Why Are There Submission Instructions? by Linda S. Glaz

We handle very little sci-fi/fantasy/spec fiction of any kind. And we definitely DO NOT handle anything that has profanity or graphic sexuality. We each also have particular genres that we prefer to see. We ask that authors follow our non-fiction or fiction guidelines and then submit to us.

And yet…I continue to get erotica, fantasy, erotic fantasy…well, you get the picture.

We also spell out exactly how we would like submissions to come to us. In a proposal with specific information included as well as sample chapters…the first three sample chapters. And still, I get the first chapter, the last chapter, and the “one that’s really good”!

Editors and agents spell out what they want to see for a specific reason. We can move through them much more easily if they all are in a specific format. They is nothing that hurts the eyes more than to be on submission 20 for the day, and have it come through single-spaced, Arial-10pt. At that time of the day, I’m lucky to still be able to see double-spaced, Times New Roman-12 pt. But at least my eyes are used to it, so I can still see well enough to do what I think is a good job responding.

It is never good or professional to send proposals to all of the agents in one agency, even worse to blanket the entire industry of agents with the same email. All of us listed for each other to see.

When a professionally done proposal per agency guidelines is sent to one agent at a time (and I’m fine with authors sending out multiple submissions; I wouldn’t want you waiting before sending another), we can take those proposals more seriously. A well done prop gets your foot in the door. The more professionally done, the better.

Think about whether or not you would want your instructions followed; it opens the door immediately. And even if the writing isn’t quite there yet, an agent will probably be willing to have a second look if you followed the instructions the first time.

Do your homework. Know what the agents are looking for. Don’t ‘assume’ anything. If you follow the guidelines on agency sites, the chances are you are already ten steps above most.

Good luck, best wishes, and follow those instructions to a ‘t’.

Do I only represent Christian Writers? by Terry Burns

Well now, that's a good question?

I'm not sure, because I don't ask people about their faith in the submission process. I suspect since people can clearly see that this is a Christian agency (even though we do work in the secular market as well) that they would probably be comfortable with that if they were going to submit to us.

But I don't ask.

I do know one thing, an atheist or non-Christians might be decidedly uncomfortable in my client group. You see, I require all clients to be in a private online group which gives me the ability to contact them all at once. The group offers three options, priority messages only (I'm the only one that can send a priority message), on digest, and on full access where they can talk directly not only with me but with other clients as well.

I do watch what the group talks about and do participate, maybe more than I should. Once the group was set up another interesting aspect came out. They turned out to be an amazing group of prayer warriors who genuinely care for each other and pray for one another with great effectiveness.

See why I think a non-believer would probably not be comfortable in the group?

Then there is the fact that I am drawn to content that has a good faith message. Yes, that narrows the possible places it can be submitted but that is after all why I decided to start doing this. Will I represent something that does not have faith content in it? Sure, we need good family entertainment as well as Christian books. Saying that you can tell I don't park my beliefs and morals at the door even if I am doing general market books.

My mother has passed on now, but she is still my measuring stick for projects. If it is something that would have offended my mother then it isn't something I want my name associated with. It's a measuring stick that I'm comfortable with and I don't mind if people shake their head and say I'm giving up sales. Of course I am, but they aren't sales I want to make. There are plenty of agents that do those, they don't need me doing it.

But I'm taking the long road around the mountain answering the question. Do I only represent Christian authors? Probably. Is it intentional? No, I just think all of my clients are Christians, and whether I actually ask someone or not, that is who I am likely to end up with.

Is it permissible to contact more than one agent or editor at a time? Certainly . . . unless an agent/editor posts that he or she requires exclusive submissions. So read and follow each agent and editor’s submission guidelines.

To hear back from submissions can take anywhere from a few weeks to a year or more. The most common response time is around ninety days. I don’t follow up on any of my submissions until ninety days have passed.

If authors can submit to only one agent/editor at a time then have to wait a minimum of ninety days, it would take forever to find a place for our work. Editors and agents know that and understand simultaneous submissions are necessary. On those occasions when I am dealing with an exclusive read, I will wait a definite period of time, not to exceed six weeks.

We must observe some courtesy rules with simultaneous submissions. First, submissions should never be made to more than one person in the same agency or publishing house at a time. That can cause problems.

Submissions should be personally addressed, regardless of how many agents/editors we submit to. Many agents and editors believe that if the author does not pay them the courtesy of personally addressing the submission, they don’t owe the author the courtesy of a personal response.

“Dear Sir or Madame” letters are generally regarded by editors and agents the equivalent to “Dear Occupant.” What do you do with your occupant mail? We do too.

Submissions with dozens of email addresses showing in the TO box tend to be regarded as spam. Recipients will look at the list and likely think, “Well, somebody will answer them.” Yet nobody does. Dozens of rejections by omission occur just because the author was too lazy to individually address them.

Back to the submission guidelines: Linda Glaz and I did a survey of agents and editors a while back for an “editor and agent pet peeves” course that we offer at conferences. The number one pet peeve was not following the submission guidelines. A number of things in submissions can be a problem, but most of them can be avoided by looking up and following those guidelines when making a submission.

Can more than one agent or editor be contacted at a time? Absolutely, as long as we are smart and courteous. And in looking at those guidelines, please note that some agents/editors want to be informed if it is a simultaneous submission. Most of us just assume that it is.

Working the room like a county politician by Terry Burns

I just did a one hour workshop for the ACFW Richmond Chapter and a full day workshop for the Round Rock (Austin) ACFW Chapter. The one in Richmond we did via Skype, which was a first for me. It worked pretty well although the video was a little one sided. I could see them but they never did get the video of me.

The one in Round Rock was a whole lot of one presenter, but they were very interactive with a lot of good questions and input and the time went by very quickly. I did a segment on "how to develop a writer's personna" that was just the thing for a few of them. And of course, one on "Surviving your way to publication"

Then I went with "Editor and Agent pet peeves" that went over well. Those who attend conferences see programs on preparing a proposal and on doing the things they need to do to interest a editor or agent, but seldom do you see one on things to avoid. We had fun with that one.

Both groups really got into the Q and A session, particularly after I said "If you don't Q, I won't A." I even used some of the Richmond Questions at the Round Rock workshop to help prime the pump. Interesting that the number one pet peeve and the first question by both groups ended up being the same thing. The question was "what is the most common mistake you see in proposals?" The number one pet peeve answered it as most editors and agents listed that as "not looking up submission guidelines before submitting in order to send what the editor wants to see the way they want to see it."

Both groups were interested in how you get the right agent and not just anyone. Snagging an agent at all can be a challenge, but I told them it was a lot like dating. I suggested they talk to existing clients, to ask questions and to look to see what they are selling. But above all it is a personality matchup. Different gents have different strengths and an agent that is perfect for someone may not be right for someone else. And it can have a lot to do with finding one that loves your work and feels strongly about getting it into print.

I was asked which was more fulfilling, writing or helping other writers become published? Actually I don't get to write much anymore and I often miss it, but when I started doing this I made the decision that I would have greater impact getting a substantial number of books out for a number of writers than I could have getting a couple out in a year myself.

I was asked, "you have a good reputation for getting first time authors published, what's your secret?" There's no secret, I have a heart for new authors and work with a lot of them. I don't take projects unless I can see in advance that there is a clear path for it. Not that I ever guarantee I can sell a project but I know some editors that I can take it to up front or I don't tie it up. Also I'm willing to take projects wherever they need to go to get the writer started. Not every writer is ready for a major publisher although that would be the writer's preference . . . and mine as well.

"What's your most frequent reason for turning down a prospective client?" It isn't a fit for the markets that I'm working in or it is just not a caliber that it is ready to submit. The writing is the most important part, but often the proposal or even the cover letter tells us that fit is not there even before we get down to the writing. Mostly it has to be a project that really hits a chord with me.

Like I say, good groups and good questions.

To Self Publish or Not to Self Publish, That is the question - by Terry Burns

“Whether ’tis nobler in the mind to suffer the slings and arrows of outrageous fortune . . .”

“Ah, enough of that. I’ve been following discussions on self-publishing across author groups and online forums. It is a hot topic.

“My opinion on it hasn’t changed. I have no problem with self-publishing if the decision to do it is made in the right way. I do believe it is a bad idea for an author to go into it simply as a knee-jerk reaction to rejected submissions from traditional presses.

“Those negative responses may well mean that the book is not ready to publish and the last thing we need is more books thrown out there without the quality that we would like to see in the marketplace. The decision to self-publish should not be an emotional decision but rather a business decision based on solid facts.

“Authors need to consider what they are giving up by self-publishing and what they gain by doing so. They need to know what skills they need to self-publish and what they have to do to be successful. They may realize it is to their benefit to stay the course, get the help they need, and keep working until they can hook up with a publisher. Possibly they should lower their sights a little to go with a small house or indy publisher.

“The first question an author needs to ask, whether he or she goes for traditional or self-publishing: Is my book really ready to be out there? Sometimes we don’t want to hear the answer we need to hear.

“But let’s assume the answer is yes. It's a good book, well written and well edited, but it just isn’t finding a publisher. That makes it a candidate for self-publishing, but is it a good idea? More information is needed to make that decision.

“Just throwing the book up on Amazon, sitting back, and reaping the proceeds seldom happens. The author needs to do more work, like giving it a good cover. Covers play a major role in buying decisions, so a cheap or an unattractive cover can kill the chances of a book being successful. Then the author must market the book and do successful promotion. And don’t forget about the necessary distribution channels for getting the book into bookstores.

“Authors can be successful self-publishers, some even earn far more than had they gone with a major publisher. But for every one that succeeds, hundreds of others end up selling only a few books to friends and relatives. It isn’t the quality of the book that determines which side of the fence the project comes down on. A wonderful book with a poor cover and weak marketing, promotion, and distribution simply is not going to garner sales.

“So the question is not “Do I want to self-publish?” Rather, it is “What is involved in my acting as my own publisher, and do I have the right skills, or can I acquire the skills that I need to be successful?”

Oh, yes, and Happy St Patrick's Day day from an Irishman whose grandmother's name was Lizzie O'Green (they dropped the O on the boat on the way over from Ireland.)

Screen Test by Terry Burns

 

The seduction of the screen.

No, I’m not talking about the movies.

It seems like I spend most of my life looking at a screen. It’s how I work incoming and outgoing submissions, communicate with clients and editors, research markets . . . in short it’s how I work.


But then there’s social media that I have to participate in for the sake of visibility and name identification. There are hundreds of emails coming in demanding my attention. Time to pay the bills? Look at the screen. Get some rare time to write? Look at the screen.

Taking time away from the computer? Watch the big screen across the room for a movie or some football. Need to know what’s going on in the world? I don’t read the newspaper anymore, I get my news from TV news or online. Watch the screen. Even if I am watching the big screen the computer is pushed aside on an airdesk and the sound of a message coming in or other alert can pull me right back.

Make a phone call? Much smaller screen, but can do email and facebook there too. Now the screen is actually attached to my body if I am out and around. I just had a computer meltdown and was without it for several days. That should have been a relaxing respite but it wasn’t. I was stressing over getting it back up and the things I was supposed to be doing and wasn’t.

How much is too much? When things are competing for my time it is often one type of screen competing with another. I know it is a constant problem for writers trying to carve out writing time and balance it with other aspects of their life. I’m just the opposite, trying to carve out time away from the screens.

How about you, what’s your relationship with the screens in your life?

You liked my book? by Terry Burns

You said you liked my manuscript, so why did you decline to represent it?

Good question.

I read a lot of projects that I enjoy the read but just don't have any place I can go with it. Has nothing to do with how good a story is or the quality of the writing, it has to do with being fair with the author.

All agents have different sets of contacts. Sure, we overlap a great deal, work with the same houses, but there are editors that are good friends of mine but they seldom acquire anything from me. Why? Because our tastes are very dissimilar and they tend to not like projects that I am drawn to. Other editors have much more similar tastes and as a result are much more favorable to the things that I've chosen to represent.

I work for my clients, but in initial contacts it is much more like I am working for the editors. I'm trying to establish those relationships, trying to understand what they are looking for, and work at helping them find it. But once I establish interest in a project then I am strictly representing my client. This task is much easier if we tend to like the same type of project.

I come from the writing side of the industry rather than the publishing side. I'm very sensitive to tying a project up and then finding I have no place to go with it. If that happens I have it tied up with little chance of success so for all practical purposes it is off the market. I wouldn't want anybody doing that to me and I don't want to do it to anybody else.

For that reason part of my process in evaluating a submission is to not only decide if I like the book and like the writing, but do I see a clear path for it? Not that I guarantee to sell one, just do I see some people in my contact list that I'm sure are a possibility for it. If I don't then another agent with a different set of contacts might be a much better match for it.

It's all about being positioned to effectively represent it.

What do I represent? by Terry Burns

I don't understand why people will submit to an editor or agent without looking at submission guidelines to see what they are representing and how they want to receive it. Would they go to a doctor without first checking to see if they are a general practitioner or a specialist of some kind, to see if they treat whatever they need treated? Would they go to a store looking for something without seeing if it was something the store sells?

But it is clear from the submissions that I receive that many, maybe even most, have not bothered to look at what the agency, or me personally are trying to represent at the present time. They send me things that our guidelines clearly say we do not handle at the present time, wasting not only my time but their time.

I'm from West Texas, the Texas Panhandle to be precise, and I wear a big hat. I don't know how many people jump to the conclusion that I only handle westerns. Every conference I have people who say they did not submit to me because that's not what they write. I would represent a good western, but at present only have a couple of clients that write them.

There are those who won't send me a romance because they figure I'm an old cowboy and wouldn't like them. I'm also Irish which means I tear up in a good chick-flick or like a romance that brings a smile to my face. Admittedly if it gets a little too flowery for me I tend to pass it to one of the ladies, but other than that . . .
I work with a lot of middle reader and young adult. Seems a lot of people don't expect that out of me either, totally ignoring the fact that I have 5 kids, ten grand-kids and two great-grandsons. And you don't expect me to be drawn to things for young people? True, I don't do things aimed at those younger than middle reader because I'm not a good judge of them. They all look cute to me.

I like historical or historical romance if it catches my interest. I like a good mystery, but they don't seem to like me, I'm having trouble finding a home for the few that I have. I handle some nonfiction but not as much these days. There is so much available online for free that it can be hard to place, and when it does find a home it is more about the platform and name recognition of the author than anything else. I am particularly not having any luck in the devotional market, way too many people there chasing too few publishing opportunities. Again it may be more about platform and name identification than anything else.

I like inspirationals and women's fiction, books aimed at a male audience if it is something that can also appeal to female readers. Mostly it needs to be a book that is well written, one that pulls me in from the very first page and keeps me in the story all the way trough. I like books that make me feel what the author is feeling: happy, sad, mad, scared . . . some genuine emotion.

People are making a mistake if they take a look at me and decide because of my age or the way I dress or the way I talk or some other characteristic that I will like or will not like something. There are plenty of places starting with those submission guidelines or the many places where you can find out more about the books that I'm placing that will tell you for sure whether we might possibly be a match or not. It should be that way for all agents or editors. Before we submit to one we should have a good idea whether they are a possibility or not. Blind or mass submissions seldom work. For one thing, many agents or editors feel if the submission they are receiving is not personal to them that it doesn't deserve a personal response.

So, does that help to figure out what I might or might not like?

Guest post by Terry's client Donn Taylor - profanity in writing

Every writer must decide whether he needs to use words that are euphemistically described as "strong language"—"cusswords" and gutter language. These "four-letter words" so dominate fictional and video conversations today that these words often are the dialogue.

I guess I've heard them all. And I've put a good bit of thought into their place, if any, in my writing. So I've come to reject the most common justifications of using these words in fiction, drama, and film.

The usual justification is a claim of "realism." First, it’s claimed that because people actually talk that way, realistic fiction must accurately report their words. Second, it’s claimed that four-letter words bring us closer to “real life” than other words.

Neither claim can withstand examination.

The first confuses "realism" with literalism. Fiction is not real life: it’s an artifice creating the illusion of real life. So if the writer must report people's words literally, what excuses him from including all other elements of life? Must every fictional day begin with the hero shaving or the heroine applying eye shadow?

Thus, if "realism" does not justify literal inclusion of other elements in fiction, it does not justify literal inclusion of specific words.

Nor can the claim that four-letter words are closer to "reality" withstand questioning. Many uses of those words are, to put it mildly, figurative. Perhaps is once was amusing to attribute bisexual reproductive capability to inanimate objects. But if so, the idea is now so clichéd that it's no longer humorous.

And on representing reality, let's consider the so-called "f-word." The early English (probably Anglo-Saxon) from which it descends was a savage language appropriate to those savage times. Then, perhaps, the word may have accurately described physical relationships between men and women. But many cultural changes have altered that reality.

One change was the twelfth-century invention of romantic (courtly) love, popularized by Eleanor of Aquitaine and Chrétien de Troyes. And in the 1590s, Edmund Spenser synthesized various love traditions into an ideal combining the romance of courtly love with the intellectuality of Platonic love and a dash of physicality from Ovid—all justified by marriage, one of the seven sacraments of the church. Spenser's synthesis held general acceptance until about 1900, when it was eroded by naturalistic philosophy and Freudian psychology.

The point for "realistic" fiction is this: if the "f-word" today accurately describes the physical relationship between a man and woman, it does so only because the couple is immune to the cultural experience the past millennium.

So if customary justifications cannot withstand examination, the real reasons for using "strong language" must lie elsewhere. Conflict is basic to all good fiction. “Strong language” helps lazy writers gain the appearance of conflict without the hard work of creating genuine conflict, which is always generated by a story’s narrative structure. In other words, "strong language" substitutes for genuine creativity.

Profligate use of such language will always be chic, of course. But as screenwriter Morrie Ryskind put it, "The chic are always wrong."



© 2000, 2008, 2012, Donn Taylor

Donn Taylor led an Infantry rifle platoon in the Korean War, served with Army aviation in Vietnam, and worked with air reconnaissance in Europe and Asia. Afterwards, he completed a PhD degree at The University of Texas and taught English literature (especially Renaissance) at two liberal arts colleges. His novels The Lazarus File andRhapsody in Red have received excellent reviews, and he has also authored Dust and Diamond: Poems of Earth and Beyond. He is a frequent speaker at writers’ conferences such as Glorieta and Blue Ridge. He and his wife live near Houston, Texas, where he continues to write fiction, poetry, and articles on current topics.

PUTS HIS STETSON ON THE SAME by Linda S. Glaz

My dad was involved in politics for a while, and I would from time to time go with him when he got to see the biggies. I was awestruck. He always told me not to be intimidated by anyone.

So don’t be intimidated by Terry, y’all. He puts his Stetson on just like everybody else.

Only, that’s not what my dad said. He said, “Just remember, Dolly, everyone pulls up their pants the same way. Nobody’s different than anyone else.”

(I just thought the Terry analogy was a bit nicer).

A lovely lady just told me that when she first met me, as agent Linda, not as good old normal Linda, that she was intimidated by me. ME!?! I had a student in karate class YEARS ago, tell me the same thing. Said she thought I chewed nails for breakfast. YIKES! What an image to be portraying. No wonder the dentist has to work so hard.

Writers need to understand they should walk boldly up to whichever agent or editor they choose, and remember, they are no different. They have all the hopes and dreams, fears and realities of everyone else.

They are neither more or less important in the scheme of things. We are all part of the industry that we love. Agents and editors want the chance to get to know you as well. Or they should. If not, they’re in the wrong biz.

What do you say?

Know how to put on a Stetson?

Update from Joyce

Hello everyone. 

  

Since you don’t hear from me very often, I thought I would bring you up to date on what is happening at the Pittsburgh office, besides the day to day activities.

I was able to attend the ICRS in Orlando in July.  Kathy, my assistant here in the Pittsburgh office went with me.  I couldn’t have done the conference without her.  We had a great time.  We roomed with Diana Wallis Taylor, one of my clients. I met with 26 editors in two days.  Since I hadn’t been to ICRS the last two years, it was good to reconnect with editor friends and to meet a couple new ones. It was also great to see many other friends on the convention floor.  Kathy heard “Joyce & I go waay back.” quite a few times.   I think my first CBA Convention was in 1980. 

 

My birthday was in August and I got three birthday cakes.   I’m watching carbs now. 

Many friends sent cards and messages on Face Book.  It is nice to be remembered.  Thanks to all.

Now I’m getting ready for the ACFW which is only two days away.  I’m having a dinner for my clients and their spouses. It will be at The La Hacienda in Colleyville, TX at 7:00 pm on Wednesday, September 19.  The manager of the restaurant says it is about 10 minutes from the airport.  Terry is having a get together for his clients on Friday night at the hotel.  At last count I will have 21 authors attending the conference. That’s only the jhart authors, not the whole agency. Terry will have 19 authors there.

 If you write fiction, I cannot recommend this conference highly enough.   You will have the opportunity to network with other authors, connect with editors and attend many good workshops. 

God bless and keep you in His care.

Nearly time for ACFW by Terry Burns

It's nearly time for the ACFW Annual Conference. That is the American Christian Fiction Writers if you are somehow unaware of them.

This is a very large writing conference and will have hundreds of attendees. This large attendance makes for very strong programming and allows for an opportunity to do a substantial amount of networking. It is the strongest and most impressive conference that I go to, and I do on average a couple of conferences a month.

It is for fiction writers, but I know quite a number of people who write only non-fiction yet say they learn a great deal at the conference and that the contacts they make there work just as well for them.

But the size of the conference also presents some challenges that people need to be aware of. First, there will be so much content available that choosing what you want to go to and thus NOT go to is a definite challenge. Some people solve this by ordering recordings of the sessions they couldn't make. Also, some people who can't afford to go to the conference have found that they CAN order the conference recordings and that helps some for not being able to attend.

Another challenge presented by the size is the number of attendees makes individual contact with agents and editors very difficult. It holds the number of appointments an attendee can schedule to a bare minimum and puts a strong emphasis on casual contacts an attendee might have during the event. There will be hundreds of these casual contacts taking place and rising above the din takes skill and planning.

The primary tool for taking advantage of a contact at a meal, or a casual contact in the hall or an elevator (certainly not at their room or some place like a restroom) is your elevator pitch. You should have a short, interest garnering one sentence pitch prepared on your project that is polished and can be drawn like a gun to deliver at any opportunity. This may be invited by a comment like "What do you write?" or you may have to initiate it yourself by asking "May I give you my elevator pitch?"

Hopefully it will interest them and result in a proposal being invited. If not immediately forthcoming, ask "May I send you my proposal on it?"

The editor or agent is generally not going to want to take anything more than a business card with them. If you have a physical appointment with them, maybe a one sheet, but most don't even want that. They will want it sent to them. I very often don't make it home with things I have pressed on me at a conference.

Editors and agents are attending to learn of good projects, but the magnitude of this even makes brevity and conciseness a virtue. Launch into a long synopsis of your project and you'll see their eyes glaze over and see them edging away talking about how late they are to be somewhere. The process is simple, elevator pitch, ask for the sale (can I send a proposal?) and ask for their card to send it. I promise they will appreciate this solid, business-like approach.

I hope you are going to be at the conference and I hope with a little forethought that you will be able to make it work very well for you and know that you will be able to do a huge amount of networking.