Click here to visit firstwriter.com This is a FREE service you may unsubscribe from AT ANY TIME - see the bottom of this email for details.
  Issue #14

Free Writers' Newsletter

   May 6, 2004  
  

 
In this issue:

News:

New showcase for writing
A new online showcase for writing has launched, giving writers a new opportunity to display their poetry, prose, and pictures online.

Imageweavers is looking for uplifting submissions that celebrate life and evoke an image in visitors' minds.

To visit the website click here, or send an email. 

Go to contents list

"Survivors" poetry required
A poetry anthology is being put together to publish the work of "survivors of mental distress" (including mental illness, depression, as well as distress caused by a whole range of other problems, such as racial hatred, persecution, etc.).

Each "survivor" may submit six poems, and (if they wish) a page of prose. Though the anthology is for survivors of mental distress the actual theme of the poetry or prose is open, though related subjects are preferred.

Translations are also welcomed.

Send submissions to: James Ferguson, Survivors' Poetry, Diorama Arts Centre, 34 Osnaburgh Street, London, NW1 3ND.

Go to contents list

Science fiction short story contest
There are only a few days left to get your entries in for the bookjobber.com prize in science fiction.

Entry into the competition is free, and a top prize of $100 is on offer for the best original story between 7500 and 15,000 words.

For more details visit http://bookjobber.com

For the details of over 150 other competitions click here

Go to contents list

 

Getting noticed by an Editor
By J. Paul Dyson
Editor, firstwriter.magazine


In today's saturated fiction market, with hordes of writers throwing themselves at agents and editors daily, how do you manage to grab an editor's attention, and get them to read your work?

Writers come up with all kinds of ideas to make their work stand out: from unusual fonts and large typefaces, to novelty items and gift vouchers included with the submission. Young writers stress their age; foreign writers their ethnicity; working-class writers their deprived backgrounds and education. Writers have even been known to send saucy pictures of themselves in various states of undress!

And it has to be said that these kinds of gimmicks do actually work. They make your submission stand out, and editors like them. Including these kinds of gimmicks means that the editor who first looks at your submission is far more likely to pass it on to one of their colleagues to have a look at as well – unfortunately, it won't be to read the manuscript; it will be with the words "you won't believe what this idiot's just sent me in the post..." And why do editors like these gimmicks? Because it means they can reject the manuscript without actually having to spend time reading it.

You can argue all you like that editors shouldn't dismiss work without reading it (and probably the most conscientious don't), but it doesn't alter the fact that an awful lot do, and that you're only hindering your chances of being accepted if you include these gimmicks. A gimmick is just a vote of no-confidence in your own writing. It says "I don't think my writing is good enough to stand on its own", and if the writer doesn't believe in their writing then few others will, either. It suggests that you're desperate and clutching at straws – not that you've got something of value that an editor might really be interested in using.

The only thing which is really going to give you a chance of being accepted by an editor is good writing – by using gimmicks you're distracting attention away from the one and only thing which actually can get you accepted. 

Obviously, sending vouchers and cuddly toys is going to make you look ridiculous, but don't forget that irrelevant information about yourself is just as bad. An editor isn't going to lower the bar just because you're 14, or gay, or terminally ill – they'll just feel affronted by your assumption that they might. If anything, they will be more likely to over-compensate and be more critical of your work than be lenient. No editor would want it to appear that they'd accepted a bad poem just because it was by someone who was still at school. 

If you're a teenage poet writing poetry which is about teenage angst then mention your age. Otherwise don't. If you're writing a book on the working classes then it would be worth mentioning your working class roots, but if you're writing Science Fiction then they're irrelevant. Remember – other than a handful of writing publications, your markets are going to be reader-orientated. Making excuses to an editor for your writing isn't going to affect what the end-readership think of it.

So if you can't use gimmicks, how do you make your submission stand out? The biggest irony about all of this is that standing out is the last thing you want your submission to do in the first place. Sure, you want your writing to stand out when the editor comes to read your manuscript, but for the rest of the time you want to be working incognito. Don't draw attention to yourself. Overworked editors with submissions piled to the ceiling are just looking for reasons to reject things as quickly as possible – don't give them an excuse. Here are just some of the most common and fatal mistakes writers make when submitting – make sure you avoid them:

1) WRITING EVERYTHING IN CAPITALS. READING SOMETHING WRITTEN ENTIRELY IN CAPITALS IS LIKE LISTENING TO SOMEONE SHOUTING IN YOUR EAR. IT'S VERY ANNOYING. BECAUSE CAPITAL LETTERS ARE ALL THE SAME SIZE IT ALSO MEANS THAT WORDS LOSE THEIR SHAPES – MAKING IT IMPOSSIBLE TO SPEED READ. DOES THIS MEAN EDITORS SLOW DOWN AND READ YOUR WORK MORE CAREFULLY? NO. IT MEANS THEY REJECT IT WITHOUT READING IT AT ALL (STANDARD POLICY THROUGHOUT PUBLISHING). The same goes for italicising everything, or putting everything in bold.

2) Ignoring submission guidelines. It's amazing how many writers expect to have thousands of words of their manuscripts read carefully by busy editors, but aren't willing to take the time to read a few hundred words of submission guidelines. If you ignore or disregard submission guidelines then you'll at best alienate the editor, and more likely get your work rejected out of hand.

3) Including irrelevant details. Don't tell editors that you're only young, or come from a poor background, or anything else. Any attempt to bypass an editor's editorial integrity is going to put them on the defensive and make them unreceptive to your work. Restrict personal details to those relevant to what you're submitting.

4) Sloppy approaches. Your query letter doesn't affect the quality of your manuscript any more than dressing like a tramp affects your ability to do a job – but you wouldn't dress like a tramp for a job interview and you shouldn't be sending out queries with spelling mistakes and poor grammar, either. You want to convince an editor that you're a good writer. Sending them examples of how badly you can write is not the way to do that. 

5) Chasing up too soon. Lots of magazines have lead times of between six months and a year. Don't start emailing after a fortnight asking whether you've been accepted or not. In order to get through the backlog editors can't afford to be constantly updating writers as to the status of their submissions. If you present yourself as someone who's going to be hassling them for the next six months then they'll just reject you to get you off their backs. Check out their websites and documentation for quotations on lead times. If you can't find any, ask once after a few months what their lead times are.

If you're making any of the above mistakes then you're seriously hampering your chances of getting published. It doesn't matter how great your writing is – it won't count for anything if nobody ever reads it. Not only that, but any of the above mistakes will also label you as an amateur writer who doesn't know anything about the industry they're trying to break into – not the best platform to launch your pitch from....

To search over 250 magazines where you can submit your work click here

Go to contents list

 

How to utilise galleys for best results
By Christopher Willitts

Once your book hits bookstore shelves, you've got approximately eight months to produce sales. If your book doesn’t prove itself after the eight months, it will almost certainly get pulled. So the time to do your marketing is way before your book even thinks about hitting the shelves.

Thousands of booksellers and librarians found their buying decisions on reviews. But the major review journals (i.e. Library Journal and Publishers Weekly) will only review your book if you send them a bound manuscript – a.k.a. bound galley – three to four months in advance of your targeted publication date.

A galley is a compilation of unbound signature pages of your book. The contents of a galley can be photocopied or printed from your computer.

A bound galley is a galley that has been bound into book form. Bound galleys are generally produced after a manuscript has been typeset but before proofreading.

If you plan on sending out more than 25 pre-publication review copies and you do not have access to a photocopier, it may be more cost-effective to make bound galleys. This is because galley printers typically charge less per page than your local copy shop.

The majority of reviewers are content to read books in manuscript form, but it is worthwhile to get them bound in some way – a visit to your local Kinko’s® should do the trick. A small amount of reviewers do object to bound manuscripts, since they are usually more bulky than galleys.

Make sure the galley or bound manuscript includes this information either on the cover or first page:

  • title;

  • author;

  • publication date;

  • ISBN;

  • number of pages;

  • price;

  • trim size;

  • hardcover or softcover;

  • number of illustrations and/or photographs;

  • publisher name and contact information;

  • distributor name and contact information;

  • publicist name, address and contact information; and

  • print something like this on the cover: “Uncorrected proof. Galley copy only. Do not quote without prior permission from the publisher.”

Electronic galleys (egalleys) are the next stride in the evolution of the printed galley. Egalleys can have the same contents of printed galleys – they are just in ebook format. Egalleys are faster, easier, and cost much less to produce than printed galleys.

Egalley invitations can be emailed to everyone you'd send a bound galley: reviewers, catalogues, libraries, journalists, resellers, websites, bookstore buyers, and other agents of influence.

My suggestion: use a combination of both printed and electronic galleys. Send bound galleys to the most significant reviewers while using egalleys to expand your marketing reach to independent bookstores, smaller publications, and international markets. If possible, send the reviewer/buyer the version they prefer.

© copyright 2004 Christopher Willitts

Christopher Willitts is the Founder of Go-Publish-Yourself.com™. He can be reached at 931.422.9906 or christopher@go-publish-yourself.com. Visit http://www.go-publish-yourself.com and sign up for his FREE email newsletter to receive Tips, Secrets, Articles, and Much More, all designed to help you achieve publishing success.

Go to contents list

 

Resources for writers at firstwriter.com

Visit firstwriter.com for the following invaluable resources for writers:

To advertise on this newsletter for as little as $30 / £20 click here

Go to contents list

  
© firstwriter.com 2004
While every effort is made to ensure that all information contained within this newsletter is accurate, readers are reminded that this information is provided only as a collection of potential leads that the reader should follow up with his or her own investigations. Unless otherwise stated, firstwriter.com is not associated with and does not endorse, recommend, or guarantee any of the organisations, events, persons or promotions contained within this newsletter, and cannot be held responsible for any loss incurred as a result of actions taken in relation to information provided. Inclusion does not constitute recommendation.