The following document was a gift to writers nywhere, from the late Harry Arnston. I got it from the Prodigy Books & Writing Bulletin Board when I was a subscriber there back in 1995. Harry posted it several times, months apart, so that as newbies came in they could find it. It was his expressly stated intention that it be distributed and available free of charge as widely as possible. I have a couple of web site URLs where that statement is corroborated, if anyone needs to have affirmation of it. I'm posting it on my web site now so that a new generation of writers can learn from Harry's wisdom and generosity. It seems the least I can do.

You are missed, Harry.
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PRODIGY(R) interactive personal service

Board: BOOKS & WRITING
Topic: WRITING/TECHNIQUE
NOVELS 101 ‑ INDEX
To: All
Date: 2/28/95
From: DSMG03A Harry Arnston
Time:  4:29PM ET

NOVELS 101

COURSE INDEX
Item 1: Introduction [Note: There was no introduction included here.]
Item 2: Getting Started Part 1
Item 3: Getting Started Part 2
Item 4: Getting Started Part 3
Item 5: Getting Started Part 4
Item 6: Style
Item 7: Readin' & Writin'
Item 8: Style
Item 9: Grammar & Spelling Part 1
Item 10: Grammar
Item 11: Formatting
Item 12: Characterization
Item 13: Dialogue Part 1
Item 14: Dialogue Part 2
Item 15: Dialogue Part 3
Item 16: What Agents Look For Part 1
Item 17: What Agents Look For Part 2
Item 18: What Agents Look For Part 3 [This item is missing.]
Item 19: What Agents Look For Part 4
Item 20: What Agents Look For Part 5
Item 21: What Agents Look For Part 6
Item 22: That First Chapter Part 1
Item 23: That First Chapter Part 2
Item 24: Chapter Length
Item 25: Rewriting
Item 26: Before the Query
Item 27: Synopses Part 1
Item 28: Synopses Part 2
Item 29: Do I Really Need an Agent? Part 1
Item 30: Do I Really Need an Agent? Part 2
Item 31: What Do Agents Do? Part 1
Item 32: What Do Agents Do? Part 2
Item 33: What Do Agents Do? Part 3
Item 34: Reading Fees
Item 35: How to Find an Agent
Item 36: Writing the Query Letter
Item 37: Sample Query Letter 1
Item 38: Sample Query Letter 2
Item 39: Queries: Summary
Item 40: Agents: Summary Part 1
Item 41: Agents: Summary Part 2
Item 42: Agents: Summary Part 3
Item 43: The Business Part 1
Item 44: The Business Part 2
Item 45: The Business Part 3
Item 46: The Business Part 4
Item 47: The Business Part 5
Item 48: The Business Part 6
Item 49: The Business Part 7
Item 50: The Business Part 8
Item 51: The Business Part 9
Item 52: The Business Part 10
Item 53: The Business Part 11

================================================

ITEM 2: GETTING STARTED Part 1

A mistake many first novelists make is to sit down and start writing. They have a great idea and they want to get it on paper as soon as possible. After about three chapters, they get stuck and don't know where to go.

There's a simple and rewarding way to avoid such things. Before you undertake the tremendous task of writing a novel, you should determine several things. For example, what kind of novel am I going to write? By that I mean "genre." Is this a romance, a mystery, a thriller, horror, sci‑fi? While you've probably got that fixed in your mind, you may not realize that all of these different genres require different approaches. If you're not familiar with the different genres, be assured that writers are typecast just as actors are. For some reason, romance writers are considered incapable of writing anything else. The same can be said for mystery writers. And so on. It's not right, but that's the way it is.

So, you want to give some thought to the genre you've chosen. You should read at least five recent novels by authors who have developed a following in the genre, and make notes on how they structure their stories. You might also count the number of words in each book. (You can do this by picking a page with no dialogue, one with half‑and‑half, and one with mostly dialogue. Do a physical count of the words, divide the total by three, multiply by the number of pages, and you have a total word count)

Word count is one way publishers classify novels. First novels should never exceed 100,000 words. Most genre novels will run 70,000 to 85,000 words. Established authors can get away with longer books, but not first timers.  Back to Index

ITEM 3: GETTING STARTED Part 2

Okay, you've decided on a genre. You've read several books written in that genre, and you're ready to get started. Not yet!

First, you need a plot. The best way to develop a plot is to sketch it out on a storyboard. Take a piece of cardboard and mark it off into thirty sections. Section one is chapter one. Using a pencil (with a big eraser) start penciling in your story. Go through the entire plot until you have a beginning, a middle, and an end. Then, you start working on sub‑plots. Use Post-it notes to make notes on sub‑plots and stick them to the various chapters.

What are sub‑plots? Let's assume your hero is a cop. A sub‑plot might be the difficult time he is having with the fact that his ex‑wife has moved to another state with his three kids. This may or not affect the story, but it sure will affect your hero. You should have at least one or two sub‑plots in your story to add zest.

Now, how about characters? You'll certainly need a protagonist, so do that one first. On a sheet of paper, you write down everything there is to know about this person. Size, looks, age, likes, dislikes, habits, voice, taste, hobbies, secrets, loves, hates, and so on. Everything. No, you're not going to put  all of this in the book. What you are going to do is get to know this character as if he or she was your brother or sister. By becoming intimately acquainted with your creation, you'll not have to say, "How would he react to this situation?" You'll know.

You do the same thing with all the major characters, and there shouldn't be more than six. The minor characters are just extras, and unless they play an important part in the story, you need not give them much attention. But your main characters are the key to the success of your book (besides plot). The reader has to either love or hate these people. If they're boring, you're dead.  Back to Index

ITEM 4: GETTING STARTED Part 3

You now have your plot and your characters figured out. Ready to write? Not yet! Have you determined locations and settings? Can you describe them accurately? What about technical details?   

Most of us are unfamiliar with the inner workings of hospitals, jails, law offices, and so on. It's pretty tough to write a mystery without some basic knowledge about how police departments function. So, before you start, do your research. There's a lot of material available in books, but you'll find that talking to professionals is a rewarding and interesting experience.

Never be afraid to call a doctor or lawyer and say, "I'm doing a novel and I want to get it right. Would you let me pick your brain for an hour for twenty bucks?" Surprise! Most professionals will feel flattered, and may do it for free. Or for lunch. They enjoy talking about their work and appreciate authors who try to get the facts straight. The same goes for policemen, judges, just about anyone. Get it from the horse's mouth.

Before you talk with them, have your specific questions ready, and don't use a tape recorder without permission. By using the experiences of other people, your story takes on a new dimension, becomes richer, less linear, and more interesting. And you have the fun of learning. 

So, to sum up, make sure you have your plot and sub‑plots blocked out, that you have a fact sheet on every major character, and that your research is complete.

Now, you're almost ready to write that novel! Back to Index

ITEM 5: GETTING STARTED Part 4

While you are plotting (scheming?) to write your novel, now would also be a great time to start learning about the business. In a few months (or years) when your novel is complete, you'll be dealing with agents and editors, and a thorough knowledge of the business is essential.

So, I recommend that you subscribe to Publishers Weekly, the bible of the business. It comes out every week and tells you everything about the business. There's nothing in here about writing, just the marketing of books. In a year, you'll know a lot about the business.

Also, one of the monthly writers' magazines, such as Writers Digest, or The Writer would be a good investment. Packed with articles on writing and tips on the business, these magazines will also help you. Writers Digest and The Writer are available at newsstands, but Publishers Weekly probably isn't. It's about 120 bucks a year, but worth the investment. You can subscribe by contacting them at 1 (800) 278‑2991.

You'll find that books are thought of as products in this business. Knowing how the business works will help you in your writing. How? You'll know that certain stories are not of interest to publishers. You'll get a feel for what editors think are hot, and not. The fact is, no matter how well you write, if your story isn't one that the publisher thinks will appeal to a wide market, you're dead before you start.

So, as you write, learn the business. In a year, you'll be able to discuss books with agents intelligently. Talk to your local bookstore people. Pick their brains. Find out what makes a book sell or fail. Find out what they think of publishing, and how they sell books in‑store. Find out everything you can. Back to Index

ITEM 6: LANGUAGE AND STYLE

We each develop our own styles. But it's worthwhile to really analyze the styles of successful writers. Take this paragraph:  

"Like the engine room of an oceangoing vessel, where soot‑spotted hands shovel coal into great fires, the  firm's Accounting Department burns on belowdecks. On 32, between an investment banking operation and a travel service, the location has a sub‑basement feel, because it is cut off from the three other floors we occupy. Yet in many ways this is the heart of G & G: to Accounting our billable hours are reported on a daily basis; from Accounting our statements for  services go out every month. Here the great profit-making motor of the law firm whines away at high r.p.m.'s." ...From Pleading Guilty, by Scott Turow.

Or this: 

"After three days of unbillable time, of non-production, of exile from their sanctuaries, of turkey and ham and cranberry sauce and new toys that came unassembled, the rested and rejuvenated lawyers of Bendini, Lambert & Locke returned to the fortress on Front Street with a vengeance."...From The Firm, by John Grisham   

Both of these writers describe events and scenes in such a way that you FEEL what's happening. It's not dry prose, it's rich with simile or association. And that's what you have to do when you compose paragraphs. Each one should convey a feeling or mood, so the reader feels drawn into the story.  

Too many times, we simply tell what's happening. We  don't take the time to set the mood. And what you see above is what sets writers like Turow and Grisham and a hundred others apart. They create each paragraph as a separate entity. Each flows into the other, like melted butter. It's called creating a page‑turner. And you can learn from these masters. Take a book and dissect every paragraph as you would a frog. See what makes it work. Become analytical. Make notes. Try examples on your own. It's all part of the learning process.  Back to Index

ITEM 7: CARVING OUT THE TIME

This may shock you. Ninety percent of published novelists have a day job. Many are women with kids, a job, a husband, and all that goes with it. How in blazes do they find the time to write? 

Well, it's not easy. It takes discipline. And a little serious scheduling. Erma Bombeck used to get up at four in the morning to write for two hours before getting down to the business of her regular job and housekeeping. Scott Turow writes on the train as he travels to work. Now that he's a little more financially secure, he's cut some hours from his law practice, but not all. 

You have to set a time and stick to it. Maybe you can afford an hour a day in the morning or later at night. Be religious about it. Do that hour every day without fail. Most writers can do at least a page an hour. If you do that, you'll have a novel in one year, first draft.  

There are always things on TV, or movies, or parties, or whatever to take you away from your writing. Resist the impulses, or set your time when no one can bother you. That's why that hour before dawn really works. No phone calls, no visitors, no chores. But it's tough.  

Of course, you can accomplish more if you give yourself more time. The average American watches something like 50 hours of TV a week. That's the average. If you really want to write novels, consider how much TV you can live without. Use that time for writing AND reading. 

I can't emphasize enough how important reading is. You must read novels if you want to write novels.  Back to Index

ITEM 8: READIN' AND WRITIN'

If you don't like to read, forget about being a writer. Almost all good writers are voracious readers. In fact, most writers are motivated to write because they think they can do it better. They're often right. 

If you want to write romance novels, read at least ten novels a month, five at the very least. Same goes for suspense, action‑adventure, horror, thrillers, mysteries, the whole gamut.  

I've heard writers say that they don't like to read the work of others because it hinders their creative juices, or that they are afraid they'll steal something. They want to be pure. Balderdash! You learn how the good writers do it by reading their work. You won't steal from them, but you will see how they introduce characters, how they use flashbacks, how they change moods, how they go from one point‑of‑view to another. The best way to learn these techniques is to be able to recognize them as you read. The more you read, the more you learn.

Reading the classics is a very worthwhile exercise. You'll learn how the masters used the language. Reading modern contemporary fiction is also good. You'll see why these writers have a following. 

Only by immersing yourself totally in fiction can you really get a feel for how novels are constructed. And you'll find, as you read, that you are inspired by a great passage, or paragraph. You'll remember certain tricks, and you're free to use those tricks. Just don't use the words in the same order. (g)

Reading Gore Vidal and Tom Wolfe will give you a feel for language. Reading Mark Twain will give you a sense of style, as will Hemingway or Faulkner. Reading Grisham will show you how to pace a story. You'll learn from all of it. Read every day. Write everyday. Remember, this is a business, a craft. It takes years of study to become a doctor or lawyer. It takes years to become a good writer. Your investment is much less than that of a doctor or a lawyer. But without  the investment, you'll never make it. Back to Index

ITEM 9: GRAMMAR AND SPELLING

Using proper grammar is really important. Nothing will stop an agent or editor faster than reading bad grammar. These days, editors have little time to edit (which seems odd, but it's true). Time is money, and the more work that needs to be done to whip a manuscript into shape, the less chance that manuscript has of being accepted. 

There are many good guides available to help you with grammar. The venerable Strunk and White Elements of Style is one, and the Chicago Manual of Style is another. They'll help you understand such things as proper comma placement, use of semi‑colons and  colons, sentence length, and a zillion other things.

As for spelling, electronic spell checkers are a help, just as are the electronic grammar checkers like Grammatik and Rightwriter. But the problem with spell checkers is that they don't differentiate between words that are spelled right, such as too, two, and to. Grammatik and Rightwriter will.

Your best bet to ensure you've got it right is to read it aloud to a friend. When you read your work aloud, you catch things that you will often overlook in proofing. Reading aloud, even without a friend if necessary, is very important. Do it chapter‑by ‑chapter.

Getting back to grammar; when using dialogue, the grammar becomes less an issue if it's in keeping with the characterization. For example, if one of your characters is an uneducated low‑life, it would be natural for that character to use bad grammar. But it would seem out of place for a doctor or lawyer to use bad grammar. We'll get into this more when we discuss dialogue.

The important thing to remember is that your manuscript must be as free of grammatical and spelling errors as is humanly possible. So, if you aren't sure, check it out. Don't let a single sentence go that you aren't sure is grammatically correct. Back to Index

ITEM 10: GRAMMAR

One of the most common mistakes made by writers (both new and used) is using passive voice. And since a lot of people don't know what passive voice means, let me give you some examples: 

The thick white carpet covered the floor (Active voice)
The floor was covered by a thick white carpet (Passive voice)

The lawn was covered by fallen leaves. (Passive)
Dead leaves covered the lawn. (Active)  

In the case of active voice, something is happening to something else. The use of the active verb means the action is taking place now. Passive voice indicates it has already happened, yesterday's news, and much less interesting. It's impossible to avoid passive voice completely. Certain situations require it, but they are few and far between. Using passive voice becomes a habit for some, and it really puts agents and editors off, not to mention readers.  

Example: She was wearing a blue suit. 
Better:  She wore a blue suit.

Example: The sky was cloudy. 
Better:  Clouds blocked the sun.

Example: Alice will always be remembered by me.
Better:  I will always remember Alice. 

Again, Strunk and White's Elements of Style is an excellent little book with hundreds of tips on grammar. No writer should be without it. This book answers almost every question you could possibly ask regarding grammar and/or style, including the use of passive voice. It's a must. And for new writers, I recommend both Grammatik and Rightwriter if you're using a word processor. These programs will correct a lot of silly mistakes, give you pointers on writing, and help you  analyze the reading ease of your work. You mustn't rely on them completely, because both programs are designed for business letter use. But they will  improve your writing, and that's what it's all about. If you are planning on purchasing a word processor in the near future, most writers use WordPerfect. The latest version is 6.0a for Windows, which includes Grammatik as part of the program. Other word processors are almost as popular, but WP is the champ.  Back to Index

ITEM 11: FORMATTING

There are rules to formatting a manuscript, and the rules are there for good reason.

1. Double‑space. That allows the editor to makes notes and/or changes. Editors always make changes, and they need space to write.

2. Margins are always one inch. Same reason as above.  

3. Courier type 10 cpi (ten characters per inch) 12  point (the height of the letters). Courier is easy on the eyes, is what editors are used to, and they don't like to change. As well, a manuscript page done in Courier 10 will always average about 230 words per manuscript page if properly formatted, and the mix of narrative and dialogue is about right (50/50). That allows the editor to estimate the total number of words. Editors often get manuscripts that say "100,000 words" when the word count is actually 70,000 to 150,000. Some people can't add.

4. Headers. The header (left hand justification) gives the last word of the title, then a slash, then the author's last name, then two dashes, then the page number. The page number is Arabic. The chapter number is placed flush right on the same line, and given in Roman Numerals, like so:

Death/Smith‑‑253  Chapter XX       

Note: The header is one‑half inch from the top of the page. The copy starts one inch below the header. The first page of a new chapter is centered about halfway down the page, and is capitalized. Like so:   

You'll note you don't say Chapter Twenty. Just TWENTY.  

The title page is left‑hand justification (with one exception) and reads like this: 

Your name Approximately ‑‑‑words
Your address
Your phone number 

In the middle of the title page you give:

Back to Index

ITEM 12: CHARACTERIZATION

One of the toughest things to master (if ever), is characterization. We've all read books by authors who reach us through their characters, and most great literature is remembered not just for the story, but  through the characters ‑‑ fictional creations who stay in our memory banks longer than most real people we've met. Some fictional characters actually become part of the language. The word quixotic, for example. There are scores of others. 

Developing a successful fictional character requires  keen observational skills. The writer must surreptitiously scrutinize everyone he or she comes in contact with, making mental (later written) notes on such things as the walk, the voice, the eye movement, the body language, the tone of voice, animation,  unconscious habits, character traits, fears, joys, attitudes, political affiliations, biases, even odor. The writer keeps voluminous files on people he has met under various categories; charmers, lounge lizards, liars, depressives, paranoids, religious fanatics, Conservatives, Liberals, woman‑haters, man‑haters, womanizers, people who are uptight or shy, others gregarious ... you get the idea. Even their taste in clothes, food, furniture, and people is important. All of it gets filed. Eventually, the writer has a library of character "types." 

The writer keeps much more information on his future characters than will ever be used, but this intimate knowledge of every character trait helps the writer determine how that character should react in a given situation. If the character is complete, the reader can anticipate what the character will do in some situations, and that connection draws the reader closer to the character. It also sets the stage for tension when the character does something unexpected, as all human beings do at times.

But, the first step is observing.  Back to Index

ITEM 13: DIALOGUE Part 1

Have you ever read letters to the editor in your local newspaper? Have you noticed how people write letters totally different than the way they would normally speak? They use five‑dollar words and sentences that go on forever. The same problem exists when new  writers start novels. They think they have to be LITERARY (whatever that means). But you'll note that most commercial novels written by best selling authors use words we can all understand, and when people talk, they talk like real people.  

Keep that in mind as you write dialogue. Dialogue in a novel is the real key to understanding the character. The way a character talks reveals how he or she thinks. Dialogue is second only to plot in importance. Different people have different ways of talking. So should your characters. And when using long stretches of dialogue, you can eliminate the "he said" and "she said." Here's an example of a stretch of dialogue. See if you can determine the basic character of these people simply by what they are saying. 

     "Are you going to the party?"  
     "No."
     "Why not?"
     "Because I'm sick of sitting there on the sofa like a bump on a log."  
     "Oh, come on."  
     "I mean it. It's easy for you. You're attractive. The men gather around you like bees to flowers. They look at me like I'm road kill." 
     "You could change that if you tried."
     "How?"
     "By taking a good look at yourself. You're a very pretty woman. But you spend all your time feeling sorry for yourself. You look unapproachable. If you used makeup and smiled once in a while, you'd see a big change." 

As you can see, we've learned a lot about these two women purely through dialogue. We haven't described them or stated their ages, but readers have already developed a mental picture of both. We know that one is confident, and the other depressed. 

The old expression, "Show, don't tell," applies to dialogue. The more you can reveal of your characters without telling, the more interesting your work. Back to Index

ITEM 14: DIALOGUE Part 2

There are times when people will raise their voices, shout, scream, whatever. When you want to emphasize a word, you underline it. Because of the limits to *P, I can't underline here, but I'll indicate it with asterisks before and after the affected word.  

"I'll *never* give up." 

If you want to make that sentence stronger, you can do:

"I'll never give up!"  

But don't ever use this: "I'll never give up!" he shouted. You've already indicated the strength of the sentence by the exclamation point.

I get asked about swear words a lot. They are totally appropriate if used in character. It can shock a reader when used sparingly. Or, the character can become totally repugnant if he or she swears all the time. So, swearing is okay in dialogue. So is bad grammar. Here's a cop talking to a street person.

     "I'm looking for a guy named Clyde. I hear you know him."
     "I don't know no Clyde."
     "Don't lie to me."
     "I *ain't* lyin'. I'm tellin' you the way it is. I don't know no dude named Clyde. Whoever tol' you that was lyin'."

Now, because this is a public board, I'll keep the obscenity from this post. But if I were doing this for a book, there'd be a few obscenities sprinkled in there. You dig? 

As for "he said" and "she said," try to avoid them. And try to avoid being tricky. Sentences like: 

'"I don't care," she exclaimed defiantly.' can be okay if used sparingly. But if every piece of dialogue is described as to how it was delivered, it can ruin the reader's concentration. Use descriptive phrases regarding dialogue with consummate care. Let's take the sentence above and make it: 

She was defiant. "I don't care," she said firmly. Better? Back to Index

ITEM 15: DIALOGUE Part 3

We've all been in situations where we argued with someone, praised them, damned then, loved them ‑‑ the entire gamut. Can you remember what was said during a particular situation? We all can. We all have a zillion memories of events. Many times we say to ourselves, "I wish I'd said something else."   

Drawing on personal memories is a great way to employ dialogue that sounds real. Natural sounding dialogue is absorbed by the reader naturally. Odd‑sounding dialogue isn't. Anything that interrupts the concentration of the reader is off‑putting, and can destroy the flow of the story. 

Sometimes we fall into the trap of using tereotypical dialogue. For example, not all cops sound the same. Not all cops use slang. But MOST cops have a certain way of asking questions, and MOST cops have a certain was of conducting interrogations. MOST politicians have a way of sounding important. Same with most CEOs.

In writing dialogue, you can stray from preconceived  notions as long as it's in keeping with the character. But when using minor characters, it's best to stick with the stereotype. Why? Because unless you are going to explain why this character doesn't sound the way people expect him or her to sound, the reader will wonder. You only want to reader to wonder about things that are intended to be confusing.

So, try to use dialogue from your own experience. Draw on those buried memories. Your writing will be more realistic and natural. We've all read stuff that made us scratch our head. It's something to be avoided.  Back to Index

ITEM 16: WHAT AGENTS AND EDITORS ARE LOOKING FOR Part 1

First, the manuscript's appearance is important, even before the words come into play. Editors read constantly. It's their job. Not only do they read manuscripts submitted by agents representing authors seeking a sale, they also read books published by other publishing houses, particularly those books that have done well in the marketplace. Editors must stay knowledgeable about what's hot and what's not in the stores. As well, editors edit books already acquired, which means they go over every word of an already purchased manuscript looking for ways to improve the book. Editors don't have a lot of time for much else other than reading. As a result, many suffer eye strain. 

Fuzzy dot matrix type may be okay for you, but to an editor, it's an invitation to a headache. As well, messy manuscripts with crossed‑out words or other corrections are time wasters, and editors hate to waste time. So, the first thing an editor looks for is a clean, properly formatted manuscript, with an easy to read type‑style like Courier and an absence of misspelled words. That's number one. If the manuscript looks bad, an editor may stop before he or she has even started. 

Many authors have the mistaken notion that novels are an art form and that a manuscript's appearance is unimportant. To those authors, the writing is all that counts. They think that gaffs such as single spacing are meaningless. They feel that after slaving over a novel for five years, the editor has some obligation to read it, no matter the condition of the manuscript.  

Those authors will be disappointed.

Editors are obligated to no one except their employers and will quickly discard a manuscript not meeting specifications. Editors are overworked and underpaid and will simply not waste time on a manuscript when the first impression is a poor one. Single‑spaced manuscripts are hard on the eyes. Editors will simply not read it. Neither will agents. Back to Index

ITEM 17: WHAT AGENTS AND EDITORS ARE LOOKING FOR Part 2

The second thing an editor looks for is the balance between narrative and dialogue. A quick peek at the first twenty or so pages will show if a manuscript has the proper balance. An extreme either way (the correct balance is about fifty‑fifty throughout) will turn the editor off immediately. To prove how important this is, I ask you to take a look at the first ten pages of some recent best selling novels, and break down the ratio of narrative and dialogue.

Presumed Innocent   50/50
The Firm    50/50
Rising Sun   50/50
The Bonfires of the Vanities 50/50

In fact, most successful COMMERCIAL novels have this fifty‑fifty mix, and for good reason. The reader gets bored with long stretches of narrative, no matter how well written, and long passages of dialogue can become confusing. Therefore, a proper balance gives the reader a chance to absorb the story, keep track of things, and better enjoy. Editors know this, and look for it in all manuscripts.   

So far, the editor hasn't read a word, but has spent all of ten seconds examining the mechanics of the manuscript. If the mechanical aspects are found wanting, the manuscript will be rejected forthwith.  

Keep in mind we're discussing commercial fiction. Commercial fiction is a very hard sell, and publishing is a very tough, competitive business. Never give an editor a reason to reject your manuscript before it's been read. The rules may seem silly to you, but they are the rules, and if you choose to ignore them, you do so at your peril.

Once the editor decides to begin reading, he or she looks for other reasons to reject the book. Bad grammar in the beginning signals bad grammar throughout. The editor doesn't have time to line edit pages and pages of bad grammar. Nor will they put up with misspelled words. Grammar and spelling mistakes in the beginning indicate much work ahead for the editor. Editors won't take the time with first novelists, so your grammar and spelling must be impeccable. Back to Index

ITEM 19: WHAT AGENTS AND EDITORS ARE LOOKING FOR Part 4

As you can see by these examples, the first paragraphs in Part III are designed to draw the reader into the story quickly. A question of some sort is posed to make the reader curious and caring. In Turow's opening paragraphs, the reader is told several things in very short order. First, the narrator is a prosecutor. He is addressing a group, obviously a jury. A crime has been committed and the reader knows instinctively that they will be told what that crime was. Already, the curiosity factor has been employed. In my book, the reader is told someone has died. It's obvious that the death was unnatural, therefore a crime has been committed. The reader (I hope) is curious as to the details and what it means.    

Editors look for this curiosity factor right from the start. If the manuscript has it and the editor is made curious, the editor assumes readers will be also. Therefore, the editor will continue to read. If curiosity has not been established in the first pages, the editor will stop right there.

You've probably read that the line, "It was a dark and stormy night," is considered one of the worst (if not the worst) opening lines ever written. Why? Because opening a story with a comment on the weather is silly. Who cares about the weather? We want to know about the people and the story. Conversely, the line "It  was the best of times, it was the worst of times," (from A Tale of Two Cities) is considered one of the best opening lines ever written. Why? Because it presents a paradox, a curiosity that makes the reader want to continue.

Opening lines introduce your story to editors and readers. Where they go from there depends on how well you keep their interest. But without a strong first three pages, they'll not get far enough to make a difference. The first two hurtles take about two minutes of an editor's time. All your effort is for naught unless you pass the first two tests. In fact, about half of all rejected manuscripts are rejected at this point in the proceedings. Again, you must remember that to an editor, time is precious, and unless the first impression is a good one, the editor will not expend the time to read the rest of your manuscript. From there, it becomes a question of plot, writing skills, characterization, credibility, mass appeal, and several other factors, including the  subjectivity of the editor. Back to Index

ITEM 20: WHAT AGENTS AND EDITORS ARE LOOKING FOR Part 5

If the protagonist in your book is a hard‑boiled detective, and the personal taste of the editor is unfavorable to hard‑boiled detectives, you can forget that editor. At the same time, if the editor likes hard‑boiled detectives, you have a subjective   attitude favoring your book. So it cuts both ways.  

Are there a lot of books out there with similar stories? That's a factor. Does this publishing house have a book much like yours scheduled for publication? Another important factor. Is your book about a subject that is now out of favor? Again, this will be   important. For example, books about the Cold War are pretty well dead. As are books about the Gulf War. But plain, old‑fashioned murder mysteries are always popular, and the most popular books of all are romances, accounting for almost half of all novels sold. Still, the author should be careful about writing to please someone else. It's dangerous and often ineffective. The author must write what's inside, pen a story that's begging to be told, and let the chips fall where they may. Most editors will spot a formulaic approach quickly, and that can lead to rejection.

Remember the book Clan of the Cave Bear, by Jean M.Auel? When Ms. Auel first tried to sell this book, it was rejected by several editors. One commented that no one would be interested in reading about prehistoric people. If Ms. Auel had decided to write a book to please an editor, she would never have written this one. But she wrote it to please herself, and in doing so, pleased millions. Even Ernest Hemingway was rejected many times. According to Rotten Rejections, published by Pushcart Press, Hemingway's book "The Torrents of Spring" was rejected with this letter. "It would be in extremely rotten taste, to say nothing of being horribly cruel, should we want to publish it."

These authors wrote what they wanted to write, and so must you. At the same time, you must realize that firm guidelines are now in place regarding commercial fiction. You can be as creative as you like, but you must still stay within the established guidelines. That's what editors are looking for, and they will reject all manuscripts that don't measure up.  Back to Index

ITEM 21: WHAT AGENTS AND EDITORS ARE LOOKING FOR Part 6

Some of these guidelines mentioned in Part V include:

1. The story must be fast‑paced.

2. The story must be one considered of interest to the mass market.   

3. The writing style must be crisp, not ponderous.

4. The characters must be believable. 

5. The protagonist must be sympathetic, someone to root for.

6. The manuscript should be no longer than 450 pages. In the case of romance and other genre novels, less. Some publishers of genre fiction have rigid guidelines as to length and subject matter. Write to these publishers for their guidelines. There are other guidelines, and you can read more on the subject by investing in one or more of the books recommended at the end of this course.

Finally, editors are looking for stories similar to those contained in current successful novels. Similar, but not identical. If you examine several romance novels, you will notice the similarity of content, but each story is different enough to stand on its own. At the present time, courtroom dramas are less popular than before, as are stories about serial killers. The author must be careful of following trends.   

Regardless of the story, good writing is imperative. The reader must feel connected to the characters, care about them, have an interest in what happens to them. The story must keep moving, tension must be sustained, and a satisfying resolution reached. Novels are a means of escape, and the most successful authors  take readers to places they've never been, has them witness events otherwise inexperienced, lets them meet people (even some nasty ones) they'd never encounter in real life. While reality is important as it relates to credibility, too much reality can turn off a reader. Who wants to experience the trials and tribulations of everyday events? Readers want adventure, to learn new things, to meet new people, to be taken away from the humdrum events of their lives. Authors should be aware that editors are looking for new authors constantly. Competition is keen. There is a place for new authors, and the author who studies the marketplace as carefully as the craft of writing will eventually succeed. Persistence is often the key element in a writer's success. 

Note: SHOW not tell is an axiom in good writing. Rather than explaining what's happening, show it. Use action verbs. Say strode, limped, hurried (etc.) instead of walked. Instead of saying "he was angry" use action to display the anger. Example: He threw the book on the floor and stormed out of the office. That conveys an image, and images are always better than explanations.  Back to Index

ITEM 22: THAT FIRST CHAPTER Part 1

Okay, we're finally ready to start writing.   

A note about copyright, because I know the question will come up. Your manuscript is copyrighted as soon as you write it. There is no need to place "copyright" on the manuscript. Once the novel is sold, your copyright will be officially registered in your name by the publisher. Don't worry about being ripped off. It doesn't happen. There are many reasons it doesn't happen. Trust me.

Okay, that first chapter. It MUST start with a bang. If you read the novels of successful commercial writers, you'll note that something happens almost immediately to draw the reader into the story. This is vital. Agents and editors are unimpressed with  slow‑starting stories (unless the work is of a literary nature). We're talking commercial fiction here, and commercial fiction has to start with a bang.  

Use picture words, or active words. Instead of, "He walked" say "He strode, loped, hurried, staggered, shuffled, tip‑toed, padded," or any of a dozen other words that create an image in the reader's mind. You are using words to convey feelings, attitudes, images, and action. Word choice is all‑important. Using boring words makes for boring reading. And make sure you use the right words. Have a good dictionary handy, as well as a good thesaurus. Don't use fancy words that people won't understand. Successful commercial fiction flows smoothly, with no words to break the reader's concentration. Using five‑syllable words may look impressive, but not to an agent or editor. 

The first chapter must set the stage for what is to happen later, either by the introduction of the protagonist, or an event, it is the beginning. Forget the weather (It was a dark and stormy night) and get right to the action. Read the first chapters of books written by successful commercial fiction writers and you'll see that something happens almost immediately.   

Your first chapter should be at least five pages, but no longer than fifteen.  Back to Index

ITEM 23: FIRST CHAPTER Part 2

The question often comes up about narrative versus dialogue. How much dialogue is enough? Where should it be? How do you start with dialogue? 

In your first chapter, the opening paragraph, even the opening sentence, has to be significant. Long passages of narrative can get dry, however, so I recommend a good mix right from the start. 

Here is an example of the opening to a mystery: 

     He was standing there with a big gun in his hand and a smile on his face. The gun was pointed at me. I wasn't smiling. I was barely breathing. "What's this all about?" I asked, my voice a little tight.  
     "You don't know?" 
     "No, I don't."  
     "Are you saying you don't recognize me?"
     "I guess so. I mean, honest to God, I really don't recognize you."  
     He frowned, and his finger tightened on the trigger, I was too scared to know it, but I could sense it. I held my arms out in front of me, a defensive reaction requiring no thought at all, and then I heard the terrible noise. 
     And my stomach was on fire.  

In this example, you have action immediately. Violent action. The protagonist is relating the story and the style is first person. Questions arise (hopefully). Who is the guy with the gun? Who is the protagonist? Why is he being shot? As the chapter progresses, you have several choices. You can have the protagonist rushed to the hospital, undergo surgery, almost die, and recover. Or you can have the protagonist lying in a hospital bed trying to remember who this guy is. The choice then is when and how you let the reader know why this incident took place. That can occur in later chapters, with the thrust of the first few chapters being the protagonist's search for the man who shot him. And why. Back to Index

ITEM 24: CHAPTER LENGTH

A lot of people get confused about the length of chapters. Well, chapters can be as long and as short as you like. I've seen books that had 100,000 words divided into 196 chapters, and others with the same number of words divided into 10 chapters. For new writers, the best advice is to keep your chapters somewhere between 8 and 25 pages.

A chapter begins when you want to change the scene, or the point of view. For example, if you have as scene where your protagonist is doing something, then a scene where someone else is doing something in another location, that's where you probably want to change chapters. You CAN change scenes within a chapter and this is done by using a page break. A page break is denoted by using the asterisk (*) three times, and centered. That tells the editor you've indicated a page break. Like so:   

* * *

Don't use fancy symbols or anything else. You want your manuscript to look professional.

You can start a chapter with narration or dialogue. It's good to mix it up, so that the reader doesn't begin to anticipate. Starting a chapter with dialogue can also be used to signal a flash‑back, but flash‑backs should be used sparingly. Novels with a lot of flash‑backs can be boring.   

If possible, chapters should contain events that are tied together. Try not to be wandering all over the place within a chapter. The protagonist can talk to one person, get involved in some kind of action, then talk to another person, then get involved in additional action, and so on. When the scene has run its normal course, the chapter should end. It's always good to leave the reader guessing at the end of a chapter, but don't be obvious. Things like: "If only he knew," or, "He was about to be surprised," are really bad news. Make it subtle. Like: "When he opened the door, Alice grinned at him like a fool." If Alice has never been introduced, that makes the reader want to start the next chapter to find out who she is.  Back to Index

ITEM 25: REWRITING

Many writers will tell you that the real strength of a novel lies in how much time the author spends rewriting. When we create the first draft, we are concerned with the many factors that go into the story. Our minds are trying to concentrate on plot, characterization, dialogue, pacing, word count, and a hundred other things. We really aren't aware of the many silly things we manage to get down on paper.

Rewriting is self‑editing. This is where you go over every sentence with a microscope, making sure you've used the right word in the right place, have your commas and other grammatical marks properly positioned, and narrative that is clear, descriptive, evocative, and interesting. 

Have you used a certain word to begin the last five sentences? Are you repeating phrases too often? Does the dialogue ring true? Can you do more showing than explaining? Is there a balance, a pace, a page‑turning aspect to the novel? Do your characters seem alive? Will they stick in a reader's mind?

All these questions get answered during rewrite. As mentioned before, read every page aloud, either alone, or to a friend. Your work will sound much different when you read it aloud, and the mistakes will jump out at you. You'll find scenes that can be cut, others that can be expanded. Rewriting can take as long as the first draft, but it's essential. And once you've completed your first rewrite, do it again. Most successful writers rewrite at least three times.

One of the hardest things a writer does is to look at a chapter and say, "This just doesn't work." It's tough to discard something you've slaved over for days or weeks. But if it doesn't work, a little bell in the back of your head will tell you. You have to discard it.

Are there parts of the story that seem to slow the pace? If so, you have to tighten them up. Your novel has to hum along at a brisk pace.

Good writers are a dime a dozen. Good rewriters get published. Back to Index

ITEM 26: BEFORE THE QUERY

Okay, you've done the rewrite. You think your novel is ready for publication. It's time to send it out. But to whom? 

These days, it's all but pointless to send manuscripts direct to publishers, with the possible exception of romance and horror novels. But, even with those genres, it's best to have an agent. Why? Because an agent knows the business, works at it every day, and is used by the publisher as a first reader. We'll talk about agents later, but before you contact an agent, there are several things you need to know. About agents, about the business, about what happens in a publishing house, and about your chances. So, because knowledge is power, we'll spend a little time giving you some inside dope. Then, when you do send your query, you'll know what to expect.

First, you should be aware that publishers have cut their fiction lists substantially. In order for your novel to be accepted, it could mean that a NOVEL ALREADY ACQUIRED WILL HAVE TO BE DUMPED. While that may sound horrendous, it's a fact.

The average publisher may have 240 novels scheduled for production in 1995. Contracts are in hand, and advances paid. There's no room for more, because the accounting department or marketing department has decided that 240 is it. Along comes your novel. They like it. They can schedule it for 1996, or they can buy it now and kick out one of the books already scheduled. That's costly.   

That's how tight things are. That's why you have to make sure your manuscript is as perfect as you can make it. Fact is, there's a chance that your book IS better than what they've got. You'll never know unless you submit it.

There's something else you need to know before you send out your manuscript. Many agents will want to read a synopsis of your novel. Some call it an outline. Whatever, the idea is that the agent reads the details of your story before deciding to read the manuscript itself. It's a time‑saver for the agent. So, you best prepare a synopsis of your novel before you start sending out queries. Back to Index

ITEM 27: SYNOPSES Part 1

A synopsis is like the book reports you did in school. It's your whole book in a few pages. The idea is for the agent and/or editor to understand what the book is about before investing their time reading it. They aren't interested in anything except the story, the characters, and the potential for commercial success.

So, how do you write a synopsis? Well, most writers aren't very good at it, including this one. But it's a necessary evil, so here goes:  

You start at the beginning, telling the story and introducing the characters. Example:

Eager to get into the war, young Joey DiPaulo leaves Brooklyn in 1940 and joins the RAF. Shot down over France and badly wounded, he is befriended by the French Resistance. After he recovers from his wounds, he is smuggled back to England. The RAF sends him to Washington as a liaison officer.

When America enters the war, Joey joins the Army Air Force, and after a distinguished flying career, returns home at war's end, gets married, finishes law school, and enters his father's law firm. He is unaware that a short affair with one of the women of the Resistance has resulted in the birth of a daughter.

Josephine, the daughter, has lost her mother during the war. She is raised by a cruel and abusive uncle, who sexually assaults her when she is but seven years old. At ten, after a horrendous fight, she kills him with a shovel. She confesses to the police and is sent to a reformatory. Josephine knows who her father is, thanks to her mother's diary. In reform school, she starts a diary of her own. Released at the age of 16, Josephine is a lovely woman and soon becomes a model. She is approached by a mysterious Swede who wants her to act as a spy. She agrees. 

Her twin careers flourish. At twenty, she is rich beyond her wildest dreams.   

To be continued...  Back to Index

ITEM 28: SYNOPSES Part 1

As we were saying in part 1... 

Josephine knows that her father is an American, but makes no effort to contact him. Joseph DiPaulo, on the other hand, is totally unaware of her existence. He's now married, working as a lawyer in his father's law firm.

The local political big‑wigs come to Joseph and ask him to run for Congress. He is, after all, a war hero. He runs and wins. Later, he breaks away from this crooked support group and runs for the Senate. He makes it. Eventually, he is a respected, long‑time member of the Senate and is picked to be the president's running mate.

Meanwhile, Josephine has become a paid assassin. She works for ten years knocking off people she doesn't know. She finally retires and becomes a writer of spy novels. Very successful. Naturally, no one knows of her past.

In her retirement, she is approached by a group of Frenchmen who DO know all about her past. They want her to assassinate one more victim ‑‑ the President of the United States, who just happens to be her father.

The climax of the story comes when Josephine is forced to make a decision. If she kills her father, can she live with herself? If she doesn't, will they hire someone else? Of course. So she does the only thing she can do; she confronts her father with the truth of who she is and warns him of the plan to kill him.

What does he do in return? For those of you who haven't read THE VENUS DIARIES, by yours truly, I'll save that part, but this is an example of a short synopsis of that novel.

Most synopses should run no more than two pages. They are single‑spaced and designed to impart the content of the novel.  Back to Index

ITEM 29: LITERARY AGENTS: DO I NEED ONE? Part 1

The two most common questions asked of published writers by those seeking to become published is, "How can I get published?" and "Do I really need an agent?" As a novelist, I highly recommend having an agent. Some of my fellow authors, both in fiction and  non‑fiction, disagree. But most published authors do have agents, and there are some good reasons why an unpublished author should seek an agent rather than approach publishers directly. 

1. Editors and assistant editors are overworked and underpaid. So much material is received from agents that many publishers have a policy prohibiting even the reading of a query letter from an unagented author. In companies where this is not the established policy, queries from unknowns are usually handled by an assistant editor or a secretary. These people are periodically advised to reject all unagented queries because of the press of regular work. In that case, no matter how great your query letter is, the editor will never see it and no one at the publishing company will ever read your manuscript. It may seem silly to you, but this is the way things work in publishing, and you should understand it. 

2. When an agent presents a work to a publishing house, the editor knows that the agent has read it. That the agent is trying to sell it means that the work has commercial potential. Editors will quickly stop doing business with agents who present really bad stuff, so the agent becomes, in effect, the first reader. It's unheard of for an agent to present a manuscript for which they have no enthusiasm.  

3. The author needs to be read by as many editors as possible because it can take twenty or thirty readings by different publishing houses before a commercially acceptable book is acquired. Many best selling books have been rejected over the years, books such as Gone With the Wind, The Firm, Atlas Shrugged, and so on. An author kills all chances if the manuscript isn't read, and getting the manuscript read is most difficult without an agent. Since the object of the exercise is to get published, the more editors who read your work, the higher your potential for making a sale. (more) Back to Index

ITEM 30: LITERARY AGENTS: DO I NEED ONE? Part 2

4. An agent is usually familiar with the editors he/she works with. By that, I mean the agent knows the kind of book the editors like and dislike. Market conditions change quickly, and agents are usually very knowledgeable about these changes. For example, if the market for mysteries is hot at a certain house, and you've written a mystery, the agent knows exactly where to take your manuscript.

5. An agent knows what the going rate is for books. The agent knows average advances, royalties, and terms and conditions on contracts. Therefore, the agent is likely to get you the best possible deal, which in most cases pays the commission.   

WHO ARE THESE PEOPLE? 

Most agents have a background in the book business. Some are former marketing people in the publishing field, others are former editors, while some others were involved in administrative work. Some are people who once worked for a large literary agency, developed contacts, and have now decided to form their own  businesses. Almost all agents have a deep love for books, and a feel for good writing. But you shouldn't think all agents are writers. Few are, and while most can tell you why they think a book is bad, few can explain exactly how to fix what's wrong. Nor do most want to, for an agent's job is to market books, not write them.

Like any business, personal contact is important. Most agents know the editors they deal with personally. A phone call is all that's usually needed to get an editor or assistant editor to agree to read a manuscript, or part of one. The vast majority of agents are one man or one woman operations. They may have an assistant and a secretary, but the agent is a sole practitioner, so to speak. There are some large literary agencies that employ many agents, but they are in the minority. And in this business, big isn't always best. Many of the most successful agents are individuals with staffs of one.  Back to Index - Show quoted text -

ITEM 31: WHAT DO AGENTS DO? Part 1

Agents are always looking for new authors. At the same time, there are hundreds of thousands of authors looking for an agent. As a result, getting an agent is no easy task, for each day the agent receives up to twenty‑five queries in the mail. Since most agents have client lists that include from fifty to one hundred or more authors, they take on five or less new authors each year. As it relates to new authors, here's the process:

The first introduction from author to agent usually comes through a query letter. A query letter is normally one page long, and tells the agent who the author is, what the book is about, and why the agent should consider this author as a client. For help in composing query letters, I recommend you read How To Write Irresistible Query Letters by Lisa Collier Cool. As you can see, the subject is a lengthy one and needs to be studied carefully. We'll be discussing query letters later.

You will see many listings of agent names and addresses in the various writing books and some listings will suggest you send sample chapters. I recommend against it, because I think unsolicited chapters often get lost in the shuffle. If the query letter is a good one and the agent is interested in reading your work, you'll get a request for either chapters or the entire  manuscript. At that time, you're sending something asked for, and it receives closer attention.

Once the agent reads the query letter, a decision is made. If the query letter is good, the agent may decide to take a look at some samples of your work. However, there are times when the agent is overwhelmed with work and will reject all queries without even reading them. And here's something else you should know: some agents simply don't respond to anything when they're busy; they throw all queries away, even those with SASE's. While it may be rude, it's a fact of life, so rejection letters or no response at all do not mean your query was terrible. Many times, your query letter has not even been read. You need to keep that in mind. Back to Index - Show quoted text -

ITEM 32: WHAT DO AGENTS DO? Part 2

But, in the case of a query letter that has been read and has piqued the agent's interest, you'll usually receive a short note saying, "Send me sample chapters, "or "Send the manuscript." That's the first step, and it's a big one. If you send sample chapters, make sure they are the first chapters, usually no more than fifty pages. In every case, always include an SASE and make sure you send copies only, never the original. And don't expect a response for some time, perhaps as long as three months. 

If an agent decides to represent your work, you will probably receive a phone call. Whether it's a phone call or a letter, the agent will want you to understand that you are entering into a business relationship. Contracts will probably be involved. Once they're signed, the agent will either make copies of your manuscript (for which you'll be charged. More on that later) or ask you to forward copies.

Then, the agent will phone the editors she or he has in mind for your work and suggest they read the manuscript. The agent will describe your book in two or three sentences and suggest it has merit. The editor will either agree or pass, depending on the circumstances. Then, the copies of your book will be forwarded to the editors.

Again, depending on the circumstances, the agent will start getting answers within about four weeks. Some will take months. In most cases, the editors will reject the book, and this is only because of circumstances. If a publisher makes an offer, the agent will usually contact the other editors to whom she has sent the manuscript and make that known, giving them the opportunity to quickly read the book. There is always more interest in a book if an offer is on the table.  

Once that's been settled, the agent will negotiate with the editor(s) involved. If the agent is experienced, and most are, the agent will know which items are open for negotiation and which are not. Once everything has been agreed upon, the agent will contact the author and relay the information. It is always up to the author to accept or reject any deal. But since most agents are striving to get the best deal they can, the agent's advice should be considered carefully.  Back to Index - Show quoted text -

ITEM 33: WHAT DO AGENTS DO? Part 3

If the deal is accepted, the agent will receive contracts from the publisher in the mail, usually in about three weeks. The contracts will be reviewed, then sent to the author for signature. If you have any questions, the agent will have the answers.   

The contract will call for all monies to be paid to the AGENT, both the advances and future royalties. This is normal. The agent takes commission fees, deducts expenses as per the contract with the author, and forwards an agency check for the balance to the author. Commissions are normally fifteen percent, though a few agents still charge only ten percent, and normal expenses are costs of copies of manuscripts, messenger service or mail charges for delivering the manuscripts to editors, and such things as long distance phone calls to the author. Normal business expenses such as overhead should not be charged to the author.  

Before entering into an agreement with an agent for representation, the author should have a clear understanding of the arrangement so that arguments do not undermine the relationship. If you have any questions regarding the contract between you and your agent, have them answered before you sign the agreement.

Also, you should be aware that about half the agents charge a reading fee to unpublished authors. Whether you pay this fee or not, be aware that paying a reading fee does not improve your chances of that agent taking you on. The book you have written is the only determining factor. You cannot buy your way into this business.

Agents who charge reading fees are more accessible to unpublished authors, but their rejection rate is exactly the same as non‑fee agents. When you consider that the average unpublished author will contact fifty or more agents before finding one to represent the work, it seems foolish to pay a reading fee to an agent. Back to Index - Show quoted text -

ITEM 34: READING FEES

Why do agents charge reading fees? Some agents feel their time is worth money. Fair enough. But in some cases, it's simply to make money. Many times, the manuscript is not read by the agent, but rather by a secretary or assistant. Not always good value for the money. And there's no way no know for sure WHO read your stuff.

As I said earlier, half of the agents do not charge a reading fee. But some do charge another kind of fee. They worry that they will not be repaid for the costs of making copies of manuscripts, so they charge a "management fee" which is usually refundable if the book is sold. My suggestion is this: Tell the agent you will provide all required copies of manuscripts. Keep the number of copies to a maximum of ten. Tell the agent she may call you collect. But don't pay a fee of ANY KIND. While the vast majority of agents are honest, hard‑working people, there are a few clunkers out there who sell very few books and make their living from fees.

Recently, a first author friend of mine completed a novel and went through the daunting process of trying to find an agent. He really did his homework. And then he bought a copy of Writers Digest Guide to Literary Agents and Photo Reps. He studied the names of ALL agents handling his genre WHO DID NOT CHARGE A FEE. He ignored fee‑chargers. He spent three days working on a one‑page query letter. And then he picked out eight agents he considered were the best in the business, agents who handle the bestselling authors. Most of the listings said "Not adding new clients."

He sent his one‑page query, an SASE and the first four pages of his book. He received eight responses. Four said no, and four said let me read it. One said I'll take it. Does that tell you something about query letters and the first few pages of a manuscript? Back to Index - Show quoted text -

ITEM 35: HOW DO I FIND AN AGENT?

I've already described what my friend did. But there are many techniques. Some authors attend writers' conferences and meet agents personally. They discuss their book and ask the agent to read it. That's one way, and it's a good one. Again, as with anything else, personal contact is best, but it's not always practical.

Another technique is to use what's called target marketing techniques. First, you go to a book store or library and find ten successful books that are similar in genre and/or style to yours. You may have to read forty books before you find ten that you can consider similar to your own. The plots can differ, but the books should be similar in other respects. For example, William J. Coughlin's books are similar in many ways to books authored by Ridley Pearson. Both authors use lawyers as protagonists, as do Scott Turow and John Grisham. The books they write are different from one another, but there is a similarity in content.  

Once you have located ten books similar to your own, you write a letter to the various publishers asking for the names of the agents representing these authors. The publishers will often comply. Then, you write a query letter to those agents telling them that your book is similar in many ways to the ones they represented, but you explain the differences. In other words, you're not a copy‑cat, but you have written a novel that has great market potential. You know this because you've researched the market.

As a last resort, you use a shotgun approach. You find a copy of Literary MarketPlace, Writer's Digest Guide to Literary Agents & Art/Photo Reps, or Insider's Guide to Book Editors, Publishers, and Literary Agents, by Jeff Herman. Each of these books has lists of agents. Most are listed according to specialty. Using How To Write an Irresistible Query Letter as your guide, or some of the examples we'll provide here, you compose a one‑page query letter, and include sample chapters and/or a synopsis if asked. Mail to fifty agents chosen from the lists of agents. If all fifty fail to elicit interest, send fifty more.  Back to Index - Show quoted text -

ITEM 37: SAMPLE QUERY LETTER NUMBER 1

Dear Agent,

My mystery novel THE ROAD BACK tells the inspiring story of Helen Jones, a female detective with the NYPD, who loses both legs in an accident while chasing a murder suspect. 

Engaged to be married, Helen loses her fiancee, her job, and her lifestyle, as she is assigned to the list of those considered permanently disabled. After a short period of self‑pity, the determined Helen endures rehab, is fitted with two plastic legs, and eventually passes the PI examination.   

Her first case is personal. The killer she was pursuing the day of the accident has never been found, and Helen successfully hunts him down. Vindicated, with her life back on track, Helen endures.   

THE ROAD BACK runs 90,000 words and will appeal to readers who enjoy action, drama, and happy endings. The novel is intended to be the first in a series featuring a woman PI who is tough, resolute, bright, and feminine, despite her disablement. Fans of Sue Grafton and Mary Higgins Clark will enjoy THE ROAD BACK.

I've drawn on my personal experiences as a rehab nurse to create the character, and spent many weeks researching the book. And while I realize the fiction market is tight these days, I feel confident you'll find THE ROAD BACK worthy of publication.

I'd be happy to send sample chapters or the entire manuscript. I hope to hear from you soon.

Yours very truly, 

(More to follow) Back to Index - Show quoted text -

ITEM 38: SAMPLE QUERY LETTER NUMBER 2

Dear Agent,

Jennifer Albright is the kind of woman we all love to hate; well‑married, successful, arrogant, rich, and beautiful. When she's murdered, there are as many suspects as dandelions on PI Melissa Courtney's lawn.

Melissa is the protagonist of my novel AGING BEAUTY, a former Miss America in her mid‑thirties whose passion is solving baffling murder cases. But in this case, Melissa is the prime suspect. The story follows Melissa as she suffers the humiliation reserved for those who find their reputations destroyed by the media.

Naturally, Melissa has to find the real killer, and in doing so, she uses her considerable intellect and wit to advantage. She also finds that her carefully crafted world is a facade. With vindication comes a reassessment, and that is the crux of this involving story.  

As a former legal secretary, I used actual events to craft AGING BEAUTY, and spent many weeks researching police procedures in Santa Cruz, California, where the story is set. The novel runs 80,000 words, and after several rewrites, is ready for an agent's assessment.

I've written to you because of your experience, and your success with such writers as ‑‑‑‑‑ and ‑‑‑‑‑. Readers of their work will also enjoy AGING BEAUTY.  

I'll be happy to send sample chapters or the entire manuscript for your consideration. I hope to hear from you soon.

Yours very truly, 

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ITEM 39: QUERY LETTERS

In both of these examples, the author is telling some of the story, introducing the protagonist, and giving enough of the plot to evoke interest. The title is mentioned, as is the fact that the novel is complete, has been researched, and that the author has read enough to know that this novel will appeal to fans of certain well‑known authors. The word count is supplied, and the author also mentions his or her qualifications for writing such a novel. You need to include something along those lines.

All of these items are important. Brevity is key. A query letter is, in a sense, a teaser. These examples are designed to get you thinking. Put yourself in the agent's shoes. What would impress you? 

Some agents, in their listings, ask for query letters only. If that's the case, follow instructions, but include the first four pages of your novel anyway. Just four. Again, curiosity may compel the agent to take a peek.   

If the agent asks for a synopsis, send it. Same with sample chapters. Always include an SASE. But in the case of sample chapters, don't ask for them back. They'll be dog‑eared anyway. So, when sending unsolicited material, always include a line like, "The material need not be returned." 

If an agent asks for the manuscript, send it quickly (a copy, never the original) and include enough postage and a packing envelope for its safe return.   

Again, multiple submissions are the norm these days. There's no need to mention it in the query letter, but if asked, tell the truth. Even with a terrific query letter, expect a lot of rejections. The fiction market IS tight. The right query must land in the right hands at the right time. Luck is a BIG factor.

Agents ARE looking for new material. A lousy query letter turns an agent off. A really good one can at least gain a read. And that's the goal, getting read by a pro ‑‑ and represented. Back to Index - Show quoted text -

ITEM 40: AGENTS (Summary Part 1)

1. Remember that agents receive hundreds of query letters every week. Ninety‑five percent of queries are never read by the agent, but usually a secretary. Always send an SASE, but don't be surprised if you receive no answer. That's why I suggest you not send material (other than the first four pages) on the initial contact. It's usually a waste of money.

2. Avoid paying fees of any kind. Most agents earn their money through the commissions paid on sales. If you send a query to an agent and the agent responds with a request for a reading fee, ignore it.  

3. You may get a response from an agent requesting an exclusive reading. This is quite normal. An agent doesn't want to take the time to read something only to find that the author has signed with another agent. Agents hate to waste time. It's okay to give an  exclusive read, but tell the agent (politely) that you want to limit it to three weeks. Once you've made that commitment, stick to it.

4. If you receive responses from several agents (all at the same time) who agree to read part or all of the manuscript, send it off. If an agent asks if you've sent material to anyone else, answer honestly. Most agents frown on multiple submissions, but understand. For example, if you were to give twenty agents a two‑ month exclusive read, and each one rejected your manuscript in turn, you will have wasted almost four years waiting. Agents know this, and while they will fight for an exclusive read, they will still respect an author who lets them know he or she has a marketable property and wants it in the hands of an agent as soon as possible.   

5. In the unlikely event that more than one agent wants to represent you, try to meet in person, or at least talk to all of them on the telephone. Make your decision based on how you feel about each agent (gut instinct and knowledge). (cont) Back to Index - Show quoted text -

ITEM 41: AGENTS (Summary Part 2)

6. Agents are not editors. However, some agents have a terrific feel for the market and will suggest changes in the novel. If this happens, you have to consider the suggestions carefully. Often, the suggestions are good ones. Keep in mind that successful authors almost always change their novels after receiving suggestions from editors. Sometimes a really bad book written by a successful author will be saved by some hard work done by an editor. In your case, the agent may suggest that if you do some changes, they will represent you. Discuss the situation openly and honestly. Be professional. Don't let your ego close the agent out. At the same time, you have to be the final judge of your work.

Most times, the process of getting an agent is time‑consuming and frustrating. You send a query letter to fifty agents and three or four agree to read the manuscript for no charge. You send the manuscript. You receive rejection letters. You send out more queries. You receive a few more letters from agents asking for the manuscript. You send it out. More rejections. Then, finally, you get a phone call. An agent has read your book and wants to represent you. This is the time for you to ask all the questions you have on your mind. Make sure you and the agent have a clear understanding of what the agreement entails. Make sure you read any proffered contract carefully, and don't be afraid to pick up the phone and ask questions.

Once you have entered into a contract with an agent, keep in mind that you have signed a legal document. But whether you sign a contract or not, there are certain rules of business that apply, the key one being this: once an agent has presented your work to a particular publisher, the agent is entitled to commission if the publisher buys the work. For example, let's suppose you have a verbal agreement with an agent to represent your work. The agent sends the work to ten publishers, but nothing happens. After six months, you get frustrated and fire the agent. You hire another. Your new agent presents your novel to the same publishers. One of them makes an offer. Legally, you are required to pay commission to both agents. It may not sound fair, but it is the way things work. So, be careful with agreements.  Back to Index - Show quoted text -

ITEM 42: AGENTS (Summary Part 3)

Agents are human beings. They get discouraged and frustrated just as you do. Sometimes, an agent will be excited about your work initially, then, as the rejections start coming in, get discouraged and put your book on the shelf. Some agents are notoriously lax about keeping in touch with their clients. Usually, an agent will not contact an author until something good happens, such as an offer. Rejection letters pile up and are mailed in one lump. It's not unusual for an agent to not contact an author for three months after the agent has agreed to represent the work. This isn't because the agent is a jerk; it's simply that the press of business is such that many agents don't contact an author until there's something to discuss.

Nevertheless, you should have a clear understanding with your agent that monthly contact is essential. You may initiate the telephone call. Most agents will not mind a monthly update, but they do rebel if you call them constantly. Remember, if they have good news, they'll get in touch quickly. But if there is no good news, the agent hates to let you know, just as you hate to pass on bad news to someone else.

In all of your contacts with an agent, be they through letter or telephone, always be polite. Agents do not hold your hand. They are business people with as many as a hundred clients to serve. While they may often seem rude, it's not personal. They're usually in a hurry. Most agents are honest. As with doctors, lawyers, or any other group of people, there are dishonest agents, but they are few and far between. Publishers don't do business with people they feel are dishonest. In my experience, ninety percent of the problems authors have with agents are due to bad communication. The more of the agreement you have in writing, the better the relationship will be. As well, authors sometimes forget that while they have but one book to worry about, agents have hundreds. The ignored author will often think he's being ignored for a reason. Not so. Again, to repeat, make sure you have an arrangement with your agent whereby you are allowed to call once a month for an update.  Back to Index - Show quoted text -

ITEM 43: THE BUSINESS Part 1

When I started writing novels in 1984, I thought the process was simple. An author sat down at a typewriter or computer keyboard, wrote a book, sent it to a publisher, and if the book was good (whatever that means), the publisher bought it. I didn't have much idea of what happened from that point on. Though I had always been a voracious reader and loved books, I really didn't care much about the business end of writing. When I began to write novels, I still didn't care, and that was a big mistake. If I'd known then what I know now, things might have been different.

Don't misunderstand. I'm very happy with my writing career. It's just that I would be a bit farther along if I'd studied some of the things I'm going to list here.

I certainly didn't know how to write a commercially acceptable novel. It took a lot of reading of how‑to books and some creative writing courses before I finally became proficient enough to get published. Along the way, I also learned that publishing (like anything else) is not nearly as simple a business as it might first appear. In fact, publishing is one of the more complex businesses you'll ever encounter. 

Publishing's closest industry cousin is film‑making, whether it's for theater or television. In truth, publishing is now akin to show business, and many of the largest publishing companies are owned by conglomerates who also own Hollywood studios and/or television production houses. There's been a homogenization of management within some of the conglomerates, and the result has been a change in the way books are marketed.

Thirty years ago, there were hundreds of book publishers, most of whom published a hundred or so hardcover books a year. There was a paperback book market, but aside from reprints of best sellers or classics, most paperbacks were considered trashy. They sold for a dollar or less, and weren't a big factor in the market. When a publisher announced the publication of a new book, a few thousand independent book stores were given information on the book, its author, and orders were taken by salesmen who knew the interests of each store owner.  Back to Index - Show quoted text -

ITEM 44: THE BUSINESS Part 2

It was a cozy, friendly atmosphere. Customers of book stores would come in, ask what was new, and the bookstore managers or clerks would give some recommendations, many of them a result of having read the books they were touting. Today, in the impersonal world of the big corporation, much has changed. Books are now marketed like other products with attendant advertising and promotion in some cases. The vast majority of books do not receive much publisher support, and with stores using computer tracking to keep track of sales, poor selling books can often spend less than a few weeks in a store before they are returned. Keep in mind that most books are sold on a guaranteed sales basis and can be returned for full credit. 

In these competitive times, the more you know, the better are your chances for success. So, here are some things I've learned that might help you. Please note that my comments are addressed exclusively to those of you who are seeking publication in the commercial fiction field.  

BOOK CLASSIFICATIONS

Publishers classify novels according to genre. Romance, gothic, science fiction, mystery. The list is becoming longer each year. Within the romance genre alone, there are a dozen sub‑genres. Therefore, you have a better chance of becoming published if you work within a genre and are familiar with the guidelines. Most publishers of genre fiction have published guidelines and will send them to you if you write to them and enclose an SASE. If you stick to these guidelines, the agents and editors will be able to judge your novel on its merits. On the other hand, if you write outside a genre, agents and editors first have to determine if your book fits a particular genre, and books that don't fit a certain genre will often be rejected for that reason alone. I'm not saying this makes sense, just that it's the way things are in this business.  Back to Index - Show quoted text -

ITEM 45: THE BUSINESS Part 3

Romance novels account for almost half of all books sold. Some romance authors publish four or five books a year under different pen names. If it's money you're after, writing romance novels is a great way to break into the business. There is one problem, however. Some publishers of romance novels require the author to use a pen name owned by the publisher. If the author decides to take a future book to another publisher, the author will have to use another name. This means losing the following the author has developed. I suggest that authors carefully consider this issue.  

COVERS

You've no doubt heard the expression, "You can't tell a book by its cover." True. At the same time, covers are the single most important factor in the success of first novels published in paperback. The cover is what makes people pick up the book in the first place. The author has no say in cover design (for good reason, as most of us aren't art directors). Keep in mind that  the publisher wants every book to be successful, but there is a pecking order in the book business, and covers are part of that pecking order. More money is spent on a cover of a book written by a "name" author. As a result, many first novels have poor covers, and the book suffers as a result. It's a good idea for the author to closely examine book covers while in a book store, and make some notes. If you end up with a list of publishers with terrible covers, you might want to think twice about accepting an offer from one of those publishers.

THE LISTS 

Let's assume you own stock in two corporations. In one case, your investment is two thousand dollars. In the other, your investment is thirty thousand dollars. Naturally, you're more concerned about the fortunes of the company you've invested in heavily. So it is with publishers. The more money paid for a book, the more concern. More attention is paid to cover design, promotion, and marketing, and this can impact heavily on a writer's career. Back to Index - Show quoted text -

ITEM 46: THE BUSINESS Part 4

Example: John Smith writes a book, gets an agent, and the agent sells the book for thirty thousand dollars. Mary Brown writes a book, but her agent gets two thousand dollars. I can guarantee you that John Smith's book will get more attention. Simple. But the impact on the future of both writers is lasting. Here's how:

1. John's publisher will spend money to protect the publisher's investment. In reality, this means that John's book will be placed high on the publisher's list, sales brochures will be splashy, and book stores will be offered incentives to feature the book in some sort of in‑store display. This translates into more people seeing the book and more opportunities for the consumer to purchase the book. As well, more copies of the book will be printed the first time around, more sample copies given away to critics and others, all of it giving the book more exposure. The more exposure given a book, the better its chances.

2. Mary's publisher will spend little money to promote her book. It will be printed in smaller quantities and no incentives given to the book store to feature the book. As a result, Mary's book will sell in much smaller numbers. In the end, John's book MAY be judged the better of the two, because the sales were higher, even though neither author had any hand in the promotion of the book. The numbers are the only thing that publishers pay much attention to, and when the numbers are bad, the author is blamed. Unfair? You bet, but that's the way it is.  

But, and this is a very BIG but, there are exceptions. Let's say that John's book sold 40 percent of all copies printed, and Mary's sold 80 percent of all copies printed. Who's the hero now? Mary. Sell‑ through percentages have become the publisher's guide.

Bottom line: It is better to risk less on a first novel. The size of the run doesn't much matter, but the book must be promoted with in‑store front‑row‑ center incentives. If the publisher isn't going to do that, you'd be wise to walk away from the deal. I'll tell you why in the next note. Back to Index - Show quoted text -

ITEM 47: THE BUSINESS Part 5

Most authors are interested in writing more than one book, and if that first one is considered a failure (even though its failure is due more to publisher inactivity than author creativity) the author will have a tough time selling book number two.

Hardcover books have one extra chance for success. Hardcover books are reviewed much more frequently than paperback originals. As a result, a hardcover first novel, even without publisher support, can be praised by respected critics. This causes the publisher to give the book a second push, and can make a big difference. As well, a critically acclaimed hardcover can always be sold a second time, to a paperback publisher, again giving the author another chance at success. 

In the case of paperback originals, they are rarely reviewed in major newspapers. As a result, the author doesn't get that second chance.

When a publisher offers no incentive to the stores to stock a book, most stores (especially chains) will not even stock the book. If they do buy a paperback original, it is usually placed on a book shelf spine out, which means no one can see the cover. In chain  stores, this is the kiss of death. Unless that book's cover can be seen, the customer has no reason to pick it up. After a few weeks on the shelf, the book is considered a failure and returned (hardcovers are returned intact; paperbacks have their covers removed and the covers are returned). 

In the case of hardcover books, most are shown cover out for a couple of weeks or so. Even then, unless a browsing shopper has heard of the book through a reviewer article, the chances are slim that they will spend twenty dollars to buy a book by an unknown author. These days, people watch their money carefully. 

The unpromoted author of a hardcover novel is doomed. The unpromoted author of a paperback original has a chance, but it's slim. People are buying less fiction from unknowns than ever before. And the author is ALWAYS the one at fault.  Back to Index - Show quoted text -

ITEM 48: THE BUSINESS Part 6

Each month, upwards of three thousand books are made available to book stores. The stores don't have room for all of them, so they are forced to make choices. Nor do the stores have time to read each book, so the choices they make are often a result of publisher recommendations. This is called the "list." A publisher's "list" of books rates them in order, from one to thirty, or whatever number of books are available that month. As we said earlier, books are classified according to genre, so the list is really  five or more lists. There will be a list of mainstream books, then mysteries, then romances, or horror, or whatever. Each list will rate the books from one to five or so, with the book listed as number one given the most attention.

Most book stores will buy only the top‑listed books. They simply don't have room for the others. If your book was purchased by a publisher paying a small advance, chances are the book will be well down the list. This is perfectly normal for first novels, as  most are placed in the middle or bottom of a publisher's list. That means few stores will stock the book, and few sales will be made. You'll be told your book did poorly, that it was your fault, and so there. It makes no sense, but that's the business. Many authors quit writing at this point, feeling that the odds, even after getting published, are too long. If you think publishers could change this by publishing fewer books, you're right.

Publishers ARE publishing fewer fiction TITLES, perhaps as many as 30 percent less. And since an established author with a following large enough to ensure a profitable run is a better bet, publishers would rather go with a sure thing than take a chance on a new  author. The fact is, readers are becoming more celebrity conscious than ever before, and are buying less novels written by unknowns. That makes the number of available "slots" open to newcomers very small.

And then there is the consumer: I recently did a book signing at a superstore on opening day. The bestsellers were on sale at 40 percent off. My books weren't. Of three hundred people who passed my desk, I sold exactly five books.  Back to Index - Show quoted text -

ITEM 49: THE BUSINESS Part 7

What's all this mean to you? Just this: We all want to get published, and that's a worthy goal. But getting published is not the end of the quest. In publishing, getting your first book published is just the beginning. But how you handle that beginning can impact your entire career, and the beginning starts with a clear understanding of what lies ahead, right from this moment forward.

The first step is to write the very best book you can. Because the competition is so fierce, it makes sense for an author to have an agent. An agent is a must if your book is to be read by the largest number of potential buyers. Talk with the agent you pick before making the decision to hire that agent. If possible, a personal visit is best, but if that's impossible, spend some time on the phone. Discuss your goals. Make sure you and the agent are on the same wave‑length. Both the author and the agent should have a clear understanding of the author's goals, and those goals should go beyond the publication of the first book. As in the game of chess, the author must look three and four moves ahead.   

When that first offer finally comes, don't leap too quickly. Make sure your agent has covered all the bases. If only one offer is received, consider everything. You may receive an offer that includes an advance of two thousand dollars (not unusual at all). If you want to accept it, do so, but keep in mind that this is just the first step in your career. It's vital that this book do well. Poor sales (no matter the fault) will reflect on your chances the next time.

What can you do to help things along? You can let everyone you know of the fact that you have a book out there. Tell your friends to order the book if the store doesn't stock it. Spend the next six weeks pushing the book yourself. Try to arrange as many book signings as possible. Sign the books they have in stock. Talk to library groups and other literary clubs. Try to get your book reviewed by the local newspaper. Get to know the people at every book store within twenty miles of you. The more they know about you, the harder they'll work to sell your book. Authors are generally respected, so that works to your advantage. Network with other authors through writers' groups. Join established writers' organizations.  Back to Index - Show quoted text -

ITEM 50: THE BUSINESS Part 8

None of what I've said here is meant to discourage you. Quite the opposite. The informed author is better able to cope with the business end of publishing, and as much as we might dislike the concept, the business end of publishing is important to an author.

Once you've sold your book to a publisher, you'll be surprised to learn that it may take a year or more before that book is published. Publishers plan their selections roughly a year before the planned publication date, because there are so many parts to  the publishing process. First, the book must be edited, and this is usually done by the editor who acquired the book. Once the editing has been done, the manuscript is returned to the author. At this time, the author can accept or reject the editor's    suggestions. Keep in mind that editors are trying to improve the work, and their suggestions are usually based on experience. Note: the author who rejects all of an editor's suggestions will find it very tough to sell another book to that editor.

Once the author has made corrections to the work (according to the editor's suggestions) the manuscript is returned to the editor. A copy editor then works on it, checking for factual errors, grammar usage and other things. Once again, the manuscript is returned to the author, who must approve any changes. After that process is complete, the manuscript is turned over to the production department. In the meantime, a cover has to be designed, and further discussions are held within the publishing firm to determine where this book will be on the list. As we said earlier, your position on the list will determine how much promotional effort is planned.

BEFORE you sign that contract, discuss with the agent your expected position on the list. If the agent is unable to get the information, think twice. A book scheduled to be featured at the front of stores has a chance. One scheduled to be thrown to the wolves with no support has little chance. As tempting as it is to be published, inviting failure is not a great career move.  Back to Index - Show quoted text -

ITEM 51: THE BUSINESS Part 9

ROYALTY STATEMENTS

About a year after your book is published (depending on the contract) you will receive your first royalty statement. This will probably come as a shock. Less so, if you understand what royalty statements mean. The statement will not explain how many books were printed, just how many were sold after an allowance for returns and future returns. Confused? 

Let me explain. Let us assume the publisher planned to print 25,000 copies of your book in paperback form when the book was acquired. The initial decision on a press run is made at the time the book is acquired and is directly related to how much is paid as an advance. The book is "slotted" for publication, and its place on the "list" determined. Then, about four months before publication, the sales department presents the book to the chains, independent distributors, and book stores. Depending on the number of orders received, the press run is adjusted. So, we'll assume that they guessed right, and the final press run will be 25,000. 

These days, it's not unusual for half the books to be returned after a few weeks on the shelves. So, the publisher makes allowances for that. As well, some stores can take up to two years to return a book, so the publisher makes allowances for that as well. These return allowances are reflected in what's called the "reserve," but this reserve is rarely explained on royalty statements.

What usually happens is that a net figure is determined by the royalty department. In our example, the press run was 25,000, but the "reserve" on a first novel will usually be set at 60%, which means you will be paid on 40% of 25,000 books. If your book has a retail price of $4.95, and your royalty rate is 6%, you will be credited with sales of 10,000 books at $.297 each, for a total of $2,970. If the advance was $2,000, you will receive a check for $970.00. If you have an agent, the check will go to the agent, who will then send you his or her check. This is normal business practice. Back to Index - Show quoted text -

ITEM 52: THE BUSINESS Part 10

You will receive a royalty statement every six months. In succeeding statements, some of the "reserve" will be released, usually about 25% per reporting period. So, if the numbers on your book indicate that the returns were 50% instead of the 60% expected, it means you have a net sale of 12,500 books instead of 10,000 books. Therefore, the difference being 2,500 books, the  publisher will pay you 25% of that in the next reporting period, or 625 books at $.297 each, for a total of $37.50. A check will be enclosed. After about three years, a final count will be made and your final royalty check enclosed. 

Still confused? Most authors are. In fact, royalty statements are the single biggest source of strife between publishers and authors. But the system in place now is an old one, and publishers have no real incentive to change, so don't expect changes any time soon. Are you being cheated? No. Publishers know that half the books will be returned. If they pay you too much too soon, they can hardly ask for it back (though some do, according to contract). So this archaic system will be with us a few more years. Best to just accept it.

FOREIGN AND MOVIE RIGHTS

In most cases, contracts will specify that the publisher has foreign rights. If the book is sold abroad, you'll receive anywhere from half to three‑quarters of the money, depending on the contract. Since most publishers have foreign rights departments, it's best to let the publisher work with that. 

As for movie rights, the publisher will try to keep those, but a good agent will hold them for you. There are scouts who buy thousands of novels every year, looking for stories that might make good movies. I've had three of my books optioned for film, and although they were never made into movies, I got to keep the option money. In all three cases, it was scouts who brought the book to a producer's attention.  Back to Index - Show quoted text -

ITEM 53: THE BUSINESS Part 11

Multi‑book deals? There are less of them these days. Series deals? Same thing. While series are popular, it's the established series that are selling. Publishers like to see how a book does before committing to more. And since it takes a year for a book to be published, you have all that time to write book number two. 

THE BIG SECRET  

Some authors have developed a distrust of literary agents. They've read horror stories and think the agents are nothing but rip‑off artists. It just isn't true. And while you'll hear of authors who have found success by sending their novels "over the transom" (which means unsolicited and unagented) directly to a publisher, those incidents are very rare in fiction.

In most cases, here's what happens to a manuscript sent directly to a publisher, and I say this from my own personal experience. The package containing the manuscript arrives at the publishing house. It is opened and the cover letter checked. If the cover letter is from an agent, the manuscript will be directed to the appropriate editor. (Manuscripts from agents are always addressed to an editor.) If the cover letter is from the author, the manuscript is tagged with the date of arrival and placed in storage. After a few months, the manuscript is returned unread to the author with a rejection letter that says, "Not for us" or something to that effect. Sometimes, the rejection letter will indicate that people did read the manuscript, but that no one was excited enough to make an offer. It happened to me, except I knew no one read it because somebody goofed. They returned the manuscript the day they received it, yet the letter said several editors had read the thing. Impossible.

So, have no distrust of agents. Learn the business, prepare before you begin to write, do the best job you can, and sell that novel. It's a tremendous effort, but the thrill of seeing a published book in your hands is worth all the work. 

Good luck to all of you.

Harry Arnston

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