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

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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

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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

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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

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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

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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

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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

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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

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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

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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

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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

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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

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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

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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

NOTE: All material on this site is copyright protected.  No portion of this material may be copied or reproduced, either electronically,  mechanically, or by any other means, for resale or distribution without the written consent of the author.  Contact the editors for right to reprint.  All copy has been dated and registered with the American Society of Authors and Writers.  Copyright 2006 by the American Society of Authors and Writers.