Editors hate rhyming poetry. Or do they? Rhyme has become something of a sore subject in the world of contemporary poetry, but to many poetry editors, there’s good reason for the shift. A number of writers who work in rhyme have yet to distinguish between the nursery rhymes of childhood and more adult types of verse. Recollections of the fun, frilly words that cheered and delighted us as children may be the reason editors tend to avoid rhyming poems.

If we are to write rhyming poetry that transcends childhood nursery rhymes, we must understand the importance of alliteration, assonance, and consonance and what they can bring to our work. These elements of rhyme become useful tools when used effectively.

Rhyme does not have to be an ABAB rhyme scheme. The rhyme scheme is the pattern of rhyming words in a poem. A typical rhyme scheme may look like this:

I went to the store
To buy some milk
But I found something more
A scarf of silk.

In the example above, store/more and milk/silk are examples of perfect rhyme (when the words sound the same because of the last syllable). Many poets find it difficult to handle perfect rhyme, since they run the risk of writing poems that sound forced or even clichéd. Mastering the different types of rhyme beyond ABAB improves poetry techniques and also creates a more sophisticated style of poem.

Understanding how to use rhyme effectively may give you the confidence you need to submit your rhyming poems to poetry editors (who may just be waiting for someone like you to get “rhyme” right). But in order to do that, you’ll need to see how good rhyming verse offers much more than words that merely “sound the same.”

While perfect rhyme is often found at the end of a line, there are a number of ways good rhyming poetry makes use of other kinds of rhyme. Internal rhyme (or middle rhyme) is rhyme that occurs in a single line of verse. Internal rhyme is a more subtle way of creating rhyming poetry. Edgar Allan Poe provided an excellent example of internal rhyme in “The Raven.” Take a look:

Once upon a midnight dreary, while I pondered, weak and weary,
Over many a quaint and curious volume of forgotten lore,
While I nodded, nearly napping, suddenly there came a tapping,
As of someone gently rapping, rapping at my chamber door.
“'Tis some visitor,” I muttered, “tapping at my chamber door —
     Only this, and nothing more.”

Here are a few types of rhyme that go beyond that singsong meter of childhood nursery rhymes.

Alliteration is when the same initial consonant sound repeats in close succession. You can see an example in the Poe verse above: “While I nodded, nearly napping…” Alliteration brings a more subtle form of music to an otherwise flat line.

Assonance is when the vowels in a given line rhyme. For example, “weak and weary” offers both alliteration and assonance.

Consonance is when one or two consonants in the words of a given phrase repeat in close succession, although the words themselves may not technically rhyme in the traditional “hat, sat, cat” sense. The rhyme is created within the internal structure of the words, based on the consonants. Examples: clip, clop.

Half rhyme is when the final consonants repeat: bowl, trawl.

Pararhyme can have much in common with the forms above. Pararhyme is when the consonants match, but the vowels are different. The consonance examples are also pararhyme (drip, drop). Sometimes, pararhyme may be called partial rhyme or imperfect rhyme.

Reverse rhyme is the opposite of what we think of as typical rhyme. Instead of the like sounds coming at the end of the words (fighter, lighter), the like sounds arrive at the beginning (gorge, gourd).

At Writer’s Relief we have worked with poets who specialize in rhyme, but the poetry must be exceptional. Learn how you can submit your poems for publication through 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.

Because poetry tends to be an especially musical form of writing, there are a number of words that poets use to talk about their particular techniques. Here is some vocabulary to help you discuss the music of your poetry. Enjoy!

Alliteration
Repetition of consonant sounds, usually at the beginning of words.
 
Anapest
Two unaccented syllables followed by an accented one, as in un-der-STAND.

Assonance
Repetition of similar vowel sounds.
 
Caesura
A pause within a line.

Dactyl
A stressed syllable followed by two unstressed ones, as in SHUD-der-ing.

Diction
The selection of words in a literary work—for example, if a narrator says blood-red, that selection has different connotations than rose-red, even though the colors may be similar. 
 
Elision
The omission of an unstressed vowel or syllable—such as o’er for over.

Falling meter
Meters that move (or fall) from stressed syllables to unstressed syllables.

Foot
A unit of measure in a metrical line; syllables included in a kind of musical bar or measure.

Iamb (as in Iambic)
An unstressed syllable followed by a stressed one, as in at-TEMPT.

Meter
The pattern of accents in poems.

Onomatopoeia
Words that imitate the sounds they describe.

Pyrrhic
A metrical foot composed of two unstressed syllables (as in for the).

Rhyme
Matching sounds in two or more words.
 
Rhythm
The repetition of accents or stresses.

Rising meter
Poetic meters that move (or ascend) from unstressed to stressed.

Spondee
A metrical foot represented by two stressed syllables.
 
Style
The way an author selects and arranges words, and develops ideas using literary techniques.

Syntax
The order of words.
 
Tone
The writer’s attitude implicitly conveyed through diction, syntax, etc.
 
Trochee
Accented syllable followed by an unaccented one, as in MAY-be.

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!

Do you remember the poetry you wrote as a teenager? Many poets would rather eat paint chips than share their teen-angst poetry with the world. Teenage poetry is often raw, drippy, sloppy, histrionic, self-centered, and overdone. But there are valuable lessons to be learned in remembering the way we used to write before we ever dreamed of getting a poem published.

The type of poetry most often associated with a poet’s personal emotional journey is confessional poetry. This style is a particular favorite among editors of literary journals and magazines, because it demonstrates intimacy and reflection.

Writing confessional poetry is important to a poet’s personal journey toward self-improvement. Before you cared about poetic technique, you probably just cared about the act of writing. Writing a poem when you’re feeling a strong emotion is often a great way to make sense of your feelings. Poetry can be therapeutic and cathartic, allowing writers to discover their true feelings in a safe space.

When you’re feeling troubled, grab a pen. Writing heals. When you write, you make time for yourself—and that’s important. Confessional poetry can get you through the biggest hurdles in your life, and you should not be afraid of plunging into intimate, meaningful confession.

BUT before you go pulling your old, high school confessional poems out of the attic so you can get them published—or before you start thinking that every confessional poem you write is genius—think again. They are important to the writer but can come off as self-indulgent to the reader. To be published, they need to demonstrate that the writer is self-aware and has great insight and technique.

Apart from being overly emotional, the other problem with confessional poems is that they run the risk of being unruly. Although poetic verse can be free form, it must always be carefully wrought. Poems that spill on to the page and are done in a single draft are poems that you as a writer may want to consider putting away for a while. Better to judge your poems once you’re a bit distant from them—so you can see them for what they really are.

At Writer’s Relief we believe in the power of the pen. But be sure to learn the difference between when a poem is necessary emotional spewing and when it is true, carefully crafted art.

Writer’s Relief would be pleased to help you submit your poems for publication. We can target your poems to the editors of literary magazines and journals who will be most likely to appreciate your writing. Learn more about our services at www.WritersRelief.com.

For more articles about poetry, read:

Seven Techniques You Must Know To Make Editors Notice Your Poetry

How To Get Your Poetry Published

Spotlight on Poetry

Free Verse: The Hidden Rules Of Free Verse Poetry

The Seduction of Poetry Contest Scams

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!

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

If you want to get editors at literary magazines or publishing houses to notice and publish your poetry, there are a few key things you can do to increase your odds of having a poem accepted. At Writer’s Relief we’ve been working with poets since 1994—helping writers submit their work to literary agents, magazines, and journals—and we’ve picked up on some pretty significant trends. Our clients get published by the hundreds (thousands, if you want to get technical). Here are some of the things they do (and don’t do) to ensure their poetry has a competitive edge. 

Skip the rhyme. Rhyming poetry is difficult to place. In fact, it’s so difficult to publish rhyming poetry that we won’t work with poets who primarily focus on rhyme. If you want to rhyme, feel free. There are plenty of outlets online and even a few print journals that adore rhyme. Just be aware that at most magazines, it’s a dead end. Rhyming poetry done well is beautiful. Done poorly? Ugh.

Keep it short. Poems that are one page long tend to be more readily accepted than any other length poem. Also, watch your margins. A poem that is too many characters wide may not fit on the narrow pages of literary magazines. Tight poems are more easily publishable and more readily accepted.

Submit three to five poems per submission. Submitting more than five poems makes you look demanding and overeager. Submitting fewer than three poems implies that you don’t have a significant body of work. Also, don’t submit more than ten pages MAX (5-8 pages is best).

Avoid clichés. Money, love, and death are said to be the big three topics for writers. But be sure that you’re approaching them in a truly new way. (Tip: The only way you can be sure your writing is not cliché is by reading poetry. Lots of poetry. If you love poetry, read and support the magazines that keep poetry alive.)

Steer clear of one-word titles, unless your one-word title is truly an amazing and unique word. Titles like “Death” or “Friendship” tend to be more often overlooked by editors. Consider the wording of your title just as important as the rest of your poem.

Use eye-catching titles. After one-word titles, lackluster titles also tend to go unnoticed (as do lackluster poems). Pep up your poetry titles to get better results.

Develop a strong bio. At some point, everyone has absolutely no writing credentials. But the fact remains that the stronger your bio is, the more likely you’ll be well-received. For some tips on how to build up your bio, read these articles: Building Publication Credits and No Publishing Credits? Get Publishing Credentials: How To Build Up Your Writing Bio Super Fast.

As always, be sure that when you submit, you’ve researched the proper markets, prepared stellar cover letters, and followed all appropriate guidelines. If you’d like help submitting your poetry for publication, check us out. Our clients regularly publish poetry in hundreds of print journals.  Click here to learn more about how we can help you! We remove the pressures and frustrations of the submission process in order to improve your acceptance rate and give you more time to write. There’s something for every budget at Writer’s Relief.

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.

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

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

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

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

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

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

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

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

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