How to get an unsolicited manuscript read

 Some authors are fortunate to have the assistance of a literary agent. But I'd wager that the majority of us don't. So we are left to navigate the publishing industry labyrinth by ourselves.

rock art by my husband, photo by me

Since I started keeping careful records, in 2014, I've sent 400 submissions to publishing houses. Over the years, I learned some valuable lessons. One of the most important was how to properly address a cover letter. 

Dear Sir or Madam
or 
To Whom It May Concern

This is the equivalent of standing on the street corner, waving your arms in the air and shouting, "Hey, you!"

Someone may hear you. But the chance that she will be the right person are slim.

Dear Publisher
or
Dear Editor

Visit the publishing house website and carefully study the submission guidelines. (Some submission guidelines give you all the information you require. Others don't.)

Small publishing houses may tell you to send your submission to the publisher. All publishing houses have at least one editor. So there is a chance that your submission will get to a publisher or an editor. But there's no guarantee that it will get to the right publisher or editor. Moreover, addressing your submission in this manner shows that you didn't do your homework and that you may not even know who the right publisher or editor is.

How do you find the name of the right publisher or editor?

Roll up your sleeves and click those computer keys. You want to find not only the contact's job title but also her name. 

'If [the publishing house] has multiple editors, approach an assitant editor, associate editor, or senior editor (Generally avoid managing editors, who oversee the daily operations but often don't read unsolicited manuscripts)' -How to stay out of the slush pile

Other reference sources...

-books in your genre -- read the acknowledgment section. Sometimes authors will thank their editors. 

-join genre associations or genre specific writing groups -- members may be able to supply you with the name and job title

Dear Kathlene Witherspoon, Assistant Editor

"Bim" photo by ldyck

Next Post:  March 19 at approximately 5 PM PT 

Book review:  Note to Self by Laurie Buchanan (self-help) 

Book comparisons: why make them? by Leanne Dyck

photo by LDyck

Why prepare a list (one to three) of published books that are similar to your manuscript? Why do a book comp?

-it's an abbreviated way to present your book to an editor or an agent.

-it shows editors or agents that you have your finger on the pulse of the genre you're writing -- that you're current, that you know what's hot, that you've done your homework.

-it shows that there is a potential readership for your manuscript

-it helps the publisher see where your book might fit in their catalogue

-it helps the editor or agent pitch your manuscript

-it helps you locate the right publisher -- they published that book they may be interested in publishing yours.

-finding and reading that other book might inspire you to rewrite your manuscript or may inspire you to write another manuscript

-it verifies that your manuscript is fresh and original

-it keeps you motivated. You get to see, feel, smell a book that is similar to what yours might look like.

Where do you find these potential comps?

-your bookshelves

-your local library

-your favourite bookstore

-publishers' catalogs

-Quill and Quire magazine

-Publishers Weekly

-Amazon

-Other reviewers who read your genre

Heather Ann Burnell (Submissions 101 - Finding Comparable Books) writes:  Use 'titles that are recent [within 10 years] and are in the same category or genre, have the same target audience, and are not so obscure that that the person reading your query has never heard of it' or so popular that you're seen as arrogant or lazy.

Sending manuscripts to publishers--Jami Macarty's workshop notes by Leanne Dyck

'Sure ways to avoid the slush pile' 

After reading that description of Jami Macarty's workshop--Get It Out:  A Writer's Guide to the Submissions of Literary Works for Publication--I knew I had to attend.

But really what could I learn? After all, I've been sending submissions to publishers on a steady basis since 2014 (a total of 242 to date). If anything this workshop would serve as a review of what I already knew.

But I'm so glad I did walk through that door. I gathered some very helpful information.

For example...

Before the workshop, if I had a question, after reading the submission guidelines, I'd keep them to myself. I mean I didn't want to bother the editor. She's too busy.

After the workshop, I realize it's far less of a bother to the editor if I ask the question and send the correct information.

Before this workshop, if I found a mistake in the submission I simply re-sent that page.

After the workshop, I know I have to send a letter of withdrawal and then send my revised submission.

Before this workshop, I downplayed my publishing history. Self-publishing? E-books? That's nothing, right?

After the workshop, I have newfound pride in my writing.

Jami Macarty's workshop was interactive, information-rich, empowering, and inspiring.

Photo by Leanne Dyck

Next post:  Sunday, October 9th (published around 5 pm PST) 
On October 10th this blog turns six. Thank you so much for helping me care for my baby. 
To celebrate, I've written an article titled What Did I Learn This Year? 
Like what?
Well, like the importance of LinkedIn (how it can help build your career).

Photo by Leanne Dyck

Picture books in Canada

'Pemmican Publications is a book publisher with a mandate to promote Metis authors, illustrators and stories. It is a not-for-profit company that operates as an arm's-length affiliate of the Manitoba Metis Federation. Pemmican publishes on average five to six new titles per year, with titles ranging from cultural studies and autobiographies to illustrated titles for children.' -from Pemmican's website

Photo by Leanne Dyck

Sharing my Author Journey...

Writers write. But what else do writers do?

Guest Post: Why edit? by Amy Haagsma (EAC-BC)

 Because it matters. 
By Amy Haagsma 
on behalf of EAC-BC, the BC branch of the 
Editors’ Association of Canada

Who are editors?

Writers and editors share many traits, including a love of language and the desire to engage their audience through the written word. Although editors work alongside writers, they perform very different functions. On a basic level, editors help improve, clarify, and correct errors in written work. Their mediums may include book manuscripts, magazine and newspaper articles, technical documents, reports, speeches, press releases, and websites. Editors work in a variety of sectors, including publishing, corporate, government, and not-for-profit.

Editors are generally drawn to their profession by an interest in language and a passion for detail and accuracy. Editors delight in finding the perfect word, untangling a complex piece of prose, and smoothing language until it rolls effortlessly off the tongue. To call an editor a stickler is, in fact, a compliment. While generally mild-mannered, editors will not hesitate to fervently defend their position on important matters such as the Oxford comma. 

Most importantly, however, editors are advocates for the finished work and its intended audience. Often the first critical reader, an editor brings a second set of eyes and a different perspective. An editor is both an unbiased critic and an unwavering fan, helping you see what is succeeding in your work and what may warrant another look. Editors appreciate good writing and are content to take on the role of best supporting actor, casting the spotlight on the writer and their work.

What do editors do?

Editors work in partnership with writers to create documents that are clear, accurate, interesting, and engaging. Prior to publication, a written work will typically undergo four main stages of editing: structural editing, stylistic editing, copy editing, and proofreading. The following descriptions are from Professional Editorial Standards, produced by the Editors’ Association of Canada (EAC): 

Structural editing is assessing and shaping material to improve its organization and content.

Stylistic editing is editing to clarify meaning, improve flow, and smooth language.

Copy editing is editing to ensure correctness, consistency, accuracy, and completeness.

Proofreading is examining material after layout to correct errors in textual and visual elements.

If you are not sure what type of editing you need, an editor can generally provide guidance in this area. Some editors offer multiple levels of editing, while others may specialize in one or two. However, even if a single editor is undertaking all four editing stages, they will be done separately (for the most part). Stylistic editing is commonly combined with either structural editing or copy editing, while allowing for at least two rounds of editing before design and layout. Proofreading is always undertaken as a separate task after design and layout. Editors may also provide additional services such as manuscript evaluation, developmental/project editing, rewriting, fact-checking, indexing, and more. For more information on many common editorial services, please see EAC’s Definitions of editorial skills.

Why do you need an editor?

Editors are invaluable to the writing process, and professional editing is essential to the success of your work. Many authors are now choosing self-publishing over traditional publishing, which means taking on many of the editorial tasks typically assumed by publishers. One of the most common themes in negative reviews of self-published works is a lack of editing. Even with traditional publishing, many agents will only accept a manuscript after it has been professionally edited. 

Self-editing is not advised: as a writer, you are too close to your own work to see it objectively. After months or even years of writing and rewriting, you will read the text according to its intended meaning. It is far more difficult to know how a reader would perceive it. You may be tempted to enlist the help of a friend, family member, or fellow author; however, there is no substitute for an editor’s trained eye.

How can you find an editor?

If you have not worked with an editor before, you may be wondering how to find one. A good starting point is to ask for referrals from other writers whom you know personally or through professional associations. The Internet can also be a valuable resource, as many editors have personal websites. EAC also provides a number of tools to help you find and hire an editor, including an online directory and a national job board. Individual branches also offer job announcement hotlines. 

When seeking an editor, you will want to consider the degree of editing needed as well as the genre. Look for someone who is professional, competent, and a good fit with your writing style and goals, and whose strengths complement your weaker areas. Membership in professional associations demonstrates that an editor is invested in the industry and committed to professional development. EAC has also recently introduced a certification process for structural editing, stylistic editing, copy editing, and proofreading. To become certified, editors undergo rigorous tests, which are based on EAC’s Professional Editorial Standards.

Once you have shortlisted one or more editors who you feel would be a good fit, contact them to discuss your project and their availability. Ask for references, work samples, and rates. Fees will vary based on the industry, the deadline, the type and complexity of editing required, and the editor’s experience and training. You can expect to pay between $35 and $100 per hour for a professional editor. The number of hours required can be estimated based on a representative sample to give you an idea of the total cost. 

What is the Editors’ Association of Canada?

 EAC is a federally incorporated, not-for-profit organization representing editorial professionals across Canada. EAC-BC, the BC branch, is one of 12 regional branches and twigs. EAC offers professional development opportunities for editors, provides resources to assist with hiring and working with an editor, and promotes and maintains high standards in editing and publishing. 

Guest Post: Author Dennis E. Bolen

Dennis E. Bolen is a novelist, editor, teacher and journalist, first published in 1975 (Canadian Fiction Magazine). He holds a BA in Creative Writing from the University of Victoria (1977) and an MFA (Writing) from the University of British Columbia (1989), and taught introductory Creative Writing at UBC from 1995 to 1997.

In 1989 Mr. Bolen helped establish the international literary journal sub-TERRAIN, and served there as fiction editor for ten years. He has acted as a community editorial board member at The Vancouver Sun, sat on the boards of a literacy advocacy organization, a literary collective and a theatre company. He has written criticism, social commentary, arts advocacy and editorial opinion for numerous journals and newspapers in Canada.

Recently Mr. Bolen has branched into video production to highlight his fiction and poetic works. In addition to creating the photographic still video composition Everybody (included in Cinépoetry’s issue for Poetry International, 2013):

He also wrote the script for a trailer of his book Anticipated Results (Arsenal/Pulp, 2011):

http://www.youtube.com/watch?v=BNaua0kqEXE&feature=youtu.be

A written and directed trailer is forthcoming (April 2013) for Dennis E. Bolen’s 2009 novel Kaspoit! (Anvil Press).

How/why did you start to write?

I was bookish from the first but by high school I seemed to have talent for nothing in particular—I failed two grades overall, three and ten—so certainly did not distinguish myself as a scholar. It was assumed among most of my teachers that I would meld into the industrial ranks operating the various forestry mills around the stupefyingly boring town within which I endured my teenage years.

But in my heart I knew I would do something special...my Grade Eleven English teacher was miraculously (for that town, for the early 1970's) a well-traveled, older ex-pat American from the eastern seaboard. She'd have us read something from a poet like Carl Sandberg (his Chicago still gives me chills) and mention sitting around an Adirondack fireplace in the 1940's listening to Sandberg himself read unpublished material. She'd been a young woman on a major literary scene! This blew my mind.

I determined I'd be worthy of such sacred instruction and, under the influence of some pharmaceuticals I weirdly came into possession of (another story, too long to tell here), set about writing. I showed the results, a couple of poems, to my cherished English teacher (Mrs. Gayne was her surname, I've forgotten her first) who found them interesting and took a heightened interest in me, at one point uttering—if I remember correctly—that with work I might become a great writer. I've been trying to come through on that ever since.

How did you become an author?

I did a BA (UVic) and MFA (UBC) in fine arts. Hammered away at manuscripts. Sent them away. Ignored the rejections. Believed in my ability. Finally got lucky meeting up with a guy (Brian Kaufman) who wanted to start up a small press (Anvil). Collaborated. Had Anvil put out my first novel—Stupid Crimes—as more or less a vanity project. Got it reviewed in the Globe & Mail (Editor's Choice, third week of June, 1992). Got an agent, then a three-book deal at Random House.

What was your first published piece?

A short story called 'The Fatality' in the Spring 1975 edition of The Canadian Fiction Magazine; later re-published in Gastank and other Stories, (Anvil 1998).

What did you do before embarking on your writing career? Was it an asset to your writing? How?

In Canada we're fortunate in that our miniscule literary market supports piteously few writers, so the 99% who don't make a living have to find some other source of income. This means that our writers have actual experience in life and work and might even know desperation and despair, fear and loathing, anger and disgust. All the wonderful character-building things that go along with trying to make a living. I was lucky in that I snagged  an interesting career as a federal parole officer, so made decent money in a job that offered endless character study and demanded endless expressive writing exercise. I also worked on a Saskatchewan grain farm, lumber mill (see hometown description above), department store, government clerical office, winery, newspaper (part-time), small press publisher, teacher (UBC 1995-97), etc.

My drawing upon these experiential epochs is particularly plain, I think, in my first poetry collection, Black Liquor. The title refers to industrial chemicals, as well as other things real and representational, and the cover illustration shows how you can take a dreadful image of childhood memory and wield it to one's own devices.

What inspires you?

Good writing about real things. And serendipitous fortune. In the early 1980's my then girlfriend (whom I haven't seen in thirty years and still love!) was friends with people connected to Warren Tallman, the famous UBC literary scholar who was the earliest academic to take a serious interest in The Beats. One night at a party at his house I got to pour a glass of wine for Alan Ginsburg. We spoke generally and some about poetry. I will never forget this. When I write I feel that whatever my output the greats come along with me because of who I am and who I've known.

Parting words

I began to enjoy the writing life when I got serious about poetry. For twenty-odd years I toiled at fiction, put out five novels and two collections...and was miserable and alone. Since I've been hitting any and all poetry spots I can, writing verse and reading it in public, I've met and befriended such lovely people, joined in worthwhile projects like Pandora's Collective, pitched in to help the Vancouver Writers Festival, got involved with the Canadian Authors Association, mentored other writers (as I always did) and generally felt I was contributing something worthwhile. I don't know what this means—everyone's experience is what they make of it—but I offer it as an exhibit in the overall display of my life's evidence.

Publications

Black Liquor, poems, Caitlin Press, Halfmoon Bay, 2013.

http://caitlin-press.com/our-books/black-liquor/

Anticipated Results, short fiction, Arsenal/Pulp, Vancouver, 2011.

Kaspoit!, novel, Anvil Press, Vancouver, 2009.

http://www.amazon.com/Kaspoit-Dennis-Bolen/dp/1897535058/ref=sr_1_1?s=books&ie=UTF8&qid=1294777499&sr=1-1

Toy Gun, novel, Anvil Press, Vancouver, 2005.

http://www.amazon.com/Toy-Gun-Dennis-Bolen/dp/189563668X/ref=sr_1_8?s=books&ie=UTF8&qid=1294777571&sr=1-8

Gas Tank and Other Stories, short fiction, Anvil Press, Vancouver, 1998.

http://www.amazon.com/Tank-Other-Stories-Dennis-Bolen/dp/1895636159/ref=ntt_at_ep_dpi_5

Krekshuns,  novel, Random House, Toronto, 1997.

http://www.amazon.com/krekshuns-dennis-bolen/dp/0394224663/ref=ntt_at_ep_dpi_3

Stand In Hell, novel, Random House, Toronto, 1995.

http://www.amazon.com/Stand-hell-Dennis-Bolen/dp/0394224027/ref=ntt_at_ep_dpi_7

Stupid Crimes (revised), novel, Vintage, Toronto, 1995.

http://www.goodreads.com/book/show/2053179.Stupid_Crimes

Stupid Crimes, novel, Anvil Press, Vancouver, 1992.

http://www.amazon.com/Stupid-Crimes-Dennis-Bolen/dp/1895636019/ref=ntt_at_ep_dpi_6

Guest Post: Poet David Fraser

How/why did you start to write?

My earliest memory of writing was before I really had a grasp of the alphabet. I recall writing on the backs of discarded envelopes and composing my own stories about Peter Pan and the Cisco Kid. The writing was mere scribbles. Later in middle school I began writing poetry. Unfortunately in grade seven a teacher accused me of handing in a poem that my mother had written. I should have taken this as a complement but rather closed myself off after such an accusation. During high school I was writing all the time but keeping it to myself, as well as reading everything I could that interested me.

 I was fortunate to have two mentors in university, one was Margaret Avison, who twice won Canada's Governor General's Award and has also won its Griffin Poetry Prize.  The other was Margaret Aitkin. During that time both these mentors opened up their offices for informal discussions and the writing of poetry.  Also I was encouraged to publish my work and a number of poems were published in the University of Toronto anthology publications.

 Why I started to write is a mystery. Probably I can saw it was a means of exploring possibilities.

How did you become an author?

I would say as soon as I started writing, I considered myself an author. During my university years I was published and that made me feel I was a writer. However I pursued a career in teaching at the secondary and senior school levels, and although I continued to write, I had little time to pursue an active marketing campaign to publish a lot of my work. Nearer the end of my teaching career, I began publishing my work and for the last 18 years I have been published in many on-line and print journals as well as anthologies and my own collections.

What was your first published piece?

Probably the first published poem is “If”. It is a love poem to my first wife. Miraculously enough it was the first poem that I received a royalty cheque, ( $5.00 in 1979) since a Toronto composer used a few lines of my poem along with lines by Irving Layton for lyrics in a performed composition called Ex Tenebris.

Where was it published?

“If” was published in in complete by C.E. University of Toronto

How long ago?

1970

What did you do before embarking on your writing career? Was it an asset to your writing? How?

As I mentioned my main career was in education, where I taught primarily English, English Literature and Creative Writing. Obviously the content and the process of teaching others to write and work with text kept me always in a mode close to the written word. However I have worked as a baker, bartender, waiter, factory worker, ski instructor, and travelled. All of these experiences provide the raw material for my writing. Basically I see myself mining the sediment of my life, the newly deposited particles of current every day and also the deep layers that have been laid down over time.

What inspires you?

Life inspires me. I live in a location that is remote from large cities. I can walk outside my door, take the dogs for a run in the bush, go down to the sea, stare up at the mountains that sit across the strait to the mainland or look at the peaks of the mountains that from the ridge that runs the length of Vancouver Island. I am always active, whether it is writing, gardening, hiking and playing sports. People inspire me and I with my small publishing company and with the spoken word event, WordStorm, that I co-founded and run monthly out of Nanimo, I feel I am paying it forward, giving aspiring and established writers an opportunity to share their work either on the page, the computer screen or on the stage. That’s what inspires me.

Please share one of your successful author platform building technique

I am currently working on a crime noir novel and will either self-publish or use a traditional trade publisher to present my book to the world. That will be a different experience than marketing poetry, since poetry is such a small segment of what people read these days. In terms of poetry, I believe, the live performance, either as a reading from a collection or as a spoken word, no paper, presentation is the best and most entertaining way to market my art. I enjoy the live audience. That is where you connect your words to individuals. Otherwise, it is also a good idea to have a web site, possibly a blog if you have the time and regiment to do so. Joining writers organizations is also a good idea. I belong to the Federation of BC Writers and in the past have served as a Rep for the Vancouver Island Region. I also belong to the League of Canadian Poets and receive funding for readings through being a member. I find that the more I do to help others, the more comes back to me in terms of author platform building.

Parting words

My writing comes from a process of accumulating sediment. Experience, imagination, truth and lies are laid down over time in layers and these layers are compressed by the weight of living. These are the strata that I mine to hone my craft.

Each moment in a day inspires me. However it is so hard to stay in the moment when the past, with its boxes of overlapping memory, beckons me to mine the sediment of my life, and of course when the future teases me with expectation and prediction. I find true joy when I can smash the moment, and be attentive to what is happening. It is then that I am a witness and an inspired observer on this fleeting journey. Perhaps it is then that a small round pebble on a beach will catch my eye and I will roll it along the tips of my fingers in meditative silence, before I stow it away in the depths of a pocket.

Links

Web Site http://www.davidpfraser.ca

David Fraser

Writer, Poet, Spoken Word Performer, Publisher, Editor

David Fraser lives in Nanoose Bay, on Vancouver Island. He is the founder and editor of Ascent Aspirations Magazine, www.ascentaspirations.ca since 1997. His poetry and short fiction have appeared in many journals and anthologies, including Rocksalt, An Anthology of Contemporary BC Poetry. He has published five collections of poetry; Going to the Well, 2004, Running Down the Wind, 2007, No Way Easy, 2010, Caught in My Throat, 2011 and, Paper Boats, 2012 and a collection of short fiction, Dark Side of the Billboard, 2006. In addition David has co-authored with Naomi Beth Wakan, On Poetry an inspirational book on poetics and poetry. To keep out of trouble he helps develop Nanaimo's spoken-word series, WordStorm. www.wordstorm.ca. In October 2009 and 2010 he participated in Random Acts of Poetry, a national poetry program that brings poetry to the streets of Canada. David is a full member of the League of Canadian Poets and is available for performances and readings via funding with LCP.

Guest Post: The Rewrite Meltdown by Sylvia McNicoll

Recently, I listened to my editor agree with a panel of two other editors that it was sometimes just one wonderful sentence that caused them to fall in love with a book.   Next day I asked her which sentence it was of Dying to Go Viral so that I would be certain that I didn’t take it out.

She hesitated.  Not a good sign. We had been working full out on a substantive edit.  (This is the major first edit that focuses the vision of your story.) and there had been extensive rewriting so there was that danger of destroying this one glorious, if imaginary, sentence. Maybe also I was just being a needy author in search of a compliment. Finally, to let her off the hook,  I suggested that it was the premise :  a 14 year-old girl gets a one week do over of her last week of life. She agreed quickly.

What I have learned about the editing process is that when the revision suggestions come in most writers’ first response is overly emotional because they’re overwhelmed with a sense of inadequacy.  “I’ll never be able to achieve all the editor’s asked of me.  I don’t even know where to begin.”

Best advice, think on it for a few days.  Go into a dark room, put a blanket over your head and weep, if you must.  But don’t call the editor to vent until you’ve really thought the suggestions over.

“If you know so much about how this book should be written, why don’t you do it yourself?” was one author’s reaction.   “If you thought so much was wrong with the story, why the heck did you buy it?”was another.

As you’re weeping in your dark space, you may find you suddenly think of a solution to one of the problems suggested in the rewrite notice. You’re anxious to try to see if this turn works. Suddenly excitement takes over your inadequacy. Next thing you know, the new bit added to show character development is your favourite scene .  Then you’re on to the next problem.  Sentence by sentence, chapter by chapter, you end up rewriting your book and it’s better for it.  One writer I know says she loves the to-and-from teamwork between her and  someone else so intimately connected with her story.

Editors, I have a suggestion too.  Just compliment the writer . Then she won’t have to fish and maybe the time in the dark space will be shorter.

To learn more about Sylvia McNicoll's author journey, please visit her website.