Category: The Publication Process

Posted in The Nitty Gritty of Children's Writing, The Publication Process

Shadowing a Submission

Posted on by Susan Uhlig

Telephone_0484 (3)We all like to picture our manuscript, in its envelope with the appropriate SASE enclosed, reaching the desk of the editor, being ripped open and read immediately, followed up by the call saying, “I want to buy your book!” Reality though is far distant from that image.
What does happen when your manuscript reaches a publisher can vary from house to house, but here’s a general outline.
The order in which manuscripts are likely to be read:

  • Submissions from writers already working with a house
  • Agented material
  • Requested material – personal request by editor
  • Query letters
  • Unsolicited manuscripts – perhaps in this order (published authors; SCBWI members; writers identifying having heard or met the editor at a conference, workshop, retreat, etc.; the rest), perhaps not – some houses don’t even accept unsolicited.

If your manuscript is unsolicited–not requested–it goes into the dreaded slush pile. This pile only gets read AFTER everything else is done. That means maybe on weekends, or on bus or train rides home. If the manuscript does not grab the editor quickly, say in the first page, he or she will probably not read on.

Who reads your manuscript?

  • If you heard the editor at a conference and identified the submission to him or her, it does go directly to that editor’s desk. Though if he or she is overwhelmed, these might go to an assistant or intern for a first read.
  • Some houses have an assistant editor or a first reader who reads manuscripts not directed to a specific editor, or manuscripts from writers with no connection to a specific editor.

How do editors pick manuscripts?

  • Liz Szabla says she wants a book to surprise her, to move her.
  • Julie Straus-Gabel says middle grade and YA fiction should be about what kids are facing today. They should have strong voices and emotional resonance.
  • Timothy Travaglini says he’s not looking for quiet, introspective, sweet, soft, gentle picture books. Instead they need to have a dynamic energy that makes them stand out.
  • “Who is going to love this book?” Is the first question Elizabeth Van Doren asks herself. She wants to love every book she works on.
  • Jennifer Hunt loves simple language that can paint a visual and visceral image.
  • Andrea Welch wants funny, unique settings, memorable characters, and emotionally engaging manuscripts.
  • Anica Rissi likes books about character making mistakes. She also likes morbid humor and stories that push boundaries.
  • Ari Lewin says, “voice has to be awesome and fresh and working.”
  • Jordan Brown likes character driven stories.
  • Wendy Loggia wants to get excited about the story and the character. “If I can’t give a book my heart and soul, I won’t acquire it.”
  • Editors want books that are unique. They don’t want to think of ten books just like it when they read a submission.
  • Editors HATE bad rhyme, but language that flows, adds to the story, and is almost perfect is very attractive.

What makes editors feel smitten?

  • Inspirational writing that makes them see the world in a new way
  • Original, authentic voice
  • Strong characters
  • Timeless appeal
  • Unique art samples

What draws editors most?

  • Voice – it’s the number one magnet
  • Believable Characters
  • Subject – catches attention

When an editor is considering a book some questions asked are:

  • Does book fill a gap in the market?
  • Hit a nerve?
  • Make a category stronger?
  • What is the handle for this book? (a marketing question)

“My job is to pick our bets.” Editor Nancy Sisco says. When she finds an author who speaks to her, affects her soul, those are the ones she risks betting on.

Rejection
These days many houses don’t even reply if they aren’t interested. The manuscript goes in the trash. But, if they do accept SASEs, whether for the full manuscript or for a reply, it will probably only hold a standard rejection slip. Often those say something like: “Not right for our list.”
What does “not right for my list” mean? The following is summarized from a talk by Elizabeth Van Doren:
• I hate it and I’m being nice
• I can’t see a way to publish this successfully
• We have another book on our list too similar
• I don’t love it
• I can’t figure out how to solve the problems in it
• I don’t feel a connection with it
• It is not worth our while to spend all the time and money
• It’s too different from what we publish
If a rejection is personalized, that means the editor took some extra effort. A personal letter discussing your manuscript is something to celebrate. If an editor makes suggestions, don’t rush and rewrite and return it in tomorrow’s mail. Take time to do the best job you can.
“A rejection is nothing terrible; if it is a personal rejection, it is the first step in a relationship” – Chris Raschka

But what if they like your manuscript?

  • The best, of course, is they make you an offer, either by phone or email.
  • Next best is the editor expressing interest in your work, probably by mail. He may ask for revisions. Jordan Brown says, “The editor’s job is to take what’s on the page and figure out what the author’s vision is and try to make it better.” She may ask to see more of your work. Be sure you follow up.

How should you follow up if an editor asks for a revision on a manuscript not under contract?

  • Work on what they said to revise. Take the time to feel comfortable with it, whether it’s a month from now or a year from now.
  • Remember the editor put a lot of time into revision suggestions. It’s an opportunity to see if you and the editor click.
  • Some wonderful success stories started with “show me more.”
  • Many of the editors mentioned above have purchased manuscripts that they asked to go through this.

How does the editor get to the offer stage?
This varies from house to house and the seniority of the editor. In many houses, though the decision to purchase a book goes through a number of processes.

  • Often, prospective manuscripts are shared in an editorial meeting. It’s like a mini-marketing session for each editor to propose a manuscript they’d like to see turned into a book. They have to be passionate and ready to come up with reasons why the book shouldn’t be turned down.
  • In some houses the editor has to write up a proposal to go to the marketing department after editorial committee has approved acquisition.
  • The publisher or marketing director or editorial director may make final approval.

How will you learn your manuscript has been accepted?
Very often by phone!

  • If you’ve submitted through an agent, from your agent.
  • If you submitted directly to a publishing house, from the editor.

Of course, there’s the contract issue, but that is a topic for another discussion.

Your manuscript is going to be published! Now what?
Rewrite time. How this will be done varies from house to house and editor to editor and even individual editor author relationship.

  • Some editors will give you “big picture” items to work on first. i.e. strengthen your character, this part of the plot doesn’t make sense. These editorial suggestions might be done over the phone with a follow-up email or letter. Or only arrive in written format.
  • Others may do a line by line edits that include overall problems.
  • So you rewrite–after you think it through.
  • You can ask questions. Dialogue back and forth.
  • You may have a deadline.
  • You may go through multiple reiterations of this process.
  • Remember the editor’s purpose is to help you make your manuscript even stronger.

What happens after you and your editor have decided on a final manuscript?

  • Text goes to the Copy Editor – prepare for more editing
  • For picture books, the illustrator may already be working on the art – art can easily take a year – sometimes art causes changes in the text
  • Layout and Design, including cover
  • Production
  • Galleys – your last chance to fix any mistakes
  • Advance reader copies (ARCs) may or may not be sent out for reviews
  • Final printing
  • Publication date

What’s next?

  • Marketing, a big topic which I’m not addressing now.
  • Start your next project if you haven’t already.
Posted in The Nitty Gritty of Children's Writing, The Publication Process

Keeping Track

Posted on by Susan Uhlig

notebook.jpgDo you ever have trouble keeping track of your submissions? Or wonder how to maintain an organized set of records? I’ve had problems, too. (Especially when I’ve had 30 plus submissions out at a time!)
Or are you a beginning writer wondering what records you should keep? To begin with you might not need all the following, but keeping accurate records now avoids a big job later.
Here are a few things I’ve learned over the years:
First, when I submit a piece I update my records before sealing the envelope or hitting send on the email. This way I don’t forget to enter the information and am less likely to make mistakes. I also have four ways submission data is recorded:
• by manuscript
• current submissions
• financial, and
• by market.
Each story or article has its own record. I prefer to do it on individual 3×5 cards, but obviously it could be done in a spread sheet or database. The information I enter here is basic: date and where I’ve sent the piece, what the expected report time is, what response I received and when I received the response. Other useful information is noted on the card as well. See below.
Title of Story
Date Sent to: Reports: Received: Date:
1/5/04 ABC Magazine 4-6 weeks personal rejection 2/28/04
3/1/04 Magazine DEF 2 months standard rejection 5/15/04
5/20/04 G’s Magazine 8-10 weeks — —
9/2/04 inquiry letter sent re: status (SASP included) note: didn’t receive – please resend 10/1/04
10/6/04 resent manuscript encouraging rejection 12/1/04
12/6/04 Magazine of HJ 12 weeks $125.00 3/13/05
SOLD all rights, will appear in the November ’05 issue
With this system it takes seconds for me to see how many times a manuscript has been out and what type of response it has had. I staple the 3×5 card or cards to a manila folder which holds a copy of the story or article and any research information, correspondence, photo releases, etc. These manila folders are filed in a drawer in alphabetical order. If I need to write to the editor regarding the status of the manuscript, I add a paper clip to the folder tab so at a glance I can locate pieces in that stage.
I also have a computer record of all manuscripts currently “out.” On the left are magazine/publisher names. Next I show what I’ve sent to each one. Besides a specific story title, the column could indicate a query letter about a proposed article, or a request for a sample copy, guidelines and theme list. The right columns are for “response time” and the expected response date based on when I sent the manuscript. It might also include a note that the manuscript is being “held for possible future use.” I use a symbol to show I’ve sent an inquiry letter (>) regarding status of the manuscript.
I also use symbols to indicate type of markets, i.e. religious (+), and to differentiate between magazine (*) and book publishers. Recently I’ve added color coding. Magazines for teens are highlighted in one color, middle grade another, etc.
A blank in the “manuscript” column indicates this publisher is “available” for me to submit something else. Though I might also put a note in italics reminding me that this house or magazine only takes queries.
In the same file I keep a list of pieces not sent out. Some may just be waiting for a specific market to open. Others may be marked “revise.” A word processor table is handy for keeping these records, though again it could be done in a database, spread sheet or on paper. Again, here’s what I keep:
MARKET
MANUSCRIPT or CORRESPONDENCE
When the market REPORTS
EXPECTED RESPONSE DATE
For example:
H , Inc. Granny and the Pet Warfare 1 month 4/10/05
checkbooksOf course, financial records of submissions are necessary, too. How much postage did it cost me to send that manuscript? Did I enclose an SASE for their “reply only” or an SASE for return of the complete submission? Paper and envelope costs, phone calls, mileage to writers’ meetings or speaking engagements, etc. are also recorded. I use a spreadsheet in Excel.
Besides the day to day account of money spent or money received, I also have a summary page broken down by month. I use a spreadsheet, which makes totals by month or by year very easy. But even if you record this information in a notebook, I suggest you total each month when it’s over, so tax time will be easier.
Here are my headings: Date, Expense Item (what it was), Publisher/Magazine, Manuscript, Miles, Car Expense, Postage, Supplies, Bank Fees, Utilities, Trip Expenses, Other. I also will include how I paid, i.e. check number, cash, debit. Of course, I keep copies of receipts in a file labeled Writing Expenses and the year.
In addition, I keep a record of each magazine or publisher. I have two separate files: one for magazine submissions and one for book submissions. I note what I’ve sent and when. This makes it easy to see what type of submissions I have been mailing to a particular market and how often those mailings have gone out. It can eliminate my accidentally resending something to an editor. It also shows me if a market frequently doesn’t respond. Here, I also note sales or other pertinent information, such as name changes or unsolicited manuscript moratoriums.
Magazines
P___ Magazine
Stick ‘Em Up – 1/04 – sent inquiry letter re: status 5/04 – no response 8/04
R_______
Born in the Wrong Family – 2/03 – suspended publication
S___ L___ (formerly H_______)
sent for new sample copy and new guidelines – 11/04
Jesus Boy – 1/05
T_____ P_____
A Good Example Gone Bad – 4/03 – SOLD, will appear in sister publication F__W__
The Reluctant Helper – 11/03 – SOLD one-time rights 3/04
Space Case Luke – 8/04 – sent inquiry letter re: status 12/04
A Horse for Hallie – 3/05
U___________
sent for sample copy, guidelines and theme list/editorial calendar – 10/04
Whether you use my methods or some other, keeping accurate up-to-date records has a variety of benefits. It makes submitting easier; it’s encouraging to see how many pieces are “out;” it helps you be aware of lagging responses; and, it’s useful at tax time. But what I consider most important–an organized method induces me to get those submissions done and get back to writing.

Posted in The Nitty Gritty of Children's Writing, The Publication Process

The Synopsis Shrink

Posted on by Susan Uhlig

dread.jpgNo, it’s not a new band or dance or even a psychologist for novel writers–it’s what many of us do when we’re faced with writing a synopsis. In articles on the topic, the word “dreaded” and “synopsis” are often connected, but shrinking from the task won’t help. Therefore, in this entry I’ve attempted to shrink the synopsis into manageable bits. Hope you find it helpful.

Purpose of a Synopsis
• Provides the editor/agent with detailed overview of story – many of us write this after the story is written, but some people do so ahead of time and it is a map for their story (a map that changes).
• Editor/agent sees in sample chapter(s) how you expand what is in your synopsis.
• Editor/agent knows you have an ending.
• To sell your manuscript.

Format
• Written in present tense.
• Written in third person.
• May be a one page overview of the story.
• Can be several pages of what happens in the book.
• Can be longer with what happens in each chapter.
• Publishers want different formats – which is why conferences are invaluable.

What It Is
• A narrative summary of your story, written with feeling.
• Written in the same style as your book. i.e. If your story is humorous, the synopsis should be also.
• An introduction to main character(s) and main conflict(s). What the characters want. What is at stake if they don’t get what they want. The obstacles they experience and how it all turns out.
Kathleen Duey, prolific author, recommends a writer pick the thing, the reason, that drove them to write the book. Character? Plot? Theme? Whatever it is, lead with it in the synopsis. Know what the book is about; keep this “kernel” alive through the synopsis. Track the trajectory of the protagonist. Aim everything toward that. Resolve the protagonist’s story at the end.

What It’s Not
• Complete character or scene list
• Boring

Tools for the Task
• Start with a one sentence summary of your book. This is useful to have for cover letters, or when talking about your book anyway.
• Write the back of the book “blurb.” Read others to see how it’s done.
• Tell someone else about your novel. Can he follow your plotline? What questions does he ask that an editor might want to know as well?
• Write down the major scenes in your book that tell the story. If you’ve created an outline or use a story ladder, those can help at this point.
• Does your main character get what she wants? Does she change? Be prepared to tell those things.
• Use the above to write an active summary of your story. Keep it spare. Present ideas in as short a form as possible. i.e. “Raised by her uncle after her parents were killed, 12-year-old Connie” could become “orphaned 12-year-old Connie.”
• Edit carefully.

Bonus
• Writing out the basics of your story can help you see holes in your manuscript before you start submitting.

COMMON SYNOPSIS ERRORS from December 1994 Writer’s Digest Tip Sheet

The Synopsis that won’t die
6-10 pages can tell a story of up to 100,000 words, longer might merit 12 pages
Top-Heavy Synopsis
half the length or more covers only first few chapters
half the synopsis should cover half the book
Laundry List Synopsis
First this happens, then that happens, now another thing happens
DO use strong verbs, intensify the narrative and make it as expressive as possible
The No-Persons-Land Synopsis
No description is given of the characters
DO a sentence or 2 for major characters and a phrase for secondaries
The To-Be-Continued Synopsis
intriguing the editor by not revealing the end

Resources on Synopses

How to Write a Novel Synopsis – Chuck Sambuchino

How to Write a Novel or Memoir Synopsis – Jane Friedman

How to write a synopsis – Nathan Bransford, former Agent

I know its synopsis time, but do I have to? – Dear Editor

How To Write a Novel Synopsis – Writer’s Digest

Posted in Business Side of Writing, The Nitty Gritty of Children's Writing, The Publication Process

Follow the Yellow Brick Road, er, Writers’ Guidelines

Posted on by Susan Uhlig

wizard-oz-2.jpgMany writers DO NOT follow directions. As a conference director and an instructor for a children’s literature course, I see it time and time again. I also saw it when judging a contest for Children’s Writer. It frustrates me. And I know from editors’ and agents’ talks, blogs and twitter comments, that it frustrates them. So like Dorothy, who had to stay on the Yellow Brick Road to get to OZ, you have to stay within the guidelines to get your submission read.
Here are possibilities of what might be asked for in writers’ guidelines or in submission policies:
• Full Manuscript – very common for a picture book or for a magazine piece. Not so common for a novel.
• Cover Letter – whether it is stated or not, for a book length work, it is polite to send a one page cover letter. Some book editors or agents say they read it first; some last. Magazine editors may or may not care whether there is one. However, if the guidelines ask for one, do it! For a magazine submission you may need to tell what theme you’re aiming your article or story–a cover letter is an easy place to do so.
• Query Letter – unlikely for a picture book, and not so common for magazine short stories or articles, but it depends on the magazine. Definitely common for novels, whether submitting to an editor or an agent. But unless you read the specific guidelines for where you’re submitting, you won’t know. What accompanies the query letter is as varied as the days of the month, but here are six common requests:
1. A Partial – part of the manuscript – yes, they know there is more. The editor or agent will ask for more if she likes what she read.
a. First or First Three Chapters – yes, it’s always the beginning of the novel. If those aren’t your best chapters, rewrite until they are.
b. Number of Pages – 5, 10, 100 – again follow the directions. If on the last page of what you are requested to submit, you have an incomplete sentence, delete it so you end on a full sentence.
2. Plus Synopsis or Outline – in addition to a paragraph in your cover letter, an editor or agent may ask for a breakdown of your story. Some may want a chapter by chapter outline. Others a one page synopsis. Yet others a longer synopsis. The guidelines may be very specific about this so you’ll probably have a number of versions of your synopsizes.
3. Bibliography – of course you’ll have this information anyway when doing your research for an article for a magazine, but whether or not an editor will require it depends on their guidelines. You may also have this info for a picture book, especially a nonfiction one.
4. Résumé – some houses and magazines only want a query with no manuscript submission of any kind. They often want a résumé. You’ll also see guidelines for queries that request partials asking for a résumé. Before the Internet I never saw instructions on how to do this, so listed a summary of published books, articles and short stories with a selection of titles and magazines for the latter two. I also included membership in writing organizations. Since then, I’ve found two online resources specifically aimed at children’s writers, but now they are gone. 🙁  So here’s one for authors in general.
5. Clips – article or short story “clipped” out of a magazine – obviously photocopies are acceptable. What they want here is to see some samples of your published works. Some magazines only work with writers after they’ve seen a résumé and clips, and then they assign articles. Some work for hire or educational publishers want to know how you write before they consider you for a project and will also ask for clips. In some cases you can reference online articles as well, though this is not as common.
6. Samples – a sample of your writing. In this case it does not need to be published. Again, this is so they can determine whether they want to try you out with an assignment.
• Special requests. These could be quite varied. I recently read in one magazine’s guidelines that they want “the date of submission on the first page of the manuscript.” Of course, many magazines will want to know what rights you are selling. However, if they only buy all rights, that is what they will assume you’re selling. Some publishers may request you to give them a marketing plan.
Writers’ Guidelines will also let you know the acceptable method of sending your manuscript or query. The standard postal mail aka snail mail is still the norm for many publishing houses and magazines. Agents are more likely to go with email. But email has its caveats: what the subject line MUST say or include, query and/or manuscript portion pasted into the email itself or as an attachment. If an attachment, it must be in a certain format, i.e. Microsoft Word. Mess up on following the “how to” on an email submission and it will probably not be read.
Okay, I know it’s not a deep concept, but really READ THE DIRECTIONS and FOLLOW THEM! You’ll avoid an automatic rejection by doing so, and perhaps you’ll get in to meet the Wizard of Oz, er, Editor or Agent.

Posted in The Nitty Gritty of Children's Writing, The Publication Process

Mind Your Cs and Qs – part three

Posted on by Susan Uhlig
sample SASP

Today I’m talking about inQuiry letters and Contracts. This is by no means exhaustive–just some things I’ve learned along the way.

INQUIRY LETTERS ON STATUS OF MANUSCRIPT
• After a reasonable amount of time has passed–say 1 month past when (and if) a publisher says they report–you may send an inquiry letter, or inquiry email if that’s how you submitted.
Be brief and to the point. Here’s what to say:
– When you sent it
– What you sent (picture book, first 3 chapters of a middle grade novel), include title
– Request for action
EXAMPLE: In July I sent you a short story called “No Way!” about a girl whose mother has said they are moving. I haven’t received either a rejection or an acceptance from you, which considering how long it has been is quite unusualyou’re usually so prompt! I’m wondering if you either didn’t receive it or whether your response to me was lost.
Consider including an SASP with check boxes – see sample following. Many writers find an SASP most effective.
INQUIRY POSTCARD
• Don’t call or email unless the editor has invited you to do so.
• If you receive no answer to your inquiry in a reasonable amount of time, you may submit the manuscript elsewhere. In the past I’ve written letters withdrawing a submission, but it’s usually not necessary, especially in today’s climate where no response meaning “no” is becoming standard practice for many houses.

CONTRACTS

About 15 years ago I refused to sign a contract after doing research. The pay was bad, and they wanted first option on my next three books for the same rate. The editor told me their contracts were non-negotiable. If anyone tells you the same, don’t go with them!

About 10 years ago I used “25 points of a book contract” from The Writer’s Book of Checklists by Scott Edelstein (Writer’s Digest) to help me figure out whether to sign the other book contracts I had received.

• DON’T SIGN WITHOUT READING CAREFULLY
Common Clauses
– Delivery of Satisfactory Copy
– Permission for Copyrighted Material
– Grant of Rights
– Proofreading & Author’s Corrections
– Advances & Royalties
– Author’s Warranties & Indemnities
– Copies to Author
– Option Clause
– Going Out of Print

Check resources:

SCBWI has this resource.

13 Reasons Why You Shouldn’t Sign That Book Contract or Take That Freelance Writing Job

Publishing Contracts 101 (What You Need to Know to Protect Your Work)

• NEGOTIATE
Read info on this topic to see what is usually negotiable and what is not. I heard one editor say, “You can ask for more money, once.”

A nice clause to include especially for children’s picture books is: “The Publisher undertakes to commission illustrations for the Work, and the Author shall be given the opportunity to approve the illustrator’s first dummy roughs and final presentation (including text).” from the SCBWI Bulletin 1996

• IF IN DOUBT, GET A LITERARY LAWYER OR AN AGENT TO LOOK AT THE CONTRACT. (Author’s Guild offers services.)