Summer 2007 - The Fix Is In   As a fairly new writer, I have already managed to collect a whole drawer full of rejection slips.  Nearly all of them are the preprinted, impersonal type, which makes me wonder if my proposals are even being read.  If they are, you would think at least one editor would be interested in seeing something I've written.  If they're not, I'm wondering if writers have to know the editors to get their work published or if there's some other secret way to get on the good side of an editor.  I'm not usually so suspicious, but all these rejections are making me paranoid! - Betty A.

Editors  Boy, we'd love to tell you that sending a box of Godiva chocolates to your favorite editor is just the "in" you need to get a contact on your next book, but it simply doesn't work that way.  The answer to whether or not your proposals are being read is yes...and no.  It depends upon your proposals.  If they're catchy and original, the chances are good that they're being looked at and seriously considered.  If they're boring and trite, chances are they're not. 

The bottom line?  Make your proposals and queries "sing," hold their length down to a paragraph or two, and make sure that the subject matter is original.  Remember, a proposal isn't meant to be an ongoing dialogue with an editor or a biased synopsis of your life.  It's meant to be a sales pitch.  If you hit the right buttons with material that is marketable, sooner or later, you're going to strike gold.  - The Editors

Summer 2007 - Marketable Ideas  I'm a beginning writer, having written two books and several short stories, but I'm not sure about the subject matter.  The subjects I've chosen to write about appeal to me, but I'm not sure they would be appreciated by a publisher.  My question is, where do writers find subjects that publishers want to read?  Are there books of ideas that change from time to time depending upon what's hot?  This may sound like a stupid question, but I'm really serious.  I don't want to waste my time working on something if no one is going to want to publish it.  Writer's Digest and the other magazines I've read never seem to address this issue.  Can you help me out here? - Jeff P. Robinson

Editors  Well, first, it's not a stupid question.  And, second, there ARE books of ideas for writers to peruse.  They're called daily newspapers.

The next time your morning paper arrives (or you open a news site on the Internet or turn on the television or radio), pay attention to the stories being covered.  Sure, they're interesting reading.  But more than that, ask yourself this: if you were an editor, would you want to see a book or a short story or an article on that subject?  Would your readers be willing to pay to read more about it?

Story ideas are literally everywhere.  (See this month's Society Lounge for AmSAW president D. J. Herda's take on the subject.)  The trick as a writer is not to read for entertainment, but to read for ideas for future writing projects.  It's mostly a matter of training.  Here's a good exercise.

Go through a newspaper or magazine and mark off every topic you think would make an interesting book (or short story, etc.), whether or not you think it's something you'd like to write about.  Then go back and review the items you've checked more critically, selecting three or four that you would like to write about.

In time, you'll find yourself mentally marking topics for future development.  In fact, in time, you won't be able to read anything without wondering whether or not it would make a good topic for a book or article or screenplay.

It may take some of the spontaneity out of reading, but that's the price you pay for being a writer. - The Editors

Spring 2007 - Just Wondering...  I don't mean to be critical, or maybe I do.  But why doesn't GEWLie have more substantive content to it?  I appreciate the writing tips ["Writer's Lair"] and the changing book markets each quarterly issue, not to mention this column of feedback and advice, but the other columns are pretty much the same from issue to issue.  I know it's a free service, and like I say I appreciate that.  But some new material, maybe tips on marketing or something, would be nice.  What are the chances of expanding GEWLie in the near future? - Anon

Editors  Kvetch, kvetch, kvetch.  All they do is kvetch.

Actually, you hit the nail on the proverbial (if hackneyed) head.  GEWLie is a free quarterly magazine put out by the same folks who run AmSAW and the monthly members-only SCRIBE! Media Magazine.  That's a lot of work, considering that SCRIBE! often runs 20 pages or more a month.

The solution?  Volunteer to become a GEWLie columnist.  Just e-mail us at the address at the bottom of this column and suggest a quarterly feature.  If we like what we see, we'll reward your efforts with thousands of dollars...umm, scratch that...with your own by-line and free membership in AmSAW for as long as you remain a GEWLie columnist.  We'll even provide you with some research sources from which to write your column.

Now, what could be fairer than that? - The Editors

Spring 2007 - To Quote or Not To Quote  I'm writing a book in which I quote a large number of people.  It's a medical book, and I rely on previously published research to bolster my own theory.  My question: Do I have to do more than put the source of the original quote in parenthesis following the quote?  And how much material am I allowed to quote without running afoul of copyright laws?

Editors  Hmmm, good one.  Let's start with attributing the quotes.  Nearly every publisher of nonfiction demands footnotes for all quoted material, as well as for previously published (but not quoted) material.  To learn how to introduce footnotes into your word processing program, check the program's "Help" file. 

So far as how much material you can quote before getting in trouble with Uncle Sam, here's a good rule-of-thumb: When in doubt, check it out.  That is, if you're quoting more than a couple of sentences verbatim (and not paraphrasing), you can get by with a simple attribute in a footnote, including the source, publishers, publication date, etc.  When you're quoting more than that, you should write to and receive permission either from the publisher or, if the author holds the copyright, from the author.  Specify precisely what material you want to quote and how you plan on crediting the author, and get his agreement in writing.  (Most publishers will require you to do so, anyway, so you'd might as well save everyone a lot of trouble and take care of the matter up-front.)

In that way, you're safe, the publishers is covered, and the source from which you received permission to quote is happy.  Game, set, match. - The Editors 

Spring 2007 - Enough, Already!  I've just about had it!  I'm so sick and tired of beating my head against the wall, I could scream!  In fact, I think I will.  Aarrggggh!  I'm a good writer, and all I get are rejection slips.  Not even personal ones, just the pre-printed crap some lazy editor sends out instead of taking the time to write me even a couple of personalized words.  "F**k you, assahole.  Don't write to us again!"  Even THAT would be welcomed.

I guess my question to you is why, why, WHY can't editors take the time, all 10 seconds of it, to respond personally?  I'm sorry for venting, but I really am disheartened and angrier than hell. - J. R. Reid (Please USE my name!!!)

Editors  To quote one of our favorite lines from The Big Chill:  "Nobody ever said life was easy.  At least, nobody ever said it to me."

The bottom line is this: sure, editors could take the time to write a few words of rejection.  And some actually do.  Honestly!  But most, we admit, don't.  That's probably because most never actually see your unsolicited manuscript.  When you send something into a publishing house, it fits into one of two "piles"--the "requested material" pile (when a writer sends in a proposal and an editor asks to see more, usually an outline and the first three chapters, although occasionally the complete manuscript) and the "slush" pile. 

The latter, as you've probably already (painfully) surmised, is where unsolicited manuscripts go.  As that pile grows longer and the assistant editors (or sometimes even lowly clerical workers) in charge of responding to the writers within that pile grow more overburdened, they take the obvious, easy way out: they send out pre-printed rejection slips.

Fair?  Hardly.  Reality?  Yep.

The way around it?  Don't send out unsolicited manuscripts.  DO send out one-page proposals, complete with SASE (self-addressed stamped envelopes), in the hopes that your proposal will catch an editor's eye, and he'll ask to see more.

If submitting via e-mail, keep your proposal short, and you may get more personalized results. - The Editors

What the Heck?  I've written several book-length manuscripts, all of which in my opinion are pretty good.  But I haven't been able to get a publisher even to look at them.  What gives?  What are publishers looking for if not good, strong, timely stories? - Albert Proux

Editors Beats the heck out of us.  No, on second thought, we do have an answer.  Publishers today are looking for--are you ready for this?--good, strong, timely stories.  Unfortunately, the huge pile of unsolicited manuscripts they're forced to wade through every day make the likelihood of their deciding to publish yours remote.  Notice we said remove, not impossible.

The key to getting a good book published these days is to continue to buck the odds.  Keep sending your material out, but start out with a single-page query letter (editors hate multiple-page submissions).  Include a teaser of two or three lines for the first paragraph.  Follow that up with a one- or two-page synopsis of the book (the entire story in a nutshell).  Conclude with a short bio of writing history and publication credits, if any, and a simple question: "Would you like to see the first three chapters?  I can send them via regular mail or e-mail at your request."

After that, it's a matter of waiting...and hoping.  Good luck. - The Editors

About Erotica Markets  I enjoy writing erotica, and I think I'm pretty good at it.  My stuff is not porn or anything like that, but it is titillating.  My question is are there any publishers still publishing erotica?  It seems as if so many of them have either gone out of business or stopped buying.  So, what's a writer to do? - Alexandria Hall (not my real name)

Editors  Well, you've pretty much hit upon the problem in your question.  With fewer and fewer erotica publishers around, and an increasing number of writers wanting to produce for that genre, the number of erotica books getting published today has dwindled to precious few.  What's worse, in a glutted marketplace, the number of new authors breaking into the field is small.

As for how you can buck the odds and get your material published, we have a couple of ideas.

First, continue querying (as per our suggestion to the author above).  Second, continue looking for new erotica markets in publications such as Writer's Market (or online at www.writersmarket.com).  Finally, expand your search for a publisher to include the large houses, such as Bantam and Simon and Schuster.  To break into the bigs, include secondary genres that might help catch an editor's eye.  For example, in addition to calling your work erotica, also list it as mystery, suspense, romance, or whatever other genres are pertinent.  If an editor at a major publishing house likes a story, and if it's not overtly graphic or offensive, he might take a chance on it if he believes the book can be cross-marketed to readers outside the realm of pure erotica.  In other words, if the mountain won't come to Mohammad, have Mohammad meet it half-way.  By expanding the potential market for your book, you greatly increase your chances for publication. - The Editors 

How Cozy  I recently ran across a publisher looking for cozy mysteries.  Just what on earth is a cozy mystery?  How can a mystery be "cozy"? - Jonathon Woods

Editors  We thought you'd never ask.  Have you ever read Micky Spillane's Mike Hammer series or Dashiell Hammett's string of Sam Spade novels, including The Maltese Falcon?  Well, cozy mysteries are nothing like them.  In short, they're neatly confined, witty, virtually bloodless, and without any inherent violence.  Instead of relying on his brawn, the protagonist usually relies on her brain.  Yes, most cozy mysteries are written around an enterprising (i.e., snoopy) woman, an amateur sleuth with some interesting quirks or hobbies and usually one with a partner, husband, significant other, or friend who has access to the stuff mysteries are made of--morgues, autopsy reports, police files, etc.

Although cozy mysteries may be set anywhere, they often unfold in small towns and communities where everyone knows everyone else, which makes everyone an equal opportunity suspect, and the murder victim is usually a louse whom no one liked but to whom everyone supposedly felt he had a right to live.

Cozy mysteries are “gentle” books devoid of profanity, graphic violence, and sex.  (Heavens!)  If there is any indication of sex, it takes place behind closed doors.  Two characters may hold hands one evening and wake up to coffee on the veranda the following morning.  Most often, the crime takes place “off stage,” and death usually comes quickly to the victim.  No prolonged torture here! 

Cozy mysteries are usually fast-paced and contain numerous plot twists and turns to keep the reader interested throughout the book, while the amateur sleuth separates the solid leads from the useless information with deft and alacrity and in the end solves the crime. 

Pretty cozy, huh? - The Editors

Higher Education  I’m always looking for new ways to better myself as a writer.  Recently I learned about a writing course at my local college.  I’m wondering if writing courses are beneficial, or does a writer have to learn his or her craft on their own? – Deb Pelecanos

Editors  While we’re all for the School-of-Hard-Knocks approach to learning how to write, writing courses can also be helpful.  But only the good ones.  Take a bad course taught by a bad instructor, and you’re simply wasting your time and money.

How can you tell the difference between a good and a bad writing course?  Ask the instructor if you can audit his class for a day or two.  Ask for input from other students.  Run an ad in the classified section of your local newspaper requesting input from people who have previously taken the course.  If at least 50 percent of the people you talk to recommend the course, you should probably take it.  If 95 percent of the people recommend the course, don’t trip on your shoelaces on your way out the door, because you’ll have to hurry if you hope to snag a seat in the class.  Good luck. – The Editors

Editorial Courtesy  After sending out a number of queries awhile ago, I submitted four stories at the editors’ requests.  I haven’t heard back from any one of them, and it’s been more than two months.  I’m wondering if that’s the name of the game or if I should expect to hear something back within a reasonable length of time.  Why don’t editors reply at least to let me know one way or the other so that I’m not left hanging.  I don’t even know if I should continue to show the stories around.  It’s very frustrating. – Dean Janus

Editors  And you’re a very patient kinda guy.  We like that.  We like that in bus drivers and checkout clerks.  We don’t like it in writers.  Once an editor makes a commitment to look at your work, you deserve the courtesy of receiving a response.

An editor who fails to respond to a writer’s submission may do so for several reasons.  He may never have received your story.  He may have received it but forgotten that he requested it.   He may have thought he already replied to you when in reality he hadn’t.  He may have replied to you, but you never received it.  Or the story may have found its way into the editorial slush pile of unsolicited manuscripts to suffer a long and lingering death.

As a writer, you have every right to expect a response to a request for your writing, and an editor has an obligation to give you that response within a reasonable period of time.  The question arises as to what is a “reasonable period of time.”  As a general rule, we suggest that a writer who hasn’t heard back from an editor in 4 – 6 weeks send a follow-up letter or e-mail.  The exception to this is for a publication that specifies in its Submission Guidelines a longer time frame.  You can check on a publisher’s turn-around policy on its Website. 

Often, a follow-up letter to an editor will be enough to spur him into responding to your submission.  If not, don’t hesitate to send another letter in two weeks.  Be persistent but not confrontational:

Dear Editor Johnson,

Four weeks ago, I sent you my story, THE BIG BREAK, at your request.  Since I haven't heard from you, I'm following up to make sure that you received it or to see if you'd like me to send you anything else.  Thanks again for the look.

Best,

Persistent Author

Sooner or later, the editor is going to start feeling guilty and take the time to write you with his response—whether or not it’s positive.  If you haven’t heard back from him within 8 weeks, send him a final letter saying that you assume he’s not interested and that you're going to begin submitting the story elsewhere.  Then do it. – The Editors

Partners in Crime  I'm looking for a writing partner for a romantic comedy screenplay.  A fiction writer would be great if they are a plot savant and great with dialogue.  Must be hard-working and think outside the box.  If you know of anyone who is interested, please have them contact Mike at crowbird11@yahoo.com. - Mike

Writers Beware  Can you tell me anything about the New York Literary agency...is it a good place or not?  Also I agree with you on Publish America.  They published my first book and it was terrible and has only sold less than 50 copies.  I have never heard from them again. - Annie

Editors  We went to www.WritersMarket.com, ran a search for the agency, and came up blank--always a bad sign.  Then we went to Preditors and Editors (sic), where we found this notice: "The New York Literary Agency: Strongly not recommended.  Also a Top Twenty worst according to Writer Beware.  A literary agency.  A division of The Literary Agency Group."  Nuff said. - The Editors

Tried Tetracycline?  I have written and published my first novel, Fish out of Water, available as a POD and in electronic format.  I decided to publish it myself, because I am convinced of its merits, and after about 30 rejections from literary parasites (called agents) and various publishers (bad business people).  My novel sells fairly well, for a POD book with no publicity and support of a large conventional publisher.  Could you be kind enough and give me some advice as to how to promote my novel without falling into traps set by a variety of literary parasites? - Felix Palmer

Editors  As you are beginning to learn, the easy part of writing a book is self-publishing it via Print on Demand (P.O.D.); the difficult part is marketing.  Still, there are a number of things you can do to help promote your book and yourself.  Here are a few suggestions:

• Run an Internet search for the names of legitimate print reviewers for both newspapers and magazines.  Assemble a list of likely candidates, and send them a one-page press release hyping your book.  Offer a review copy and a contact source at the end of the release.
• Assemble a list of regional and national television and radio stations and shows, and send a release to each of them.  Offer a review copy and a contact source, and volunteer the author for live or taped interviews.
• Obtain a listing of libraries, both public and private, and send them a release with information on where and how to purchase your book.
• Write to every book store in the country.  Send them a release and an offer to appear at a book signing at your expense.
• Write an article that ties-in with your book and send it out to magazines and newspapers as a freebie.
• Check out AmSAW's Author's Place for additional marketing and promotional options.

Once you've done all of that, you will hopefully have sold a few books--enough, at least, to see you through the completion of your next novel, when you can start the process all over again.  Ain't writing fun?  Good luck! - The Editors

Free Stuff  The Internet is a wonderful place to find information, and a lot of it appears to be free for the using.  But I've been wondering lately whether or not I have to worry about copyright infringement even if something isn't copyrighted.  In other words, can I use uncopyrighted material I find on the Internet in my own writing?  Thanks for any help on this. - Alfred P.

Editors  Boy, that's a great question.  And do we have an answer for you.  Simply because something appears on the Internet without a copyright notice (on the URL you're visiting, for example) doesn't mean it isn't copyrighted.  The home page of the site you're visiting may carry a copyright notice.  But, even if it doesn't, you're not home free.  Unlike in the past, today, everything that is written is inherently the creation of the person who wrote it.  Copyright is understood to exist from the time of creation.  That means that, legally speaking, you can't use anything you find on the Internet word for word.  You can use the information you find, since information cannot be copyrighted--only the manner in which it is presented can be copyrighted.

Now, that being said, you don't necessarily have to panic about your use of material from the Internet.  You can put an attribution in your work, saying where you got your information, which in effect allows you to use short passages word-for-word.  You can also contact the owner of the site you're visiting and request permission to use the material you found there.  If you can't locate the owner, or if the owner doesn't respond after you've diligently attempted and failed to locate the copyright holder, the material may be considered an "orphan" that you may use without fear of retribution until and unless the original copyright holder comes forward and demands that you cease use. 

This change in copyright, by the way, stems from 1976, when Congress began tinkering with the original copyright laws, which required registration by the copyright owner to protect his work.  First, Congress eliminated registration and renewal requirements for works created on or after January 1, 1978, thus changing the system from a conditional to an unconditional one.  In the unconditional system, every piece of created work is automatically copyrighted, regardless of the author's intent. 

The 1976 law also shifted the life span of copyrights from 28 years after the creator's death (with the possibility of renewal) to 50 years after the creator's death for individuals and 75 years for corporate copyright holders.  The Sonny Bono Act in 1998 extended the copyright term unilaterally by another 20 years so that the term is now the life of the author plus 70 years (95 years for corporations).

In rejecting a First Amendment challenge to the Sonny Bono Act in 2003, the Supreme Court explained that "when ... Congress has not altered the traditional contours of copyright protection, further First Amendment scrutiny is unnecessary."

The long and the short of it all: proceed with caution, rework the information you find on the Internet (preferably from several different sources, which is simply good journalistic practice, anyway), or get permission to reproduce material you use word-for-word. - The Editors

What Reviews?  I recently promoted my book through AmSAW's Author's Place and was pleased to have received more than two dozen requests for review copies from various reviewers.  After sending out the copies, I followed up with e-mails to inquire about the status of the reviews.  To date, I haven't received one response.  Can you tell me why someone would request a review copy of a book and then not review it or even respond to my e-mail? - Anon

Editors  For the answer to this one, we turned to author and AmSAW president D. J. Herda, not because he's the most learned man in the universe when it comes to writing issues (although we're betting he's among the top ten), but because we recall from his resume that he once wrote book reviews for several national and regional magazines.  We asked him what gives, and he replied.

There are a few reasons that a reviewer might not review a book after requesting it.  For one, he might not have found it to be as good as he'd hoped.  If a reviewer has space for only recommended reading, he naturally wouldn't write a review of a book he didn't like.

Another reason: the reviewer's publication schedule might have changed since he requested and received the book.  He might have had an opening for three reviews in the publication's next edition and filled them before your book arrived.  Reviewers maintain a steady flow of material to consider for reviews, and they always receive more books for review than they have space in which to review them

Finally, the reviewer might never have had intended to review the book at all but merely wanted to add to his personal book collection.  Sad but true.  That would, of course, be unprofessional, unethical, and unconscionable.  And most publications that run reviewers' works have strict policies against such shenanigans; so the number of "fake" reviewers making requests for review copies is minimal.

Considering the vast number of reviewers to whom you responded and the Big Goose Egg you received in return, I'm guessing it's a combination of the first two reasons.

Of course, all of this assumes that the reviews of your book were never published, which may not be the case.  Sometimes, reviewers publish reviews of a book and make it the author's responsibility to find out when and where.  They might also be holding your book for review in the future for when space opens up.

Now, as to why you haven't received a response from any of the reviewers to whom you sent follow-up e-mails, either they're too lazy to respond, too busy to respond, or too embarrassed to let you know that they didn't like your work well enough to recommend it to their readers. 

Whatever the reason, reviewers are a notoriously independent bunch, so I wouldn't hold out hope of hearing from anyone soon.  Instead, I suggest you keep plugging away.  Sooner or later, that New York Times review is going to come along and knock everyone's socks off. - D. J. Herda

Tora! Tora! Tora!  Please tell me why you are encouraging anyone to sign on with PublishAmerica. All one has to do is Google their name with the word "warnings" immediately following to get a taste of what a soul is in for in courting them. Please--do not advise authors to sign away the rights to their books for seven years to a vanity publisher who could care less if they sell book one outside their families. A little research will save a lot of tears and dashed hopes. - M. L. Bushman

Editors  Sign on with PublishAmerica?  Them's fightin' words, mistuh!  Our calling P. A. a publisher that falls somewhere between the Devil and the Deep Blue Sea was, in our minds, less than encouraging.  But, since we're on the subject, let's be clear.  PublishAmerica is absolutely, positively the worst P.O.D. (Print On Demand) publisher in America.  Its authors are nearly universally dissatisfied with the lack of commitment and support they receive from PA.  We have communicated with this publisher on several occasions in the past regarding the shabby treatment of their authors, and we're to the point now where they simply refuse to respond.  They make their money by chance (if an author happens to sell a few books, they get the cream off the top; if not, they've lost very little in setup fees).  They couldn't care less about the long haul or about building a writer's reputation.  They don't send out review copies, a corporate decision that virtually assures a book's failure.  They don't spend any money on promotion.  They are rude and arrogant in dealing with criticism.  Is that straight forward enough?

By the way, another P.O.D. publisher (we can't call them "vanity" because they don't charge authors for publication) that operates in exactly the same way with exactly the same results is ArcheBooks.  Stay clear of both of these losers.  They give P.O.D. a bad name. - The Editors

*     *     *

Suddenly Attached  I sent a query to a publisher and he asked me to send a copy of the book.  I had attached it to the e-mail I sent, so I guess that means he wants a hard copy.  Do I send the entire book?  I want to make sure I do this right. - S. W.

Editors  First, be certain that you remembered to attach the book with your e-mail. Sometimes, in our haste, we tell someone we’re sending something as an attachment and then forget to attach it. You can double check by clicking on your mail client’s “Sent” folder, double clicking on the e-mail you sent the editor, and looking for the attachment.

If you didn’t attach the book, send the editor another e-mail, making sure to specify that you’re attaching a copy with that e-mail.  If you did attach the book, be certain that you told the editor in your original e-mail that you were sending the book as an attachment.  Otherwise, he might have overlooked the attachment symbol.

If you did tell the editor about the attachment, you can be reasonably sure that he wants to see a hard copy.  We say “reasonably sure” because most editors requesting a hard copy will specify so, using that phrase.  Yours apparently didn’t.  So, if you’d like to be certain that’s what he wants, e-mail him again and tell him that you had attached a copy to your original e-mail and ask him if he’s requesting a hard copy of the complete manuscript.  Be sure that you have the editor’s postal mailing address.  If you don’t, ask him in the e-mail where to send the ms.

As a general rule, editors don’t mind clarification questions from authors since they save time in the long run.  Good luck! - The Editors

Mama Mia  When my mother, who was Italian, passed away recently, she left behind a huge recipe file of mostly traditional Italian meals.  I'm thinking about turning them into a book.  She was really a great cook, and I'm wondering if I could find a publisher for such a book. - Susanne DiAngelo

Editors  We're wondering that, as well.  The simple truth is that, while some publishers specialize in producing nothing but cookbooks and others dabble in the genre, cookbooks are like illustrated children's books in that everybody writes them.  That makes the competition for a few new books each year pretty keen. 

While that doesn't mean you absolutely won't find a publisher for your book, it does mean that you'll do better with a very specific (and, hopefully, uncharted) slant.  A publisher is more likely to be more interested in a book called Ciao, Bella!  The Pastries of Post-Modern Tuscany than he would one called Great Italian Cooking.  In the end, however, we suspect that it will be the book's content that determines whether or not it ever sees the light of day.  So, study the competition, see how you can fill a niche in the marketplace, and go for it. 

In the meantime, let us know if you have a quick, easy recipe for gnocchi! - The Editors

Location, Location, Location  I'm in the middle of writing a mystery novel that I've set in the middle of Montana.  Suddenly it dawned on me that maybe that's too rural a setting for people to identify with.  Does it make a difference to a publisher and eventually the reader where a novel takes place? - Dean S.

Editors  Well, it doesn't matter to us.  But it could matter to others.  We know of some publishers who are shying away from novels centered in the Middle East, claiming that news saturation of Afghanistan, Iraq, et al has left most Americans disinterested in the region.  We're betting there are others who are actively seeking books centered in that locale.  The bottom line: write what you want, and use the setting you think is best.  When you try to second-guess an editor's preferences, you're just trolling for a headache. - The Editors

Veddy, Veddy Cozy  I am in the process of putting together a collection of sisters' detective stories that are linked together.  The sub genre is "English Cozy," based on the English style of writing where there is no violence, heavy blood nor maiming of children or women.  Example would be Hetty Waintroph of the BBC series now on Channel 13.  Where can I find a publisher who would take my series, seriously?  - Carol Gursky

Editors  Your local library or bookstore should have a fairly recent copy of Writer's Market, which would include listings of publishers who handle various sub-genres of mysteries.  You can check them out there, or you can join the on-line publication at http://writersmarket.com.  Outside of that, we suggest that you download a free copy of AmSAW's new Writer's Toolbar and run a search using the term "English Cozy Mystery Publisher" in quotes.  You'll find the toolbar at this URL: http://amsaw.org/amsaw-toolbar.html.  And good luck! - The Editors

What Gives?  Thanks for GEWLie magazine.  I'm looking forward to receiving it.  I'm sure I have questions...such as why am I resisting getting stuff out?  Thanks - Judi

Editors  Well, the obvious answer is that you're lazy.  Obvious...but probably not right.  We assume that you're talking about your difficulty in sending your work out to different publishers once it has been completed.  After all, it's tough to get published if nobody ever sees your stuff.  But it's not always easy for someone to put herself and her talents "out there" for everyone to see...and possibly to target.  So, are you destined to a life of unpublished drudgery?  Possibly, but not necessarily.  Here's one suggestion on how to break out of your shell:

Tell yourself that you're going to send your material around for one year before you recognize even the tiniest possibility that someone will buy and publish it.  Admit that you're new to the submissions game, and look at your first year as a one-year apprenticeship program.  Prepare yourself for rejection by psyching yourself up not to take rejection personally.  (Rejection slips aren't really so bad--more obscure and innocuous than insulting.)  Then begin your training period with your first submission.

Make at least one submission a week to publishers you think are likely candidates for your material.  Submit more often if you have the time.  The more rejections you receive, the sooner you'll be able to tell what you're doing wrong and decide on how to fix it.

By the time your year's apprenticeship is over, we guarantee you'll be so hardened and--we're betting--so determined to get published that you won't have time not to submit things.  And you'll be well on your way to becoming a published writer. - The Editors

Literally Literary  Why is it that no one seems to know what literary fiction is except D. J. Herda?  (See his article on writing Literary Fiction at GEWL here:  http://amsaw.org/amsaw-0802GEWLie-WritersLair-Literary-LiterallyLiterary.html.)  I talked to a former English professor, several English majors, and some other bright people, and no one knew what a literary novel is.  Any reason for that? - Dick Jones

Editors  That's the best question we've been asked in years.  In fact, it was so good, we really had to stop to think about it for several hours before coming up with an answer.  And, bottom line, we're not positive, but this is our best guess...

In the early throes of American Literature, virtually all fiction was literary fiction.  Think of the works of Hawthorne and Melville, and you get the point.

With the advent of the modern printing press and inexpensive access by publishers to the production of books and magazines came the dime novels and "pulps" that, due to limited space, couldn't run literary fiction (except in serialized form).  As a result, editors began searching out and finding writers who were willing to forego the well-developed story for the quicker reading and punchier genre fiction--stuff that was hard-hitting, emotionally involving, gut wrenching...and above all short.

Time constraints on television and films similarly added to the fall from public grace of literary fiction: how much "wiser" and more financially rewarding it was to produce genre material for both the little and the big screens.

Immersed in this relatively new, easily digestible genre story form, the American public ate it up. 

Suddenly, paperback publishers, magazine publishers, television producers, film producers, and eventually hardback publishers were all on the same page--cranking out the kind of action-driven genre material on which the public had grown to thrive.

A few publishers kept their hands in the literary marketplace, of course--Farrar, Straus Giroux, Henry Holt, and Carroll and Graf being among the best known.  Meanwhile, nearly everyone else was shying away from literary fiction.  And, since Out of Sight, Out of Mind applies as much to literature as it does to anything, we suspect that the study, reading, and writing of literary fiction became something of a lost art.

Now, although we premised this response with the stipulation that it was a "guess," it's not totally without merit: We're the perfect people to ask.  We know what we know about literary fiction because a.) We're a repository of relatively worthless information, b.) We write in all genres, and c.) We grew up with Melville and Hawthorne and have always admired the literary novel.  However, considering the additional time often required to write it, today's full-time writer often has to rely on writing Mysteries, Noir, Historical, and other genre fiction as a quicker and every bit as lucrative way to earn a buck, if not more so.

And, by the way, we suspect you didn't get the answer you sought from the people you asked because you were asking the wrong people.  Academia, while an admirable World All Its Own, is hardly typical of academics.  More than ever before, college these days teaches what is politically correct and monumentally fashionable.  And, as we've seen, that pretty much eliminates the wide, wonderful world of Literary Fiction from the running.

And that, our inquisitive friend, concludes today's lecture.  Hope it helps. - The Editors

What's in a Name?  What's the difference between narrative nonfiction and creative nonfiction? - Mark G.

Editors  Absolutely nothing.  Next question, please.

Okay, okay, so we'll elaborate.  Narrative and creative nonfiction are simply different monikers for the same genre.  In a nutshell, what separates narrative or creative nonfiction from other nonfiction is the way in which the story is told--literally like a story.  Remember Truman Capote's In Cold Blood?  It's an excellent example of a true recounting of an actual event told in a manner to make it read more like fiction than nonfiction.  Why would a writer want nonfiction to read like fiction?  We thought you'd never ask.

A writer might want to editorialize or slant his nonfiction story in a particular fashion.  In straight journalistic nonfiction, that is a definite no-no.  Or a writer might simply want to write in a familial, typically fiction-like style and voice.  Or he might simply want the publicity that always seems to accompany the publication of narrative nonfiction.

With all that said, here's one more piece of information: a gratuitous bon mot.  Writers who attempt to write narrative nonfiction are rare; writers who succeed in writing narrative nonfiction well are even rarer.  They must combine the diligent research so necessary to the production of any nonfiction book with the flair and stylistic presence of a novelist.  And that combination of talents in a single writer does not emerge overnight...or often. - The Editors  

Who?  What can you tell me about Steven Roeder? - J. S.

Editors  Assuming you're referring to Steven Roeder of Hollywood, we can tell you that he is co-producer of the film, Bob the Butler, a family comedy due for release this coming October.  That, unfortunately, is about all we know.  Hope it helps. - The Editors

Land Across the Water  Hi guys, from England!  Thought you might be interested in new publisher Transita www.transita.co.uk).  They are aiming novels at women of 45+, claiming a gap in the market and hoping to give a voice to a largely ignored slice of the population.  Some of you might be interested.  And on their website you can check out my own novel, Scuba Dancing, a romantic comedy, currently going well.  They want to encourage older writers and hope to distribute in the USA.  Great site, by the way. - Seal Puppy

Editors  Thanks, uhh, Seal.  We'll look into it.  We always appreciate tips on new markets! - The Editors

What the Heck???  I'm wondering what the criteria is for publishers when it comes to deciding on publishing a book.  I have had so many complimentary comments from publishers, some really glowing, (they do actually seem to be reading my novel) and yet they still say they will "pass."  I even had one publisher say, "I'm probably going to kick myself for rejecting this when I see it climbing the best seller list."  What do I make of this? - Anon.

Editors  Oh, baby, do we like THIS one!  Actually, we empathize with you.  We were all weaned on the notion that, if you write something good and find an editor who actually a.) reads it and b.) likes it, we're home free.  Not so.  The reasons could be multiple.  Let's take them one disheartening possibility at a time.

The editor who read and liked your stuff isn't permitted to acquire it.  In other words, he's not an acquisitions editor but merely an assistant editor or "slush-pile" reader.  And, although he likes it, he might believe his acquisitions editor (for whom he is previewing manuscripts to forward for possible acquisition) won't.  End of story.

Or, the editor who read and liked your stuff would have taken it in a heartbeat...except that he's physically able to work with only ten books a season (two lists a season--spring and fall--are traditional at most conventional publishing houses), and he's already committed to twelve.  Yours, therefore, gets passed.

Or, the editor who read and liked your stuff didn't like it enough to buy it and didn't feel committed enough to tell you why.

Or, the editor who read and liked your stuff doesn't think the public will feel the same way; so he decided to pass.

Or, the editor who read and liked your stuff showed it to someone else who said it would never sell, and the first editor wasn't willing to put his reputation and very possibly his neck on the line by insisting that it would.

Or, the editor who read and liked your stuff is a jerk.

We're not sure which, if any, of these possibilities holds true.  But the fact that there are so many potential reasons for an editor who likes a manuscript not to buy it is the sad-but-true reality of the wide, wonderful world of publishing.  It simply makes the act of breaking into print that much more precious and rewarding. 

Our (albeit unsolicited) advice to you?  Hang in there.  With that many good comments, you're doing something right.  And, sooner or later, some editor is going to read your stuff and like it...and be willing to publish it.  And won't that day be sweet! - The Editors

Ouch!  I am attempting to congratulate a fellow associate in a company newsletter for recently getting published.  I know nothing about publishing or the amount of work that it must have taken.  Any ideas would surely help. - Bill

Editors  Imagine that men could have babies.  Now imagine that, because of their  anatomical makeup, they had to deliver them through their noses.  Well, getting published is even tougher.  By far.  Except for vanity or subsidy publishing, where authors pay to have their writing produced, publishing is probably the single most difficult feat to accomplish in life.  Conventional publishing by a major house--say, Doubleday, Bantam, Fawcett, etc.--is nearly impossible.  Writing is surprisingly easy by comparison.  Tens of millions of people write books every year.  Only 1 or 2 percent of them get published by a legitimate press.  Magazine publishing is only slightly less difficult.

So, if your friend was published by a vanity press, we suggest few more accolades are in order than, "Nice job."  If he was published by a small, legitimate (i.e. non-vanity) publisher, you might say, "Wow, that's really terrific.  Congratulations!"  If he was published by a major house, simply genuflect whenever in his presence.  And, of course, be sure to get his autograph. - The Editors

Hold That Thought  I have completed my first novel and continue work on a few others. Initially, I adopted the convention of using double quotes for spoken dialogue and single quotes for thought.  After being admonished that this was unacceptable, I went back through the entire text placing all thoughts in their deserved "double quotes."  This seems a bit confusing at times.  Wishing to avoid the ubiquitous "thought Neville" or "he wondered," I have reworked things to suit my purposes, but sometimes it isn't clear whether the words are spoken or thought.  In those instances I left them in double quotes and up to the reader to decide whether Neville is thinking or speaking.

What are some other ways of dealing with this issue? - Ian Mair

Editors  Ahh, a real question about a real problem involving real writing from a real confused person.  We like that.  We like even more the fact that we already have the answer, and it's so simple, you're going to kick yourself for not having thought of it yourself.

Although several ways of expressing thoughts as opposed to dialogue are commonly used in literature, quotation marks--either double or single--should never be one of them.  The reason is that, as you've already discovered, they tend to confuse the reader.  So just say no to quotation marks around thoughts.  Now, with that additional admonishment out of the way (boy, this just isn't your day), the most frequently used method of setting thoughts apart is via italics, as in this example:

"That outfit is very becoming on you," Dick said.  Damn, I wouldn't mind seeing her out of it, either!

Notice how simply the task is accomplished, and with far less confusion to the reader than if we'd used quotation marks to try setting apart the thought. 

One more note.  If you write a long, rambling thought passage (several sentences or longer), you might want to make reference to the thought coming up in the sentence preceding the thought.  Then, write out the prolonged thought in regular type face rather than in italics so as not to strain the reader's eyes (long italicized passages are more difficult to read than regular fonts).  To help set apart and identify the section as a thought, indent it, as in this example.

Monica knew she should leave.  But then she had a thought.

I can go to the dance without him ever knowing I'm there.  That way I can see for myself what's been going on.  All I have to do is wear a mask.  It is a masquerade ball, after all.  And so long as I don't actually speak to him, he shouldn't ever have a clue. 

Yes, that's the answer.  A cleverly disguised face and a little studied avoidance should do the trick.  And if he does happen to figure out that it's me behind the mask, well, that wouldn't be the worst thing in the world, either.

"What were you saying?" she asked, snapping back to the task at hand.  She hoped the boy wasn't very skilled at reading minds.

Stick to those two means of expressing thoughts, and your books will take on a whole new--and easier reading--aura.  But...Neville?  Neville??? - The Editors

Some Guidelines, Please  If a magazine's guidelines just mention queries, and they have a column for personal essays, would you still query to see if they are interested in yours?  I am a new writer and from all I have been reading, I wouldn't think so.  But I don't want to make a mistake with them.  They mention no other guidelines for submissions.  Thank You. - Tammy

Editors  If a magazine editor specifies that he wants to see queries and lists no exceptions (as in the policy of some magazines requesting queries for nonfiction articles and complete manuscripts for fiction), then by all means, submit a query for your personal essay.  About the only time a query isn't called for is when writing an unsolicited letter to the editor.  But that's quite different from a personal essay.  So, to query or not to query, is that the question?  Play it safe and send them a query. - The Editors

Picky, Picky  This might sound maudlin (I love that word), but when you send a proposal or a story in to a publication, is there a certain type of paper you should use?  I mean, I'm guessing it shouldn't be colored red or blue or anything, but is there a certain weight or brightness factor that's best? - L. J.

Editors  Well, fuchsia is out, and teal, although making a comeback in home decorating circles, is questionable.  So, we're going to go with white.  Oh, we know you knew that.  But beyond white, each pack of paper you buy these days has a "brightness" rating on it.  The higher the rating (i.e., the brighter the paper), the more expensive it is.  Likewise, each package lists the paper's weight--from 12 pounds to 24 pounds for normal stock.  Again, the better stuff (the heavier stock) costs more.  As a rule, we like something that's not dingy, or a paper that's in the 84-or-higher range, and not too flimsy, or in the 16 - 24-pound range.  So far as splurging on better paper, most editors won't notice.  Just give them something they can read without squinting their eyes, and they'll be happy.  Now, as for content... - The Editors

Dress Right!  On your article about barring of Dress Blues on [military] casualty notification calls, I was appalled.  How the present CMC could put his blessing on this is beyond me.  Instead of cajoling CACOs who want to shirk their jobs because they are uncomfortable, issue a better bulletin explaining that CACOs don't always deliver death messages.  Being a retired Marine Sergeant Major, I've seen some good changes in the Corps, and not many, if any, were bad.  But when you see the "modern thinking" individuals changing time honored traditions because they make CACOs feel uncomfortable, you wonder what is going on.

Marines do what they do in the manner they do them because they are Marines. That has always set us apart from the others.  I have seen the other services go from taking care of their own to self driven modes and a lack of pride and discipline.  If the CACOs involved this modern way of thinking find it hard to do their job and are uncomfortable in taking care of Marines and their families, maybe they need to cross over to one of the other services where they might fit in better. - Sgt.Major G.W. Osborn USMC Retired

No-Publish America?  I e-queried www.PublishAmerica.com regarding a fiction submission and was encouraged to do so.  They were unable to open my work file and requested it be sent in RTF.  I received a follow-up e-mail from a submissions editor saying she was now able to open it and I would hear back from her on their decision to publish by "this Friday."  Several weeks passed in anxious anticipation of some word, any word.  Having received none, I sent the following e-nudge

Dear Katherine,

I have been waiting, optimistically hoping for your favor, naively thinking that perhaps I hadn't heard anything because you had liked it and passed it up the food chain, seeking approval from others on my behalf.  But alas, even the most optimistic bone in my body will eventually turn to face reality and smile and thank you for your time.

My very best wishes to you in all your future endeavors.

With my sincerest respect,

Ian

Now, nearly three months later, I have still heard nothing and given up on that prospect.  I did an Internet search on her, and found much about her and her work.

Should I not at least have gotten a rejection note, some criticism or comment, in light of her initial encouragement and our follow-up e-conversations?  It did not strike me as very professional behavior. - I. M.

Editors  We've heard all kinds of things about P.A., some not so good, others even less so.  We suspect that, as publishers, they fall somewhere between the Devil and the Deep Blue Sea, depending upon your subjective point-of-view.  In reality, nearly all publishers are very difficult to force to respond to authors' queries, especially regarding follow-ups.  One writer we know said another publisher he's been dealing with promised three times in a row to "get an answer for you by Friday" after the author had sent them the complete manuscript at their request.  That was nearly 11 months ago.

Why do publishers do this?  We suspect the answer is something similar to what Bill Clinton said in a recent interview when asked about why he had had an affair with Monica Lewinsky.  "Because I could."  Publishers, like ex-presidents, are in the cat-bird seat.  They have the power that writers lack.

Where should you go from here?  That depends upon how much more of the same you want to endure.  The surest way of avoiding such treatment in the future is to give up writing altogether and get into a less aggravating field of endeavor.  Since we doubt that you're prepared to do that, we suggest keeping after P.A. until they respond.  Although finding a better, more highly regarded publisher makes even more sense.

Remember, too, that in this era of e-mail scams, shams, spams, and other unscrupulous behavior, your e-mail to an editor (or a response from him to you) might very well have been plucked off by some overzealous anti-spam software and at this very moment is bouncing around cyberspace.  So, although we advise you not to give up your day job, we suggest you don't give up on P.A., either.  Keep e-mailing them, using a "Request Delivery Receipt" to show at least that they received your e-mail.  We also suggest that you continue querying other publishers.  Whoever responds positively first gets the gold ring.

Good luck with all of your writing! - The Editors

Agent-Bound  I just found your site; I need a little guidance.  I've about fourteen different books of varying lengths and genres in the works.  Presently, they range from academic through fiction and into poetry.  If I could get some help finding an agent, or where to look for the right agent, or anything else to assist me in getting published, I would be most grateful.   - R. Alan Snider

Editors  Well, there are plenty of sites around that run lists of agents.  The American Society of Authors and Writers (http://amsaw.org) comes to mind, as well as Writer's Marketplace.  Both charge to become members, although it might be worth joining just for their updated lists.  As an alternative, you might run a search for literary agents at http://www.GOOGLE.com, which should turn up some free lists.  Although they are likely to be less accurate and up-to-date than sponsored lists, free is certainly affordable.

Just remember when approaching an agency that agents, like publishers, have far more writers wanting to join the club than they have time and resources to accept.  Be professional, show that you're a marketable commodity, and hope for the best.  The rest is up to you  Good luck! - The Editors 

What's in a Category?  I have a doubt and I hope you could help me on that: what's the difference between an Expository Article and a Profile?  They seem to me to have the same characteristics....

And, if I write a Travel Article, explaining and giving details about a certain place that the reader can visit in his vacation, isn't that a Profile?  So, how could I classify my article if it is about a place to travel to, but contains descriptions of things and ways of living?  Travel, Profile or Expository?  I appreciate your comments. - Rose T.

Editors  Well, that's a pretty good one, although we're not quite sure why you care how to categorize your piece.  Regardless, for openers, here are some definitions:

Exposition is a discourse that explains, describes, or informs.  The reader is assumed to have no prior knowledge of the subject, which places a certain burden of clarity and organization on the writer.  A Profile is a more detailed description of a person.  It relies for its success on the inclusion of narration (a story extending over a period of time), exposition (see above), quotations (the exact words someone uses), and paraphrase (those exact words rephrased into the writer's words).  Travel writing is a description of a specific place and the people who live there, as told through a series of the writer's personal experiences.

Since your piece appears from your description to contain elements of all three of the above, let's look at them from the perspective of a hierarchy, from broadest form to narrowest. 

Travel writing is the umbrella group that contains both profile writing and expository writing.  Profile writing is a sub-group that contains exposition (as well as narrative, quotations, and paraphrase, which are additional sub-groups).  Expository writing is the narrowest category and is confined to explanation and description.

So, in the long run, your piece is a travel article that is "rich in profile and exposition."  How does that sound? - The Editors

No Experience Necessary  I was wondering if when you send a publisher a query letter how much weight he gives to the writer's personal experience.  I'm talking about for a fiction book.  I'm finishing up a novel about the Civil War, and I wonder if the fact that I'm not a history teacher or a so-called "expert" on that era if that will be held against me.  I appreciate all your help. - Anon

Editors  Actually, experience is a plus for a fiction writer only to the extent that it allows him to write convincingly.  But if experience were a prerequisite to publication, we'd never see sci-fi novels on the stands.  (Who do you know who has actually visited Mars...errr, on second thought, skip it.)

When it comes to nonfiction writing, on the other hand, experience is a definite plus.  Although a good journalist can research a subject as well as anyone, publishers tend to give more credence to a writer who has a solid background in the field upon which he expounds.

With all of that said, most publishers--no matter what the genre of book or what the background of the author--still look for titles they think they can market successfully.  Convince them that you've produced just that title, and you have something worth all the experience in the world.  Good luck with your novel. - The Editors

Frustrated with Publishers  Can you tell me if book publishers really read every submission they receive?  It seems impossible.  I'd like to think they do, but I'm getting more and more skeptical.  Do they read the query letters they get, at least?  Any inside information you can give me would be appreciated. - Mark Franklin

Editors  Haven't we answered this one before?  Oh, well, it's a good question, so it bears further review. 

The long and short of it is that your skepticism is well placed.  Publishers rarely read unsolicited manuscripts (usually not even the first paragraph or two); so, obviously, if you've been scatter-shooting your work all over Publisher's Row, you've been wasting your time and money.  Most do give unsolicited query letters and short proposals a quick read; but, again, remember that one editor might receive 40 or more unsolicited proposals a day--that's in addition to the material he requested.  So, if you query, you'd better load the beginning of the letter with your best stuff, and keep it short and pithy.  (Yes, we watch O'Reilly, too.)

The logical extension of your question--do publishers read the stuff they ask you to send in once you do so, such as the first three chapters of your book--is a qualified probably.  After all, if your query letter or proposal was good enough to pique their interest originally, they probably want to give you at least a shot at following through.  But even here, if your stuff isn't what the editor is looking for, if the typos turn him off, or if your grammar sucks, it's unlikely that he'll spend more than a page or two on your work before tacking a pre-printed rejection slip on it.

You wanted the inside dope?  You got it.  Hey, if it were easy, everybody would be a writer!  Good luck in the future. - The Editors

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