Submissions - Page 8

Dear Bill…

Agents like to submit a full package to publishers, which includes the synopsis, so always give it to them. Editors may or may not want a synopsis—but you won’t know your targeted editors’ habits, so again, give it to them. Some editors won’t read it because they prefer the story prove itself. Others want to know your plans after you’ve intrigued them with your query letter and sample chapters. As with anything you write professionally, your synopsis should have a hint of personality, and, yes, that personality should suggest the tone of the book. Write it using omniscient POV, and—brace yourself—tell, don’t show. Wow, I don’t advise that often! But the point of the synopsis is to summarize the main themes and plot points and to state how the main character will change in the course of the story. Save the details and the full cast of characters for the manuscript. Striving for one page, single-spaced, should force you to stick to the main happenings. If you dread summarizing your 200-page story into one page, then trade manuscripts with someone in your critique group and write each other’s initial synopsis drafts. Then trade back and modify your buddy’s version to suit your own voice.  However you get the synopsis done, DO get it done. You’ve moved mountains to finish the manuscript and make it submission-ready; don’t let one final page take the wind out of your creative sails.

Happy writing!

The Editor

Dear Author in Waiting…

Pace? Plot? Possibly. The fact is, the editors didn’t specify exactly what they thought fell short, so you’re left to do exactly what you are doing: guessing. Bleh. Alas, useful feedback takes time, something beleaguered editors are hard-pressed to find even for the books they already have under contract. BUT they did slip you some very valuable feedback: that your premise and voice are The Goods. That’s huge. Two of the toughest critics you’ll face just told you 1) that your concept is engaging enough—and shows enough market potential—to get them to stop their hectic day to read your manuscript, and 2) that they bought into your narrative voice. They didn’t have to tell you that; they could’ve just whipped out one of those generic “It’s not for me” replies. So, while those editors didn’t give you a blueprint for revision, they did confirm that your manuscript has key strengths. That should put well-deserved pep in your step. For your revision, I suggest you focus on more abstract items like tension, pace, and character arcs, as those are harder to explain in quick rejection letters than dialogue (“the characters didn’t sound natural”) or plot (“the storyline didn’t hold up”), and thus are more likely to fall into the grab bag that is “execution.”

Happy writing!

The Editor

Dear Mary…

It’s true: most signed manuscripts reach editors through agents. Frustrating, yes, but it cuts down on editor response time with submissions. Agents essentially screen manuscripts for editors, who know that if an agent shows them something, that project is likely of interest. Reviewing random submissions means losing time sifting through manuscripts that aren’t even in the editor’s realm of interest, hence the popular “no unsolicited manuscripts” rule.

To get your agent, go to writers’ conferences, retreats, and regional meetings, because the agents who speak at those events usually extend open submission invites to attendees. And when you go, always pay for critiques with the agents. Face time is invaluable. Be polite and firm but not pushy. That means no shoving manuscripts under toilet stall doors. Don’t laugh, that really did happen to me when I spoke at a conference. Ever polite, I called through the door, “How about if I wash my hands first?” I’m happy to say, the writer let me.

Happy writing!

The Editor