hard lessons for writers

Help An Editor: Follow The Guidelines

So you have written the Great American Short Story or Novel and you want to submit it to a publisher. The next step is to find the right publisher for your work. This post isn’t about finding an ideal publisher. It’s about an equally important item –  the writer’s guidelines.

I’ve been told by quite a few publishers that writers don’t necessarily follow the guidelines when submitting a work. I’m sometimes surprised by the number of writers who don’t follow a publisher’s submission guidelines. I’m not sure why some writers screw up this step, but plenty of them do.

First, find the guidelines on the publisher’s web site. They should be easy enough to find. While each publisher’s guidelines will be different, there are some things that are common to most guidelines.

Make sure your manuscript is formatted properly. The most common font and size for a manuscript are 12 point Times New Roman. Some publishers want a different font. If that’s the case in your submission, duplicate your manuscript and convert it to the proper font. No, you can’t submit in Comic Sans because you like that particular font or you think you’re being clever. Doing such a thing guarantees your manuscript will go into the “trash” file. Follow the guidelines and submit according to the publisher’s specifications.

Another big one on the list of no-nos is using spaces or tabs to indent your paragraphs. This is the one that surprises me the most since many publishers I’ve talked to over the years have brought it up. Your manuscript should default to double spaced and a one inch indent. On the Mac at least, Word has a Format tab and you go to Paragraph to set this up.

Keep an eye on headers and footers and page numbers. Some publishers want page numbers and some don’t. Some want you to put your contact information in a header and some don’t. Most often in my experience, the publisher wants your contact information at the top left of the manuscript without making it a header. It’s important to have your contact info at the top of the page, otherwise, the publisher won’t know who wrote the piece or how to reach you. Most publishers I’ve run into want your contact info both on the manuscript and in the body of your submission email, but as I’ve stated earlier, each publisher is different.

Pay attention to word counts. If the anthology submission calls for works no longer than 5,000 words, don’t send something that is 7,000 words long. Your story may be a work of genius (most likely not), but editors have a limited number of pages to work with. If you are able to whittle down your story to 5,000 words, do it. Otherwise, look for submission calls that allow for longer works. The opposite end is also true. Some publishers include a lower end word count limit, such as no shorter than 3,000 words. Don’t send flash fiction if the publisher didn’t request it. Keep to the guidelines.

If the publisher asks for a photo and bio in the body of your email, make sure you send them. Don’t forget. It can be a bit overwhelming to follow detailed guidelines, but take it step by step and you’ll be fine.

Pay attention if the publisher wants no reprints or simultaneous submissions. If the publisher does allow simultaneous submissions, make sure you notify that publisher as quickly as possible if your work is accepted elsewhere. It’s only polite.

When you follow the guidelines properly, you’re on your way to your work getting a look-see. Publishers will put your submission in the trash if it doesn’t follow the guidelines properly because, in not following the guidelines, you’ve give the publisher more work to do. Don’t do that. The first step in a successful submission is to do it properly. You may also write to the publisher if something in the guidelines isn’t clear. When you hit “send”, that euphoria you feel is in part due to following the instructions properly. When you do that, the publisher knows you’ve taken the time to read and submit in the best way possible. Best wishes for an acceptance!

Some Things I’ve Learned the Hard Way

K D Grace

I’ve put off writing this post for a long time because I didn’t want it to sound like sour grapes. I wanted it to be observations of one writer’s journey, and I wanted it to be something positive, something I hope will be helpful to other writers, writers with less experience than I’ve had. I couldn’t write it with a bitter taste in my mouth. I had to wait until I could write it from a place of not feeling hard-done-by, a place of having no regrets, and a place of looking forward to what comes next in my writing journey.

There are hard lessons I’ve learned through my years as a novelist that I was told early on, back before I had anything published, back when I had stars in my eyes of making the NYT Best Seller list, of making that bank breaking publishing deal. Every published writer that I ever met in person, heard speak, or saw at a conference, tried to say to the whole audience of starry-eyed newbies — some gently; some not so much — that if you don’t do it for the love of writing, for the love of story, then best quit now. Writing novels is not the way to get rich quick, and it’s most definitely not for the faint of heart. 

I can only speak from my own experience, but I’d be willing to bet that every one of us went away from those author encounters as sure as we were of our own name that we would be the exception to the rule, that we would be the one to sign the big book deal. 

There’s no gentle way to say it, so usually I just don’t say it at all. didn’t believe it, and I doubt any other novice writer in the history of writing ever believes it either. I would never discourage anyone. I would never want anyone to miss out on the passion, the ritual, the incredible connection I feel to the written word, to story, BUT there are a few hard lessons I’ve learned that I’d like to share, and before I do, I would like to add a disclaimer. 

DISCLAIMER: Write! Don’t ever stop writing! Do it for love! Do it for passion! Do it for sheer unadulterated pleasure! Do it for the agony and the pain and the journey! BUT try to do the impossible and write from a place of no expectations beyond that of the journey. The journey is SO worth it! I wouldn’t have missed out on any of it! 

Hard Lesson One: Publishing is a business. The industry does not, cannot, love me no matter how fabulous my writing is, no matter what a really great person I may be. It moves with the business trends, it moves with the money. Why should I expect it to be otherwise? It’s never anything personal, and yet we writers tend to view it that way because … well I don’t know about you lot, but I’m certainly a special snowflake. 

Hard Lesson Two: Get a F*cking Life! This lesson nearly killed me. I work for myself; that means I have no set hours; I have no agenda. I have no children, so no one is making demands on my time, and my husband travels a lot. I believed that the more time I spent writing, promoting, doing what all good novelists in the age of social media are supposed to do, the more the industry would realize what a special snowflake I really am and the more it would love me and THEN I’d get the big deal. 

Health wrecked, seriously OD-ing on sour grapes, and finding myself on the disappointing side of the 50SoG phenomenon with a gazillion other writers, I remembered all the things I USED to do before I began obsessively chasing the elusive big deal that was always out there just beyond my reach. I went back to the gym, I started walking again. I spent more time doing things totally unrelated to writing. I found that the less obsessive I became, the better my writing got and the more I was able to open my fist and let go of that white-knuckled effort to control. The more I began to enjoy my writing again, the less it mattered that the publishing industry didn’t love me.

Life is short, and writing is a long journey. If I’m in it for the long haul, then I need a life, a real life. I need real experiences, experiences that inspire, that tease, that ache and hurt and innervate. I have to find the place at the center because that’s really the place from which I write anyway. And the surprising truth is that sometimes I’m closest to the most powerful writing when I’m farthest away from my keyboard.

Hard Lesson Three: Learn to Let Go. The hard truth is that, to a large degree, that elusive publishing deal, ANY publishing deal depends on luck — a name-dropping at the right time, catching the eye of the right editor or agent, someone who loves what you wrote. Sadly, it isn’t about being so brilliant that the world recognizes my total genius. It’s less about quality and more about circumstances – what’s selling in the market at the time. If my work fits in with the trends, I might get lucky. 


Having said all of that, hope springs eternal. Letting go just a little bit means I’m able to see things more clearly and the Muse is able to beat it into my thick skull that it’s time to be adventurous again, it’s time to play with words again. It’s

been a terrifying delight this past year to write stories that have been in my heart for a long time, but I’ve not had time, nor courage, to write – terrifying in that I don’t know if I can sell them, delightful in that I feel like I’ve come home after being gone a long time. Oh it’s not a total change. I’m still writing erotica, still loving it, but I’m doing it from a much more relaxed place.

Today I spent three glorious hours “walking a novel.” It’s all plotted and in my head now. I’ll start the actual writing in a couple of days, when my decks are clear. I can’t wait!  I have no idea what will happen next, but what I do know is that the hard lessons are worth learning as quickly as possible because what’s beyond them is WAAAY too exciting to miss out on. 

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