The Cuckleburr Times » Ronnie Smith

Should You Tell Literary Agents & Editors About Your Self-Published Book?

Ronnie Smith — Tue, 05 Jan 2010 15:33:48 +0000

Listing your self-published book in the writing bio section of your cover or query letter may not be the best idea when you’re trying to impress literary agents and editors. Before you mention your self-published book or books, you need to be certain you’re not doing more harm than good.

Finishing a book is a huge achievement. Self-publishing a novel or book manuscript can also be an accomplishment worthy of real celebration and joy. However, unless your project has been exceptionally successful, you could shoot yourself in the foot if you mention your self-published book in your cover or query letters to literary agents and editors. Here are a few possibilities to consider before announcing your self-publications in your query and cover letters.

Practice books. Publishing professionals know that it can take a few tries before a new writer is able to master the many complexities of writing a full-length book. Although you may adore your first few novels, a literary agent will likely look at them as “practice” books, not necessarily as fresh, high-quality projects that reach the top percentile. Practice books are important life achievements, but they are not to be confused with important publishing credits worthy of being listed in a query letter.

Low sales = low enthusiasm. If you self-publish a book but then are not able to sell a significant number of copies, literary agents will have a hard time being excited about it, or they will presume that you have not done the necessary marketing. If you can’t inspire readers’ enthusiasm, an editor may doubt that you can inspire his/her enthusiasm.

Negative Presumptions. Some self-published novels have done quite well. Many have become wildly popular, but keep in mind that they are the exception to the rule. The fact remains that the quality of self-published novels as a whole doesn’t compare to the quality of novels that have been vetted and edited at traditional publishing houses. In other words, if you align yourself with the legions of others who have self-published, agents may presume your writing is weak. Also, agents may worry that you no longer hold all rights to your self-published book if you don’t specify otherwise.

Cutting Corners. Many people self-publish because they think it’s easier than dealing with the submission process (though that’s not always the case). There’s some concern that a writer who has self-published is a writer who would rather settle for second-best and cut corners than go the distance. Low sales indicate lackluster motivation. Literary agents want to work with passionate, driven people who will stop at nothing to reach their dreams of being successful writers.

Appearing overeager. If you indicate that you have four self-published books (but you’re pitching only one, or perhaps you’re pitching an entirely different project), the agent might think: “If I represent one book by this person, he or she will overwhelm me with all of those old projects too. I’ll be stuck dealing with all those ‘practice’ books that weren’t strong enough to sell before and probably aren’t strong enough to sell now.” If you imply that you want an agent’s enthusiasm for all your old, stale practice books, those projects may put agents off.

Other conflicting issues. An agent may be skeptical of your self-publishing records because he or she may assume that you are the kind of writer who needs to have total control over your book. At traditional publishing houses, writers don’t get much say over the edits they have to make. They get, essentially, no input regarding their cover art, packaging, marketing, or even title! Working with a traditional publisher requires a willingness to compromise and the ability to “let go.”

The Good News: When You SHOULD Include Your Self-Published Book In Your Cover Letter

There are instances when mentioning your self-published book in your cover letter is a great idea. Your self-published book can position you as a rising literary star; it can go a long way toward indicating to literary agents and editors that you are serious about both marketing and craft. In certain situations, having self-published your novel can give you a very strong edge.

Mention your self-published book (and its success) in your cover or query letter if:

You have received great reviews by reputable reviewers.
You’ve sold a substantial number of copies (generally, over 5,000 in one year is good).
You have published a regional or niche book and marketed it successfully.
The book received a nomination, award, or other honor.
You have received a great quote (or endorsement) from another author or publisher.
You received some solid, major media attention.

Ronnie Smith is President of Writer’s Relief. Ronnie tells us “Writer’s Relief (est. 1994) is a highly recommended author’s submission service. We act as specialized advisors and industry-specific personal assistants to help creative writers navigate the ins and outs of publishing. Along with strategically targeting submissions to the best-suited markets, we provide professional manuscript preparation, formatting, proofreading, market research, and tracking. We are endorsed by many in the writing community, and our clients include established authors, celebrated poets, tenured professors, editors, and promising new writers.”

Visit http://www.WritersRelief.com to learn how we can help you submit your creative writing to agents and editors. Our FREE Writers’ Newsflash offers useful articles and fun contests for writers of all levels. See you there!

Enjoy that? You can read more from Ronnie at The Cuckleburr Times here.

Literary Agent Scams – How to Protect Yourself From Con Artists

Ronnie Smith — Sun, 20 Dec 2009 06:01:40 +0000

“How do you know if a literary agency is reputable and not a scam to get your money?” New writers and veteran novelists can fall victim to literary agency schemes–ploys that literary agents use to create false legitimacy or earn a fast dollar from an unsuspecting writer. All writers should be wary when approaching fiction or nonfiction literary agencies, and there are certain signs to look for. Here is a guide to spotting potential literary agent scams.

On the surface the rule seems straightforward: agents should make the bulk of their money by selling books to reputable publishers. There is no other legitimate way a literary agent should make money from a client. And yet, despite this common sense, writers are such hopeful people that sometimes their optimism can muddle their judgment. It can happen to anyone.

So here’s what you should know: if a literary agent is asking for any reading, evaluation, marketing, or retainer fees, consider it a warning sign that something might not be right.

At one point in history, reading fees were not as frowned upon as they are now. But several literary agencies started abusing the system–asking for fees even when they didn’t care at all about the material or asking for fees when they didn’t even read the material–and the result was that the practice was prohibited by the Association of Authors’ Representatives (the trade group for US literary agents).

The same thing holds true for evaluation fees–charges for editorial critique of your manuscript or proposal. If an agent offers an evaluation or critique of your manuscript, the offering should come at no cost to you. In other words, play it safe. While there are agencies that might truly offer good critique, taking the safe route means finding a professional editor to critique your book–not an agent. Otherwise, the critique you pay for could be generic or written by someone who is unqualified.

But not all fees associated with literary agents are scams. Agents do charge fees for expenses incurred on your behalf (like making copies, buying stamps, etc.). Most agents will offer a contract specifying that such charges will be taken out of an advance if/when your book sells. If an agent is not able to sell the book, then you’re expected to pay out-of-pocket.

The question, then, is “How do I know the difference between literary agency charges that are legitimate and those that are scams?” If an agent requests a check before doing any work, then you should be wary. What if the agent is charging you for copies that never get made? Request frequent itemized summaries of any charges, or politely request a renegotiation of the terms of your contract. Also be aware that agent charges should only extend to those costs that are incurred for “bigger” expenses. You should not be charged for every pencil or thumbtack used in the process of selling your book.

One final issue to be aware of is the potential that a literary agent is not dishonest, but simply inept. Disreputable agents will use “shortcut” methods of submitting your work to editors, like sending your work en masse without querying in some way first, bundling several book queries into one package, and/or not intimately knowing editors’ tastes. Bad agents develop a bad reputation among editors, and their clients are ignored.

Don’t believe that any literary agent is better than no agent at all. You might cause yourself more harm than good.

Reputable literary agents normally don’t advertise in magazines; you’ll find them in market books and other resources, but rarely do they solicit writers through magazine or Internet ads. Also, they should never send spam. Reputable agents may approach you if they see your work in a literary magazine, etc., but beware. Dishonest agents often lurk in online writing forums or purchase subscription lists from writers’ magazines. The difference is usually clear: good literary agents get paid for selling books, not for making your photocopies or giving you critique. It’s flattering to have an agent approach you, but don’t let your naivete and hope lead you down the wrong path.

Enjoy that? You can read more from Ronnie at The Cuckleburr Times here.

Six Techniques to Make Editors Notice Your Poetry

Ronnie Smith — Tue, 10 Nov 2009 06:01:17 +0000

If you want editors to notice (and publish) your poetry, here are some ways you can get a competitive edge.

Avoid one-word titles. Or at least be sure your one-word title is amazing and unique. Titles like “Inspiration,” “Passion,” or “Remember” are easy to overlook because they don’t pack a punch.

Reject clichés. They say there are no new ideas, but you’ve got to write in a fresh, new way. To know if your writing is truly innovative, you’ve got to keep an eye on what other poets are up to. Read contemporary poetry. Lots of it. That’s the only way you’ll know where you stand in relation to your peers.

Short and sweet. Poems that are one page long seem to be the most popular among editors (who are often pressed for space in their literary magazines). Also, watch your margins. A poem that is too wide may not fit on the pages of literary journals.

Nix the rhyme. Rhyming poetry is difficult to publish. For that reason, we can’t even work with poets who primarily focus on rhyme. If you want to rhyme, please do. There are plenty of venues online and even a few print journals for rhyming poets. Just know that at many magazines, rhyme is not favored.

Build a strong bio. The better your bio, the more likely you’ll be well-received. Don’t be discouraged if you have no credentials. Start small and work your way up. If you get too frustrated doing it on your own, find an author’s submission service that can help.

Submit three to five poems per submission. Also, don’t submit more than ten pages total (5-8 pages is best). You don’t want to skimp or overwhelm editors with too many or too few poems.

Enjoy that? You can read more from Ronnie at The Cuckleburr Times here.

Publication Credits – Build Up Your Bio (Super Fast) For Your Cover and Query Letters

Ronnie Smith — Tue, 03 Nov 2009 22:09:26 +0000

Many new creative writers are often frustrated when they don’t have any publication credits in the biographical section of their cover and query letters. “How will literary agents and editors at magazines and journals ever take me seriously if I don’t have any publishing credentials?” writers ask. Many writers feel there is a catch-22 situation in publishing: writers must be published to get published. So how can you break the cycle?

First and foremost, writers who are serious about publishing must develop good writing techniques and an effective, habitual submission strategy. There is no substitute for true publishing credentials: seeing your byline in a reputable print magazine or literary journal is valuable not only to your morale, but to your reputation. But if you’re in a pinch and you’d like to pad your writing bio while you’re waiting for the acceptance letters to start coming in, here are some techniques you might use.

Join a national, reputable writing organization. By joining a professional organization of writers in your genre, you are demonstrating that you are worthy of being among those writers and that you are serious about your writing. You are creating associations between yourself and that professional, established, reputable group. If you are writing romance novels, join Romance Writers of America. If you write literary work, consider the Association of Writing Programs. You will need to spend some money on the registration fees for these organizations, but it will be worth it if you can indicate that you are a member in good standing within specific writing groups. You’ll get to include their name on your query or cover letter; you’ll get access to great resources and a network of writers who may be willing to help you; and you’ll demonstrate your own professionalism. The credentials in your bio will show that even though you have few (if any) publication credits now, it’s only a matter of time.

Join a small, local organization. If you can’t muster up enough money to join a professional writing organization, you can often join a smaller local organization for free. If you can note on your cover or query letter, “I am part of a writer’s group that meets every month,” you’ll show that you’re resourceful and devoted. To find a local writing group or organization, visit your local library and ask around. Or you can find them by looking into social networking sites. Just take the necessary precautions to stay safe. The professional bio in your cover letter will look more writerly and your writing technique is bound to improve with your new commitment to critique and discussions of craft.

Volunteer. Writers and readers love people who volunteer with literary advocacy groups, and literary agents and editors are no exception. When you volunteer for a literacy organization, you look good because you’re doing good. Not only might you discover that your publishing credentials look better when you volunteer your time, but you may also learn that you enjoy sharing your passion for all things writing. It’s a win-win situation for all parties involved.

Take classes. Research local schools or find local writers who teach classes. Studious writers are perceived as serious writers. Plus, being able to write that you “studied at the University of ABC” or that you “worked with award-winning novelist Joe Anybody” does a lot for your credibility. If you can’t get to a school, check out online classes available through your local colleges or other national writing schools.

Go to a writing conference. If your time and finances allow it, go to a writing conference. Not only will you be able to learn and network with literary agents, editors, and writers, you’ll also be able to note your attendance in your bio. If a literary agent or editor recognizes the name of the conference (perhaps he or she attended the conference in the past), it may work in your favor.

These are just a few ways you can quickly build the credits in the bio of your cover or query letter. You may not have stellar publishing credentials–maybe you haven’t published anything at all–but by demonstrating that you are committed to your work and your craft, you prove that you are reputable, dependable, and devoted. Just remember, when it comes to your commitment to publishing, strong submissions and publications are the BEST way to prove your skill! Good luck.

Enjoy that? You can read more from Ronnie at The Cuckleburr Times here.

Short Story Techniques That Get Writers Published

Ronnie Smith — Thu, 15 Oct 2009 06:01:35 +0000

This short story checklist will improve your story writing technique. These strategies will help you get published because these are the kinds of questions editors ask when reading your short story. You’ll find information about characterization, dialogue, mood, tone, action, pacing, and plot in short stories. Use these tips to increase your acceptance rate, and get your creative writing published in literary journals and magazines.

1. Is the opening sentence (and opening paragraph) of your short story strong, enticing, and confident? Does it set the mood and tone of your entire short story? Is it overly “anything” (overly cute, overly obvious, overly clever), or does it have a hint of mystery?

2. Do you ground your short story in scene by appealing to the reader’s five senses? Does your description advance your reader’s understanding of character and plot? Does the relationship between dialogue and description support your short story’s goals? Is the description well-researched, accurate, and evocative?

3. Do you show rather than tell? Is there a sense of immediacy? Do you reveal and imply, rather than explain and state?

4. Are the characters unique and memorable-but believable at the same time? Are their motivations clear and are they well-rounded? Do your characters’ personalities complement each other in a way that makes the central conflict more pronounced?

5. Is the dialogue believable and effective, striking the right balance between efficiency and realism? Does the dialogue show that the characters are challenged? Is the tension illustrated in a way that is not always “flat and obvious?”

6. Are secondary characters as well-developed as main characters, even if their entire backstory doesn’t come across on the page? Have you taken care that your secondary characters aren’t more interesting than your main characters? Do secondary characters truly add to the short story, or can you cut them out?

7. Is your pacing even and controlled? Is your beginning engaging (or full of too much backstory)? Is your ending well-developed? Does the action have well-controlled ups and downs?

8. Is your ending surprising yet fitting? Does the tension level of your ending deliberately rise above the tension level of the rest of your story? And does the denouement (tying up loose ends) reveal that the character has made a choice (has changed in some way or has had the opportunity to change but instead remained the same)?

9. Is your voice unique? Do you have mesmerizing, insightful, and impressive things to say (or imply)?

10. Have you read your work aloud at least once?

11. Have you had a professional proofreader look at your short story? Even the best writers need a proofreader-in fact, it’s often the best writers who recognize this fact, while new writers tend to think they don’t need help.

12. Is your word count marketable? Stories over 4,000 words are very difficult to place. Have you developed an effective submission strategy that is proven to get results? Are you sending your work to the best-suited editors, in the proper format, during the open reading dates? Are your pages professionally formatted in a 12-point, easy-to-read font with standard margins? Is contact information included on the first page, with proper headers and page numbers on subsequent pages? Does your cover letter incorporate effective strategies?

If not, you may want to contact an author’s submission service, like Writer’s Relief, for help increasing your acceptance rate. Writer’s Relief will proofread and format your short stories and will target your work to the best-suited agents and editors (at literary journals and magazines) in order to increase the likelihood of publication. If you do seek submission assistance for your short stories, be certain you’re working with an ethical company that has a proven track record, like Writer’s Relief.

Enjoy that? You can read more from Ronnie at The Cuckleburr Times here.

Genre Novels – Word Count Rules, Subgenres, and Guidelines For Getting Your Book Published

Ronnie Smith — Tue, 06 Oct 2009 22:37:09 +0000

Wondering “How long is my book? How long should my book be? What genre is my book or novel?” Keep reading. If you have written a novel, use this article to be sure that your book meets the basic guidelines of literary agents and book publishers. You will be more likely to be published if your book follows the “rules” of your genre (whether romance, thriller, Western, fantasy, young adult, historical, or horror).

Disclaimer: Keep in mind that the information below is an overview of guidelines. For the best results always research specific information about your project.

The Rules Of Fantasy Genre Novels Fantasy is generally about world building (creating alternative worlds). Avoid clichés in your characterization, and let your major themes be strong yet subtle. Always research publisher guidelines: One publishing house states caveats such as “no time machines, please.”

Fantasy novels can contain between 80,000 and 150,000 words (approximately). Fantasy novels can be a little longer than other novels, and they are sometimes serialized.

Subgenres of fantasy include: high, fantasy of manners, alternate history, dark, historical, steampunk, urban, wuxia, and more.

The Rules Of Romance Genre Novels A romance usually emphasizes the heroine’s perspective, and the reader should be drawn into the love story. Romances end with a happily ever after of some kind.

How long is a romance novel? A stand-alone romance novel is normally between 80,000 and 100,000 words. A category romance novel (like those published by Harlequin) is generally shorter, and each “imprint” will have its own criteria. Be sure you know what imprint you’re targeting before you start writing.

Subgenres of romance include: women’s fiction, Regency, historical, fantasy/science fiction, contemporary, Christian, time travel, paranormal, erotica, and more.

The Rules Of Historical Fiction Genre NovelsResearch and attention to detail are of top importance in historical fiction. Characters must behave in accordance with the times. Plots can be “big” (featuring many strong characters and tackling big or complex issues). Some historicals are part of a saga (a series of books that covers generations within a family or many characters).

How long is a historical novel? A stand-alone historical book may be 85,000 to 100,000 words. Publishing a book longer than 100,000 words is difficult (especially for first-timers), but historical novels are sometimes longer.

The Rules Of Mystery Genre Novels Pay special attention to plot and pacing in this genre. Introduce the murder or the crime early, and research the methods by which the crime was committed. Research forensics, criminal justice, and detective procedures to lend credibility.

How long is a mystery novel? Mysteries vary in length. Stand-alone mysteries (which may have some overlap with thrillers) may be between 75,000 and 100,000 words. Cozy mysteries, like those in a series, are often on the shorter side.

Subgenres of mystery include: crime, hardboiled, true crime, cozy, amateur sleuth, supernatural, police procedural, and more.

The Rules Of Thriller Genre Novels Emphasis in thrillers is on strong characters, action, and fast pacing. Thrillers often show clear antagonists and protagonists. Thrillers can be graphic and gritty or somewhat tamer. Focus is always on suspense.

How long is a thriller novel? Thriller novels generally run between 90,000 to 100,000 words (loosely), but they can be a little longer as well.

Subgenres of thrillers include: conspiracy, crime, action, political, disaster, erotica, eco, legal, and more.

The Rules Of Horror Genre Novels Fears and phobias play into the reader’s emotions in this genre. There is often a supernatural and paranormal element, but as always, steer clear of clichés.

Horror novels vary in length and are generally between 80,000 and 100,000 words.

Subgenres of horror include: ghost, erotic, psychological, body horror, weird menace, occult detective, and more.

The Rules Of Young Adult (YA) Genre Novels Young adult (YA) fiction targets boys and girls between the ages of 12-18. The tone, style, and content of YA novels changes depending on the specific age of the target audience. The genre can tackle G-rated issues or it can be very edgy.

Generally, YA books run between 40,000 and 75,000 words, depending on the target age group.

“Edgy” YA tackles controversial or difficult topics. Otherwise, subgenres of YA are the same as subgenres of adult fiction.

The Rules Of Western Genre Novels Westerns should be set west of the Mississippi River and before the year 1900. Historical details must be accurate. Westerns are very specific and specialized, but be sure that you’re not relying on clichés!

How long is a Western book? Westerns tend to be on the shorter side, anywhere from 45,000 to 75,000 words (loosely).

Ronnie Smith is President of Writer’s Relief. “Writer’s Relief (est. 1994) is a highly recommended author’s submission service. We act as specialized advisors and industry-specific personal assistants to help creative writers navigate the ins and outs of publishing. Along with strategically targeting submissions to the best-suited markets, we provide professional manuscript preparation, formatting, proofreading, market research, and tracking. We are endorsed by many in the writing community, and our clients include established authors, celebrated poets, tenured professors, editors, and promising new writers.

Visit http://www.WritersRelief.com to learn how we can help you submit your creative writing to agents and editors. Our FREE Writers’ Newsflash, http://www.WritersReliefBlog.com, offers useful articles and fun contests for writers of all levels. See you there!”