Author: Sharon

Standard Manuscript Format. Yes, there’s a layout for the industry. I won’t go into the specifics here. Do a search and the details will readily appear. If the publisher’s guidelines don’t specify, it’s easy to find the format. Roughly, it’s one-inch margins, double-lined spacing, although there’s more to consider, such as what goes on the front page. I’m not talking about a cover letter, but the layout of the manuscript (MS) itself. Name, contact details, word count, title, what publication rights are on offered, and the MS may require page numbering and other information in the header and footer. Check Standard Manuscript Formatting alongside the publication’s guidelines, and, if in doubt, keep it basic.

Forget fancy fonts—again, a publisher may specify, but otherwise choose something simple such as Courier or Times New Roman. Forget fancy graphics. Forget all the computer programmes that create beautiful layouts. Publishers aren’t interested. They want to see and read the MS clearly.

I’ve heard horror stories of poorly laid out work. I recall one where an editor wrote an article about one particular MS she received in the post. It arrived in one of those padded envelopes that have fluff in the lining. As she struggled to open it, some of this ‘fluff’ went all over her desk. When she pulled the MS out, it stank of cigarettes and the pages had coffee cup ring stains. Result: Binned — not so much as a glance at it and no reply to the writer. Why? Simple. The editor rightly felt the writer had shown her no respect — hadn’t even shown his own work respect—and had therefore revealed himself to be someone she wouldn’t be able to publish, no matter how good the story might have been.

The MS is a writer’s product, work, even ‘baby’. Why not give it the best chance it could have? This starts with how one presents the work, whether sending it in the post or via email. It’s amazing how many writers never even think of looking into how they should present a story. I’ve had editors thank me for my presentation, so what does that say?

If including a cover letter, then consider writing it as when applying for a job… which, in an actual sense, a writer does every time they submit a story. I’ve read an article about a teacher who had criticised a student for writing a covering letter to a publisher for ‘sounding as if trying to sell something’. At the risk of repetition I stress, publishing is a business. Writing is an art form—a craft—but beyond that, it is also a business, and the writer has to sell an idea and convince others it is worthy. This is the purpose of a cover letter and synopsis before one even comes to the MS. Try to find the name of the current editor and address it personally. It does not matter if a reader is the one who sees it first (yes, editorial departments have ‘readers’ and these people are the first line of defence a writer has to pass). Just as a personnel department may first see a resume before the manager… but finding the name of the person in charge shows effort and research capabilities.

The publisher wants to know what any employer wants to know—what this person is capable of. Writing the letter is as important as the MS. Detailing achievements, experience etc., is important, but shouldn’t come across as boasting. Could be the writer has had nothing published and won’t have very much to say, but the way they wrote the letter reflects the writer and the work. Make it sound as if the story is the best the world will ever see, and needs no editing, and the publisher will think this isn’t a person he or she can work with. Sound arrogant, and the MS may go in the trash pile as swiftly as the editor reads the first paragraph of the cover letter.

It is, in reality, easier to explain what ‘not’ to do in a cover letter than how to write a good one. I’ve mentioned a synopsis and I’ll cover what that is separately sometime, but some may ask why they need to write both. Sometimes it’s unnecessary. Some publishers will specify for the writer *not* to put in a cover letter—another good reason to pay attention to guidelines—but most don’t say or ask. Information required in the cover letter can also vary according to the project. The problem of writing a letter increases when considering a short story—shorter work can mean even less to say and a cover letter/and or synopsis may both have to be concise, precise, and dynamic.

The letter needs to introduce the writer; it may be an opportunity to draw attention to a few writing credits, but if the writer has none, it would be pointless to harp on about it. Some publications are looking for unpublished writers but going overboard and complaining how, despite sending work out for ten years, no one has yet seen the genius in the style and stories, will not sing a writer’s praises or make an editor take pity. One thing no editor does is publish out of pity. Equally, never state the opinion of friends and family. No publisher cares that a writer’s grandmother’s uncle’s second cousin adores the story. I’ve yet to meet a writer who has sold an editor on their work by protesting how good others consider the work to be. Unless that opinion is an endorsement by someone in a noteworthy and relevant field, it’s nothing but an obstacle.

Use a cover letter as an introduction—to the writer, to the work. Make it sound calm, crisp, friendly, optimistic, and the MS something that the publisher may be interested in looking at. Most publishers will deign to read letters and synopsis at the very least. Forgive the cliche, but this is the first hurdle—don’t fall over it.

Check an agent’s or publisher’s guidelines. It sounds simple enough, but it’s an important detail so many wannabe writers miss. Most have them, and many are readily available either on request or if you have internet access on their website. Also, check that the guidelines are up to date. There’s no point in looking at what a publisher wanted ten years ago, or even ten months ago. Their requirements may have changed only last week.

Use the guidelines as any writing tool. It’s important that the writer check they are sending the right piece of work to the right publisher. It may be difficult to believe, but it’s amazing how many people still send a romance book to a horror publisher, or vice versa, but it happens. Some writers seem to think a publisher is a publisher, and it doesn’t matter, or that their work is so brilliant the agent or publisher will still help them even if they don’t deal with that type of literature. This is not the case. If a writer sends a romance to a horror publisher, that publisher is going to put the manuscript in the bin the moment they realise its contents. The chances are they won’t even reply, or they’ll dispatch a terse note advising the writer to ‘check our guidelines’. Save them and yourself a lot of time, money, and aggravation by doing this prior to sending out anything.

As well as advising on content, guidelines may also provide further information, such as formatting requirements. Most publishers want standard manuscript formatting, but this can vary a little. If it states a certain layout, then follow it. If not, set your work out in standard manuscript formatting. Another thing to be aware of are submission calls and deadlines. There’s no point sending in an unsuitable story, or even a suitable one, after a deadline has passed. On that note, when answering submission calls, I’ve seen it suggested sooner rather than later is preferable. Many publishers wheedle through that pile right away, throwing out rejections, placing others in a possible pile, a few in another in case they’re left with a space to fill. A few wait until the deadline passes, but not all. If there’s a minimum and maximum word count, some publishers will say it may increase your chances by writing closer to the minimum count. Longer stories fill an anthology length, and too many of those leaves less space for the number of stories the publisher wishes to include. Therefore, they’re more likely to take more of shorter lengths. Always research individual requirements of each publication.

Some posts like memories are worth keeping. Looking back, it’s hard to believe my social media journey started way back in October 2006 with Myspace, a site many writers (including me) have left in the dust since its focus now seems to be music.

Still, it’s the time I’m thinking of here. It’s difficult to believe it’s been that long because that also means that my first book came out fifteen years ago. Where has the time gone?

I can still remember in 2004, I wondered ‘when’ would I have a larger writing credit out there. Up to that point, my credits had been for poetry, essays, and (mostly) short stories.

Though I rarely read such books, I was in the middle of a decent self-help book. Like many similar volumes, the information told me nothing new, though it’s nice having beliefs and feelings confirmed. One particular chapter talked about not sitting around waiting for things to happen, but ‘making’ them happen. Not surprising, but that day, forced to face reality, was the kick I needed.

I knew with writing there were two ways to go. You write what you like and hope to find a publisher or you look for a market, and write for it. Most writers have more success that way, and I’d done pretty well dabbling with both options. For a novel, I chose Loose-Id as a market and wrote a story for them… which flopped, big time. They totally rejected it for three reasons, two of which I agreed with and one which I did not… but that’s neither here nor there, and I’m unsure I can even remember those details now. The strange thing is, I was wholly grateful for that rejection for two reasons. Most important: I learned a lot from their comments.

Determined, I studied what was selling and return to the ‘drawing board’. Second, I was trying to write for a genre I’d never attempted before and the likelihood of my story being snapped up first try would have been extraordinary. With so many vanity and unscrupulous press out there, if Loose-Id had snapped up my first book, I think I wouldn’t have trusted them nearly so much and therefore believed their good comments on my second submission attempt.

So, I wrote for Loose-Id. Why? This is a special question because my heart most lies in dark fiction, although I read all genres, including an occasional romance. It’s no lie when I say I like to write as I read, and my library is eclectic. Mostly, I wrote a romance because the first stirrings of a story came to life. I chose Loose-Id because I liked the concept. They published erotic romance, and many of their books were authentic stories, not just a poorly disguised series of events loosely linking a load of sexual content. I had to get over the embarrassment of writing such scenes, but told myself I would worry about what my friends and family would think when I came to it. Before that, I had to come up with a plot so concentrated on a story I believed they couldn’t reject.

I formed my idea in June 2005. In fact, I still have all my hand-scribbled notes, not only for that first book, but for books two and three of the trilogy. Looking at them now always provides me with a few moments of smiling. These notes on their own make no sense and some last scenes differ from those first images that flashed into my head, but in that large envelope of messy, nonsensical notes I have my story. But all stories begin in the mind.

As long as there are writers, there will always be readers who will ask, ‘Where do you get your ideas?’ The answer is everywhere. Life. Playing the ‘What if’ game. Putting two seemingly disconnected events together. That first book I entitled Uly’s Comet, and it began when I pictured a man sitting on a bench in open parkland and a thief about to steal his money. I did not know who the man was or why he sat there. I did not know the identity of the thief. Later, I came across a name: Shavar, ‘Comet’ and suddenly I had the answers. This story nagged for me to write it. I loved the world, characters, and story I created and lucky for me, so did the publisher…

Sadly, as many of you may know, Loose-Id closed recently enough for it still to sting. A fine business and group of people which did amazingly well and should have lasted even longer, and while I have republished some tales I wrote while with them, I have yet to revisit the world of my comet. I’ve also written other things, and here’s the point of this blog. Had I not tracked down a publisher, chosen to write something good enough to submit to them, and worked hard at it, achieved my goal, started with social media, I wouldn’t have networked. I wouldn’t have made other contacts, or written for other publishers, and series, including several novels in the Lethbridge-Stewart world (The Brigadier of Doctor Who fame), or even, by recommendation, my short eleventh Doctor audio story for Big Finish. All because one day I decided it was time I achieved a larger writing credit… and took the next necessary steps, refusing rejection.

All publishers have them, and most are online nowadays, so make a note, pay attention, and follow the guide. The instructions will often explain not only how to present work but also what type of stories the publisher is looking for. This may be for general publication or a specific submission call, such as a magazine putting out a themed issue.

PAY ATTENTION. Seriously. Occasionally, writers have cause to moan about the publishing industry, but we can say equally the same in reverse. I’ve witnessed a publisher’s submission call receive hundreds of questions, the answers to which were in the call itself. Some publishers will display immense patience. Others, especially those inundated with submissions, will dismiss work from those individuals they view as acting less than professionally. Before the writer queries, best to make sure they’ve not provided the answer, so read the guide more than once.

Another good reason to read guidelines is it’s amazing how many writers waste their time and that of agents and publishers by submitting the wrong thing to the wrong market. I’m not talking about not *quite understanding* what an editor is looking for — sometimes this is hit and miss — but it’s pointless to send a romance title to a horror market or vice versa, and yet it continues to happen. Result: Binned. The writer may receive guidelines in reply or hear nothing.

Study the market. Make sure the right story goes to the right publication or as close as is possible so it has a genuine chance. Also, buy and read at least one copy of any magazine or a book from a publisher when considering the market. Not only does the purchase help keep these markets going, it gives the writer an insight into what the publisher requires. Reading is really the only way to tell whether a work fits and whether the author even wishes to consider a specific publisher. Send out work randomly and it wastes everyone’s time.