Do 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 3x5 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 3x5 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

Of 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.

No, 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 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 sees in sample chapter(s) how you expand what is in your synopsis.
• Editor 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.

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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

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Resources on Synopses

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

From Nathan Bransford, Agent
How to write a synopsis

From Chuck Sambuchino
How To Write a Novel Synopsis

From Writer's Digest
Your guide to an effective novel synopsis

Many 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. Here's one from the Institute of Children's Literature: The Dreaded Writer's Resume by Jan Fields. And this one, Creating a Writer's Resumé by Glen and Karen Bledsoe is even more detailed.

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.

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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

One of my favorite resources is SCBWI. Check out this article.

Darcy Pattison has a short helpful article entitled: "Don't Sign that Book Contract Until -"

See Writer's Digest "Publishing Contracts 101." Subtitle is "Protecting Your Work."

"The Warrior Queen's Guide to Contracts COPYRIGHT FAQs" has good background info.

• 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."

Absolute Write has an article called: "Negotiating Your Book Contract:
20 'Must' Topics to Talk About."

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.)

What do you say in a cover or query letter?

"The most IMPORTANT THING a cover letter does is ALLOW YOU TO SHOW YOURSELF IN THE BEST POSSIBLE LIGHT TO A PROSPECTIVE PUBLISHER. There are many variables possible in cover letters and most of them will work for someone, somewhere. But in order to get your letters working for you, you need to find the best possible combination of things to say (and NOT say) in YOUR cover letter for YOUR stories that show off YOUR specific talents, credits and expertise in the best possible light." - Verla Kay, children's author

There are a few rules.

Rule number 1 - one page only.
Rule number 2 - know the purpose, which is to catch the editor's (or agent's) attention.

Now let's discuss the Pieces and Parts of a Query or Cover Letter.

Simple letterhead with your info.

Date.

Editor or agent name and address.

Greeting - professional (Ms. Martin, Mr. Yee, or Evan Z...).

Your contact with editor/agent, if any. This can be your opening, or can follow the paragraph about your submission.

• Where you heard editor speak, if appropriate


• Where you read article


• What you thought


• May mention a RECENT book of theirs that you loved


• May be a thank you, i.e. "Thank you for your encouraging remarks on my last submission, Title."

Something exciting about your book, short story or article.

• Grab the reader right away. This may be a direct quote from the manuscript or a catchy line or question about the theme of your piece. A sound bite. A teaser. The following are starter ideas.

• Does the first line hook the reader?
• Is it an unusual idea or deal with an unusual situation with universal themes?
• Is it set in an unusual place?
• For a magazine piece, is it timely? (i.e. 100th anniversary of ... and, of course, you're submitting with plenty of lead time.)

• In a query, this paragraph or section may be all you have to showcase your piece. Make it as good as you can. For a book, think of doing an elevator pitch or mini-synopsis of your story. Think of the blurb on the back of the book as you work. Agent Nathan Bransford has an excellent blog entry on this topic. Read "The One Sentence, One Paragraph, and Two Paragraph Pitch."

Details about your piece.

• What it is: middle grade novel, picture book, magazine article.


• Nonfiction books often require a book proposal--this series does not address those since I've not had that experience.

ARTICLE VERSUS STORY
Some people call articles stories, while others only refer to fiction as stories. What's what?
I personally differentiate these two by nonfiction (article or essay) or fiction (story), and of course, each of those categories can be broken down more. That said, I will at times call a piece a "true story" versus an article. That usually happens in response to a magazine looking for "true stories about..." Sometimes these are also called true experiences.
When submitting a manuscript, I usually indicate "article" or "nonfiction" for those true stories and "fiction based on a true story" or "fiction" on those I've made up.

NOVEL
It might be a middle grade novel, an early YA novel, or a tween novel, etc., but never a fictional novel. Editors and agents hate that misnomer.

More details about your piece.

• Why it shouldn't be passed up or a need for book in today's market. If you can demonstrate this, you'll have an edge.

Verla: "It was an exciting and dramatic period of our American history, but until now there have been almost no picture books on this subject for the 5-8 year old child. The only picture books listed in "books in print" are very long -- up to two thousand words. None of them are suitable for younger children."

And more details about your piece.

• a brief summary

• one sentence for a cover
• no more than a paragraph for a magazine query
• high concept - 25 words or less
• hit the high points
• tell the end
• title


• word length and number of chapters, if appropriate


• rights for magazine pieces: if reprint rights, tell where and when it has appeared


• exclusive or multiple submission, if appropriate


• whether it is complete


• whether you are including a synopsis (if requested in their guidelines)


• whether it has additional material

• for books, glossary or maps or photographs (color slides, digital images, black & white photos)
• for magazine pieces, sidebar, activity, photos, related websites
• anything the editor should know about it
• setting is unusual and you've lived there


• theme


• a holiday story


• what inspired you to write it

Appropriate info about you.

• publication credits - if you don't have any, leave this out

• "I'm enclosing my résumé" or books you've published and/or a list of some magazines you've been published in.
• don't apologize for not having credits
• don't say you're a first time writer
• awards, contest winner


• training - degree in something relating to Literature or English, graduated from Institute of Children's Literature


• related personal history, education, jobs, or hobbies that apply to this piece

Closing.

• include info about SASE and if it's for "reply only" indicate they may discard the copy of the manuscript


• for queries, call for an answer on whether they want to see your manuscript (or the rest of your manuscript)

Sincerely (or whatever you feel is appropriate) and your typed name with space to put a signature.

Enclosures - this is standard business letter practice.

If you learn better by example, check out these sample query letters by Laura Manivong and Jodi Meadows.

Get Ready. Get Set. Submit!

1. Do you know where you want to send it?
• If so, move on to the next step.
• If not, and you're already done the homework mentioned in part one, discuss with your critique group. They may have good suggestions.

2. Check your market book, guidelines, and any other resources you have for this specific publishing house or magazine. Ask yourself . . .
• Is my manuscript the type they publish?
• Is my word count appropriate for what they want?
• Have I heard an editor from here speak? Or read an interview with them?

3. Read first lines from your manuscript or write out what is exciting about your piece to use as a teaser.

4. Write your letter.

5. Check for the elements above.

6. Proof carefully!

7. If possible, share with your critique group or another writer; they might offer suggestions and comments for improvement.

Final Suggestions

• Overall, remember to be brief, professional and to the point, but let your voice come through
• Spell check!!
• Send a clean copy
• Keep copy of your letter

Today I'm talking about Query and Cover letters--including requests for guidelines and catalogs.

HOMEWORK TO DO BEFORE YOU WRITE THE QUERY OR COVER LETTER

(This information is aimed at those submitting directly to a book publisher or magazine themselves. If you're using an agent, what's in the query or cover letter is the same, but you will be researching the agent, not the houses or magazines. Note: agents generally do not handle magazine submissions.)

Have the most recent market lists (SCBWI puts one out annually for members) and market books (Writer's Digest Book's Children's Writer's and Illustrator's Market - www.cwim.com, Institute of Children's Literature's Book Markets for Children's Writers and Magazine Markets for Children's Writers - http://www.writersbookstore.com/BooksonWritingforChildren.htm) and make notes when you hear of editorial or submission policy changes.

See if submission or writer's guidelines are available on the internet. You may want to save them on your computer, print them out and/or bookmark the site. If not available on line, write a letter to the publisher requesting guidelines. Keep it simple: Please send me your writer's guidelines for AAA BOOKS. I have enclosed a self-addressed stamped envelope for your convenience. You can often pick up guidelines at conferences, too.

• Write the date you received/downloaded on the guidelines themselves so you'll
• know how current they are.
• File guidelines so you can locate them when needed.
• Perhaps, mark in your market book that you have this publisher's guidelines.

Know what kinds of books or magazine pieces are appropriate for this publisher.

• Editors really hate getting picture book submissions when they only publish novels, etc. More than that, you need to know the flavor of a publishing house. i.e. If they only do edgy material and yours is not, you're wasting your time and theirs.
• Go to the library and/or bookstore and look at what a specific publisher has published recently, which leads to the next point . . .
• Catalogs! Check websites to see if a publisher has an online catalog. Pick paper catalogs up at conferences. Ask bookstores for any extra copies they have--last spring's is better than nothing! Write a letter requesting a catalog, again keep it simple, but abide by what the market book says on what you send with it. i.e. Please send me your most recent catalog for BB BOOKS. I have enclosed $3.00 and a self-addressed stamped envelope for your convenience.
• You may want to indicate in your market book that you have a publisher's catalog.

Know something about the editor of the publishing house. Have you heard him or her speak? Read interviews written by them or their blog or followed them on twitter? Each of these will give you some insight. Is she into paranormal or sick of it? Does he like humor or serious fiction? At the very least researching an editor will help you get title and name correct.

Have your story written, critiqued, rewritten until ready to go. Never send something the moment you hit the end. If you belong to a critique group, great. If not, consider doing so. At the very least, let your material sit a while (weeks, months) so you can come back to it fresh. Read it aloud. Consider reading self-editing tips (in books or online). Rewrite. Let it sit again. Repeat as necessary.

QUERY & COVER LETTERS

Q: What's the difference between a query letter and a cover letter?

A query is sent without the full manuscript. It's a letter sent to the editor asking her if she would like to request a partial or full manuscript (or rest of manuscript) to read. What you send depends on the house's or magazine's writer's guidelines.

A cover letter is an introduction letter sent on top of a manuscript, similar to a letter that goes with a résumé. The full manuscript is right there for the editor to read.

Why you'd choose one over the other . . .

The former is an easier way to reach more markets at once. Many novel publishers want a query with 1 or 3 chapters, or 5 -10 page - always send first chapter(s) or page(s). Nonfiction often requires a book proposal.

Picture books are usually sent with a cover letter. Many magazines do not want to be queried either. Some editors want to see the complete manuscript for a novel. In any of these cases, you'll use a cover letter.

The wrinkle of electronic submissions . . . Queries and cover letters can be sent electronically, at least if that is something the magazine or house wants. Some guidelines will say "no attachments" and want all text pasted into the email. Others will accept attachments, but will tell you they must be in Word.

You must read the guidelines to see what an editor, house or magazine wants in their submissions.

Q: Okay, I've decided not to query. Should I always send a cover letter with my submission?

2 views . . .

I don't. The reasons I do are: 1. The magazine requests manuscripts with a cover letter. 2. I have more information I want them to know (i.e. why I wrote the piece, or my submission fits a theme). 3. It might be pertinent for them to know my other writing experience and I don't think a full résumé is needed.

What one editor says: "As an editor, I did find submissions that lacked a cover letter a bit rude, like a phone caller who doesn't bother saying hello or identifying themselves before launching into the conversation." - Jacqueline K. Ogburn former children's book editor

Next entry, I'll go into more details on the specifics of a query letter.

I recently judged a contest for adult writers writing for children. Unfortunately, a significant number of those entries did not use standard manuscript format. It's not difficult to find out how a manuscript should be formatted--it's in market books, on the Internet, in books about writing--but some writers are ignorant of the basics.

I was paid to read all the submissions even if they were in too small a font and/or not double spaced, or if paragraphs weren't indented. I can tell you, though, if I'd been an editor, those would have hit the recycle bin without any hesitation. I'd probably be more patient with narrow margins, although as an instructor, I do get frustrated when the margins are too narrow for me to write in. Does that frustrate editors, too? I'm guessing yes.

Surprisingly many articles--good ones, too--did not provide word count at the top of the manuscript. Again, a standard format practice. Yes, I could guess how many words a manuscript is by the number of pages . . . at least if the font isn't unusual or too small . . . but if I was a magazine editor, the word count might give me an indication right away whether the writer looked at my guidelines or not.

Some writers were trying too hard to impress . . . with the type of paper they used. Don't use résumé paper, watermark paper, paper with borders for manuscript submissions. Pay attention to what's more important--the content.

Over and over again I've heard editors and agents say that too many typos and misspellings says to them that the writer didn't care enough about what they've written. If the first page or two has errors why would it get better later? I didn't have the luxury of not reading on, but I can say the finalists had much fewer errors, if any.

So, if you care about your writing (why send it out if you don't!), make sure you follow the simple rules of standard manuscript format. Triple check for typos, spelling, and grammar errors. Give your material a chance to be read just by following the basics.

P.S. And for those not familiar with standard manuscript format, I'm providing it here. The text of my sample first page includes more tips. manuscript format.pdf

P.P.S. Oh, and please don't staple your manuscripts!

Too long, needed to more quickly get to the point, didn't add to the story, wasn't enough of a comeuppance for the bad girl... The comments by the director about the deleted scenes for the movie The Princess Diaries (2001) are valuable reminders for editing our own stories. (Watch them on the DVD.) As I did, you'll probably find yourself agreeing, yes, that scene wasn't necessary. Or, yes, it's a stronger story without this one. The director even cut some of his favorite scenes to make a better movie.

Enabling us to produce better manuscripts is why critique groups exist. Watching the director commentary was almost like getting a bird's eye view of a critique from start to finish: the pre-critiqued version and the tightened, more focused version. For me, it gave me additional tools for looking at scenes in my own fiction. I learned these questions*:

• Does this add to the story?
• Does this get the emotional reaction I want?
• Am I getting to the main point here?
• Will the reader care about this?
• How does this make my main character appear?
• Is my antagonist getting what he deserves?
• Is this the right time for this relationship/problem to be resolved?

I shouldn't just ask these questions of myself, but ask my critique group to respond, too.

Does this mean I might have to cut a scene I like? Yes. Does this mean I'll have to do rewriting and reordering? Yes. Will it be worth it? YES! If my story goes out to an editor stronger, clearer, better focused, my odds of acceptance are increased.

*Variants of these questions may also be useful when critiquing others.

• What is the emotional reaction you want from this scene?
• Your main character seems rather useless here, is that what you want me to think?
• Do you think your villain is getting what he deserves here?
• Should these characters be getting along so well in this scene?

In addition to being more thought provoking, critique questions can also make a nice variation from "too long," "need to get to the point more quickly," etc. statements.

Got any other movie examples that help remind us what to edit in our own stories? Feel free to share them here.

A SAMPLE FACE-TO-FACE CRITIQUE GROUP

In this scenario, each writer brings a manuscript for critique. Depending on the size of the group, it may be limited to 5 or 6 pages, or other groups use a timer. Hard copies may be brought for each critiquer to make notes. Otherwise, blank paper is needed. The writer or reader (can be someone besides the author) reads the manuscript aloud. The critiquers take turns commenting on what they found.

THE READER needs to say:

• what the piece is: an article, a short story, the opening of a novel, an essay, etc
• who the audience is: adults, children (if so, what age), secular or religious market
• if a specific market is in mind, say so (i.e. Highlights Magazine)
• word length
• MAY say, this is a first draft, but NOT apologize

THE CRITIQUERS need to:
1. Listen and write down comments as the piece is read--a simple way to note what you think is by using, plusses, minuses, and question marks. i.e.

+ flapping gums - lifeless cadaver
? why did Matthew .... + Amy's character
+ smashed - was walking is passive

2. Give a verbal presentation of their critique, stating something positive first (i.e. I like your idea, how you showed your character, the title, etc.)

3. Share areas of the writing that were confusing, that could be phrased better, etc.

4. Make marketing suggestions, if something comes to mind.

5. Don't repeat every thing that everyone else has already said, though feel to add "agree with" and/or "disagree with or I got that" on written notes on manuscript. May say, after saying something positive, "the only thing I have to add is . . ." If you disagree with another's comments and feel it needs to be said aloud, say so nicely.

6. Give written comments to the reader when done.

The next READER passes out manuscripts and reads. Everyone gets an opportunity. Many leaders keep track of the order of readers presenting from meeting to meeting, so someone isn't always first or last.

Some groups send material ahead of time to each member to read so the time together is only spent sharing comments.

Groups often form long-lasting relationships. But sometimes a group is not a match. Try another group.

ONLINE CRITIQUES

Online critique groups work similarly, but have special needs, especially the notating on the manuscript itself. There are several methods that make it easy to do however.

• If all members of group use Microsoft Word (and similar versions), the commenting option is a great way to put reader's comments in a manuscript. Each member will save the pages being critiqued with their own name added to the file name, so the writer knows who wrote which critique in case of questions.
• Other groups might use a combination of highlighting (i.e. green for what the critiquer likes and yellow for areas of concern) with comments typed in CAPS to separate them from the manuscript. Text boxes can be used as well for comments.

Usually with either of these methods, every member of the group sees general comments in email, but only the writer sees the line-by-line comments. In either case, both general comments and manuscript notations will include positive as well as negative.

Some groups use an online work space, such as google docs or pbworks, to upload documents and post comments so everyone in the group can see others' comments.

ONE-ON-ONES

You may also find that a particular person in one of your groups is especially good at helping you in an area of weakness. Perhaps you can do one-on-one critique exchanges with each other.

In my case one critique group had been telling me that I needed to share more of my character's emotions. I'd look at my chapters and think, Where?! I met another gal who read a chapter and said, "I want to know what she is thinking/feeling here." She told me exactly where in the manuscript. The proverbial light bulb clicked on. She was willing to read the entire manuscript in exchange for the same from me. Her input was invaluable.

Some people find someone to do a critique exchange via an online writers group, or at a writers workshop or conference. If you don't know someone well, always agree to a trial of either a chapter or so many pages, instead of promising to exchange complete manuscript novels. Make sure you each find the other person's comments helpful before proceeding.

Don't know where to start? What about that book you read? You thought it was similar to what you write, so check the acknowledgements page. Some authors thank their agent in the book. If an agent liked their work, they might like yours. Next step, further research on the agent.

Of course, you will to go to the agency's website, right? Check out client lists, if available. Take note of submission policies. And read the agent's and/or agency's blog. But don't submit yet. You'll be continuing your research into this agent.

Agent Query is a searchable database of literary agents. But it is also much more. It has info on large and small publishing houses, literary magazines, plus articles such as "When Agents Offer Representation..." or "How to Write a Query." In addition, it has links to many other sites, including some mentioned below.

When checking out an agent, definitely go to Publisher's Marketplace. One cool feature is the site lists who has recently updated their page. Click on browse members, where you can look up a specific name or merely see who is listed. But once you're on an agent's page, you can often see what projects they've recently sold and/or best known projects.

Don't miss Chuck Sambico's blog* - he's the editor for the Guide to Literary Agents. I love how he's posted a variety of agents' pet peeves about Chapter 1. He also has entries on "How I Got My Agent" plus has good links to other blogs and websites.

Now that you've done some research, you may know who an agent's clients are, so read some books that agent represented. It'll help you learn whether the agent could be interested in what you write.

Know an author agented by this agency? Ask her questions. You may want to find out whether the author has had other agents previously. He may not want to say who he left, but he probably is willing to discuss problems.

Here are two good articles on Harold Underdown's site regarding agents:
• Children's Book Agents and Artist's Representatives: a Guide
(do I need an agent, what do agents do) has good content, but remember it is a dated article as one of the examples is of The Firebrand which has closed.
http://www.underdown.org/agents.htm

• Finding and Choosing Literary Agents
http://www.underdown.org/researching-agents.htm

A lot of working checking into an agent? Yes, but your submissions will be much better targeted than many an agent receives.

*I know there are many other people blogging about agents. If you'd like to list any, feel free to comment here.