question book, go to http://turningmemories.com/memorylist.html.

“Worth the time to write?” I repeated—raising my voice into a question—when a man said to me recently that most people didn't have a memoir that was worth their time to write.

“Not only is every life worth writing about,” I countered, “but the writing of a memoir is a healing and developmental process for the writer. There is something precious in the telling of every tale.”

“I don't know about the healing,” he said, “but I do know that most people haven't done anything interesting enough to write about, let alone have someone else read it.”

“I don't think children and grandchildren feel that way,” I answered. “I've never met anyone who wasn't happy to have a memoir of a father or mother.”

“Well, okay,” he conceded, “but who else is interested?”

“The breadth of the audience is not what makes the writing of a memoir significant. There is worth in the telling itself.”

There continues to be an insatiable hunger to know about one's family and culture. Writing a memoir is a meaningful way one generation can transmit stories to another.

In the man's commentary, of course, there is an important point to consider. If one has not led a momentous life, are there things one can do if one wishes to write a memoir that goes beyond the interest of a small family readership?

Let me emphasize that it is appropriate to write stories solely to family readership. There is nothing “wrong” with a small audience. The value of any piece of writing is not measured by how many people—total numbers—have read it. This emphasis on size is a spin-off of the commercialization of worth. It is a result of the creation and promotion of the “superstar” in our culture.

But the true worth of a memoir is better measured by the inherent value to the writer and to its selected audience. The act of writing will change you and your relationship to your life. Writing is significant for itself.

Begin writing your memoir today!

Want to find a literary agent for your memoir—an advocate who will help you submit your memoir to major publishing houses? Writer’s Relief helps writers of memoirs get published by managing the submission process and targeting the best literary agents and editors who want to read true stories.

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. 

The role that editors play at publishing houses and independent presses is vital to the success of everything from short stories and poems to novels and nonfiction books. But what exactly does an editor do? Are editors necessary as the publishing industry changes? What do editors not do?

Managing Submissions And Acquiring Writing

Although the role of an editor will vary from one publisher to another, most editors are charged with sifting through manuscripts to find work that meets publication specifications. Some entry-level editors will be tasked with reading through unsolicited books, stories, or poems in order to determine if those works merit further consideration by their supervisors. Other higher-level editors may be given the authority to formally make an offer of publication.

At book publishing houses, part of an editor’s role is to meet with literary agents who represent projects that appeal to the editor’s interests. Editors at book publishers must also champion authors they love in order to ensure that such authors receive attention from publishing higher-ups.

Editing and Revising

At an independent press (such as those affiliated with colleges and universities that publish literary journals), a high-level editor will often make suggestions to improve the poem or short story prior to publication. An editor will also oversee the layout, design, typesetting, art, and overall look of a literary magazine. He or she may also write a forward for a literary journal, often commenting on specific works included in the issue.

At a book publishing house, an editor will also make suggestions to the writer to improve a manuscript. However, editors are not line editors—that is, their job is not usually to make suggestions to improve the manuscript line by line, word by word. Most editors look at the larger issues pertaining to a work: form, pacing, characterization, and projected reader response.

At both big publishing houses and independent presses, an editor’s job is often considered separate from a proofreader’s job. Sometimes editors must also proofread; but when possible, professional proofreaders are often brought in. Writers may or may not have a say over corrections that are made to make the work meet house style.

What Editors Do Not Do

Publicity. At mid-sized and larger presses, editors generally do not do publicity. The editor may work in conjunction with the writer on certain projects on an as-needed basis, or the tasks associated with publicity will fall to a department or an individual assigned to oversee that author’s promotion. Although some editors who own their own publishing houses may be more hands-on with publicity, the editor’s role has not traditionally been associated with promotion.

Artwork. If you’re publishing a book with a big New York publishing house, your editor may not have final say over your artwork, but he or she will likely act as the author’s liaison between the art department, the higher-ups, and the author in question. Editors at smaller publishing houses/presses might be more flexible about artwork, and an editor might work closely with a writer about art.

Revision. An editor will not revise a writer’s work. But an editor will suggest revisions for the writer to make. If your work is accepted for publication, be prepared to do more work on a manuscript based on an editor’s suggestions.

The Changing Roles Of Editors

There is some speculation among publishing industry insiders about the roles of editors in the future. Self-publishing has made editors seem unnecessary to some writers, since a self-published book can often be printed without prior editorial critique. Others believe that editors will become even more vital to publishers because editors’ expertise and careful attention to detail may be increasingly important to ensure the highest-quality content (based on the theory that two heads are better than one).

For now, if you want to get your stories, poems, and essays published with literary magazines, you will need to send your writing to an editor. And if you want to get your book published with a top publishing house, you will need to find a literary agent who can skillfully suggest writer-editor pairings and help a writer get a foot in the door. If you would like help with the submission process, learn more about Writer’s Relief.

It is common practice for journals and literary agents to reject previously published writing, but what exactly does previously published mean? Why are most literary agents and editors unwilling to take a chance on work that has already appeared elsewhere? When is it appropriate to submit previously published work?

The answers to these questions have become increasingly hard to pin down as the Internet takes on a huge role in the writing world.

The definition of previously published:
Back when print publishing was the sole option for sharing work, previously published was a black-and-white term. If your poems, stories, or essays appeared in a book, journal, anthology, textbook, or any other widely read publication, your work was considered published. If it didn’t, it wasn't. Simple. But now, more complicated questions arise.

Previously published poems, stories, and essays:
Literary journals don’t want previously published writing because editors want to ensure that their publications are fresh, new, and unique. In other words, editors want to be first to discover your writing. Also, editors would prefer to stay away from any rights entanglements.

Is work considered previously published if I post it on a blog, Web site, large social-networking site, or online literary journal?
If you’ve posted your writing on any of the above sites, it is generally considered previously published.

Is my work considered previously published if I post it in a writing forum or Web board?
If the forum or Web board is private and intended for the purposes of encouraging feedback or community support, then most editors and literary agents will consider the work unpublished. But just in case, you may want to take it down once you’ve received feedback so it doesn’t appear online.

If the forum in question is public (that is, if nonmembers can see what you’ve written), then your work will likely be considered previously published.

What if I published my work on my blog or other Web site, but then I take it down before submitting it—is that considered previously published?
This can be tricky. Try not to publish your work online if you plan to submit it elsewhere (like print journals). If you did post online, no one can stop you from taking your work down and then submitting it, but be warned: Editors may not like this tactic.

Once your work is removed from the Internet, do a search of random lines from the work to make sure it is not appearing anywhere. (Warning: Google and other search engines will often archive old Web pages, so simply deleting something from the Web doesn’t mean it’s gone!) If an editor finds your “unpublished” work online, you might look irresponsible or, worse, devious.

If I publish an excerpt online, does that mean the whole work or part of the work is considered previously published?
Generally speaking, excerpts are okay to publish online, as long as they are on the short side (relative to the work in question).

Previously published novels and books:
The rules for determining what is previously published change when you move into the book-publishing business. Literary agents and publishers at traditional publishing houses have different expectations and goals than editors of literary magazines, so the concept of what it means to be previously published can shift.

It’s no secret that literary agents are keen marketing experts. The success of their business relies almost entirely on their ability to find and represent books that are not only well-written but also potentially lucrative. Because of this, work that is available online can sometimes be unappealing for a number of reasons. First, if the book is already being published and the writer is making money, the agent is cut out of those profits. Second, if a book is posted online as a free download, why would readers pay to read it?

The laws (and the industry jargon) are still trying to catch up to the technology. Keep in mind that the following points are general guidelines: Each literary agent or editor may have his or her own definition of what is considered previously published.

Click here to learn more about How to Get An Agent For Your Self-Published Book.

Is a hard copy self-published book considered previously published for the purpose of finding a literary agent?
The subtext of the question above is: “Can I pitch my self-published book to literary agents?” If you’ve published a book or novel on your own or with a third-party POD publishing house, and you still retain the copyright, you can pitch it to most literary agents. That said, always be forthcoming about your book’s history.

Is a self-published book offered in electronic format considered previously published?
The majority of literary agents are willing to consider a book that has been published electronically (published in a digital, nonprint format) as long as the author holds all rights. However, you may need to remove your book from online bookstores and take your book down from the Internet.

If I publish an excerpt from my book online or in print, does that mean the work is considered previously published?
Generally speaking, it's okay to publish excerpts online, as long as they are on the short side (relative to the work in question). Be sure you maintain the copyright if you’re going to publish a portion of your book prior to publishing the whole thing! Otherwise you could end up publishing your book, minus your previously published first chapter!

Writer’s Relief does NOT work with previously published poems, stories, or essays; however, we will work with self-published books on certain occasions.

The flip side: Publishing your work online can be beneficial
The Internet can be a wonderful resource, especially for those who don’t have critique groups or workshops available in their area. Unfortunately, very talented writers who just happened to workshop their writing online are getting caught in the cross fire between editors, agents, and the rapidly evolving question of “What is previously published writing?”

There are journal editors and literary agents who don’t really care about work published on small Web sites. Did you put a story up on a message board for critique? Have you posted a chapter of your manuscript on your blog? As long as the work isn’t plagiarized from someone else, some literary agents and editors don’t mind if the writing has appeared online.

But until the industry fully adjusts to the presence of the Internet, many literary agents and editors are going to simply reject work they consider to be previously published. At this point, the best option for writers is to play it safe until the rules become clearer.

Remember to check out our Free List of Writing Contests, Conferences, Calls for Submissions, Services, and More!

As a general rule of thumb: If you plan to submit your work to long-established literary journals and magazines or to literary agents and editors, DON’T post it publicly online first.

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. (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.

Further Reading: When (Not) To Mention Trilogies, Sequels, and Other Projects In Your Query Letter

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.

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!