Usenet 1993 July/InfoMagic USENET CD-ROM July 1993.ISO/answers/writing/FAQ

Internet Message Format | 1993-05-03 | 18.9 KB

Path: senator-bedfellow.mit.edu!enterpoop.mit.edu!eru.mt.luth.se!kth.se!sunic!pipex!uknet!doc.ic.ac.uk!decwrl!gossip.pyramid.com!olivea!apple.com!zamboni!lsefton
From: [e-mail]
Newsgroups: misc.answers,news.answers,misc.writing
Subject: misc.writing FAQ
Keywords: Frequent Questions Answers
Message-ID: <[e-mail]>
Date: 3 May 93 21:00:18 GMT
Expires: 30 Jun 1993 08:00:00 GMT
Reply-To: [e-mail]
Followup-To: misc.writing
Organization: Apple Computer
Lines: 99
Approved: [e-mail]
Xref: senator-bedfellow.mit.edu misc.answers:72 news.answers:8154 misc.writing:7585

Archive-name: writing/FAQ
Last-Modified: 1993/02/09


Misc.writing Frequently Asked Questions List

Changes since last edition:

Send corrections and additions to
   Laurie Sefton ([e-mail])

Questions addressed:

   What format should I use for a manuscript?

   I've written a picture book; how do I get it illustrated?

   How do I find a market for my manuscript?

   How do I submit a manuscript?

   Can I sell a manuscript I've posted to USENET/FIDO/GEnie/etc?

   Do I need an agent?

   How do I get an agent?

   What do agents charge?

   What professional groups are useful for writers?

______
MANUSCRIPT FORMAT

Preface:
  All of the following rules can be broken.  However, any time you
  break one of them, you run the risk of irritating an editor.  To
  quote Strunk and White:

    "It is an old observation that the best writers sometimes
     disregard the rules of rhetoric.  When they do so, however, the
     reader will usually find in the sentence some compensating merit,
     attained at the cost of the violation.  Unless he is certain of doing
     as well, he will probably do best to follow the rules."

General:

  Manuscripts should be typed, in black ink, double-spaced, with 1"
  margins on all sides, on one side of good white medium-weight paper.
  Onionskins and Corrasable Bond are Right Out.  Do not staple, bind,
  or otherwise attach the pages to one another.  (A rubber band around
  the stack is okay, if you include a sheet of cardboard to keep the
  stack from buckling.)

  Even if you own an elaborate desktop publishing system, don't show it
  off in a manuscript; your aim should be to produce output that looks
  as close as siliconly possible to typewritten (no smaller than
  10-point type, please!).  Editors are used to typewritten input --
  they have years of expertise reading, casting up, and marking
  monospace manuscripts for typesetting.

  If you submit a photocopy, make sure it's clean and clear; it also
  doesn't hurt to explicitly mark it "Not a Simultaneous Submission" (if
  this is the truth), as some editors assume photocopies are
  simultaneous.  NEVER submit your only copy of a manuscript; tragedies
  do happen.  Photocopy the manuscript, back up the disk.  Not vice versa.

First page header:

I. Wanna Write                                     Approx. 2000 words
1000 Maple Street
Anytown, USA 00000
[phone]

                   (about 1/3 of the way down the page)
                    Title of Story
                         by
                    Ima Pseudonym

  (Note that you do not give your pseudonym, if you use one, as the
  return address; the publisher wants to know who will be endorsing the
  check.)

Notes about word count:

  Word counts are approximate, not actual.  To get yours, count the
  number of words on three "typical" lines, divide the total by three,
  multiply by the number of lines per page and the number of pages,
  and round to the nearest 50.  You will be paid by the publisher's
  word-count, not yours; the publisher's algorithm may differ.  (And
  padding word-count is like double-parking in front of Police
  Headquarters; you *will* get caught.)

Other additions to the header about which there is some debate:

  Your Social Security number (Pro: Aids publishers in recordkeeping
    when they cut you a check.  Con:  If they need it, they'll ask
        for it.)

  A copyright notice (Pro: May be useful in establishing legal claims
        to ownership of your work, should problems arise.  Con: "This is a
        mark of the amateur; editors have better things to do than
        steal story ideas.")

  Membership in writers' professional organizations  -- SFFWA, SCBW,
        et al.  (Pro: Gets editors' attention in the slushpile.  Con:
        Doesn't help, doesn't hurt.)

Second-through-final page headers:

Writer's name/Title of Story                           Page X

  This shouldn't take up more than one line; shorten the title to fit.
  Manuscripts *do* get dropped; if you identify every page, you reduce the
  odds of your story's being re-collated with the last third of
  "Marshmallow Mud Maidens from Madagascar".  (Richard Curtis, the
  renowned agent, feels it's a mistake to include the story title in
  the page header, since this requires you to retype the entire
  manuscript if you change the title.)

  It may also be a good idea to put an "end of story" marker on the last
  page.  Use "# # END # #", "--FIN--", or anything else you're confident
  the editor won't mistake for part of the story.  (Some people think
  that this marker is amateurish.)

How much of the manuscript to include:

  Research the rules of the market you're submitting to.  For short
  fiction (less than 20,000 words), you normally submit the
  entire manuscript.  For novel-length fiction, many publishers prefer
  to receive a couple of sample chapters and an outline; if the
  publisher likes your sample, he/she will request the remainder of the book.

  Publishers won't normally commit to buying a manuscript from an unknown
  writer until they've seen the whole thing. DON'T submit a portion
  of an unfinished book, unless you are certain that you can finish
  the book very quickly (within a month) if the publisher expresses
  interest.

______
PICTURE-BOOK MANUSCRIPT FORMAT

  Children's picture books are normally assembled by the publisher,
  who buys a manuscript, then assigns an artist to create the drawings.
  Historically, most publishers have strongly preferred *not* to
  receive manuscripts with illustrations; the feeling has been that
  it was too difficult to accept one part of the package and reject
  the other.  Author-illustrators generally earned their spurs by
  illustrating the works of others, and were then allowed to create
  their own books.  Some publishers are beginning to accept (but not prefer)
  complete packages; check *Writer's Market* to find suitable
  candidates.

  If you are submitting an unillustrated manuscript for a picture
  book, you should generally not attempt to indicate page breaks,
  double-page spreads, etc., or give detailed illustration
  suggestions, as these are the book designer's and illustrator's
  domain.  Anything that you want to appear in the picture should be
  part of the text.  One obvious exception to this rule is irony:
  if the text reads "Irene's room was always tidy", you're allowed
  to insert a note like "(Illustrator: the room is actually a pit.)"

  As always, you should read many different picture books to get a feeling
  for the strengths and limitations of the format.  Bear in mind that
  picture books are almost invariably 32 or 48 pages long, including title
  page and other front matter.

______
ELECTRONIC PUBLICATION VS. PAPER PUBLICATION

  If you post a piece of writing to an electronic bulletin-board
  (USENET, GEnie, FIDOnet, et al.), or mail it to a generally-
  accessible mailing list (sf-lovers), you have published it. This means
  that you cannot sell "first rights" to that manuscript to a
  magazine, anthology, et cetera.  Furthermore, most publishers won't
  buy secondary rights to a piece that has been published on an
  electronic network.  (Sending E-mail copies of a manuscript out to
  a few friends and reviewers probably doesn't constitute "publication", but
  posting definitely does.)

______
HOW TO FIND A MARKET FOR YOUR MANUSCRIPT

o Go to the library and read *Writer's Market* (see the FAQ booklist
  for full information.)  It will tell you which magazines and books
  are reading unsolicited submissions, and what types of manuscript
  each market is particularly eager for.

o When you investigate a possible market, don't just read *about* it.  Read
  other books printed by the same publisher; read previous issues of
  the magazine.  What the editor honestly believes is "groundbreaking,
  no taboos" may be closer to "50's pulp fiction with swear words."

o Be precise in copying the editor's name, title, and
  address.  Check them against the latest information you have
  available -- editors change publishing houses and magazines
  frequently, and are not terribly amused by receiving submissions
  addressed to their predecessors.
______
HOW TO SUBMIT A MANUSCRIPT
o To cover letter, or not to cover letter?

  Do write a cover letter if
  o  you have previous publications
  o  you have some unusual expertise in the subject matter
  o  the editor has encouraged or requested this submission, or has
     commented favorably on your previous submissions
  o  you are an unusually charming letter-writer
  o  the editor's market report requests one
  o  the submission is part of a larger work (e.g. sample chapters and outline)

  For short fiction from an unknown writer, consider omitting the
  cover letter.  If you do include a cover letter, don't:
  o  retell the plot
  o  talk about how wonderful the story is (show, don't tell!!)
  o  talk about how wonderful the writer is
  o  try to be cute
  o  use more than one page

o Simultaneous submissions.  Don't.  If you *must*, be honest about
  it, and mark the submission as simultaneous; at most houses, this will
  reduce the submission's chances of being read.  If you get caught
  lying, your name will be mud (and remembered, and passed on to other
  editors.)  Yes, editors keep stories for far too long, and yes, it
  isn't fair that they can waste months of your time without leaving you
  anything to show for it.  One possible workaround: Submit works with a
  time limit; say in the cover letter that if you have not received a
  response by three months after the date of submission, you will
  withdraw the work from consideration and will resubmit the work elsewhere.

  [[ Some publishers are starting to accept simultaneous subs;
     check *Writer's Market* to find out if your market
     is willing. ]]

o Insert the package into an envelope that is big enough to hold the
  manuscript unfolded.  (That is, 9x11 is fine; standard business-sized
  4 x 9 1/2 is not, except for VERY short fiction and poetry.)  With
  your manuscript, include either a self-addressed stamped envelope
  (SASE) big enough to hold the return manuscript, or a smaller SASE
  for the publisher's reply, with a note that the manuscript need not
  be returned.  Attach adequate postage to both envelopes.

  Exception to the SASE rule: if you're submitting a work to a
  publisher in another country, consider sending a disposable
  manuscript, an addressed reply envelope for the publisher's
  response, and two International Reply Coupons, available at the local
  Post Office.

o Wait.  Start writing something else.  Requery (BY MAIL) after twice
  the named latency period.  If the publisher doesn't reply after what
  you consider a reasonable time, write a polite letter withdrawing
  the manuscript from consideration and resubmit it elsewhere.

______
DO I NEED AN AGENT?

Markets that only accept submissions through agents:
  Mainstream fiction (not SF, romance, or mystery)
  Screenplays and teleplays (studios won't read unsolicited
           submissions for fear of copyright lawsuits.)

  Most other markets still read their own slushpiles, so you can cut out
  the middleman by submitting your fiction directly.  If you're
  concerned about your ability to negotiate, you can always get an agent
  after you've made the sale through the slushpile.

Markets agents aren't normally interested in:
  Short fiction (not enough money in it)

Things agents generally won't do:
  Rewrite/edit your work (they don't have time)
  Handle several genres (e.g. romances and screenplays and cookbooks)
  Serve as a crying towel
______
HOW TO GET AN AGENT

o The easiest method:
  Sell your book to a publisher.  Then write letters to agents, asking
  them if they'd like to earn their 15%.

o Somewhat harder:
  Send the book over-the-transom to agents who are looking for new
  clients.

o A colossal waste of money:
  Pay somebody an up-front reading fee.  There have been a very few
  exceptions, but 99.9 per cent of all decent agents don't charge
  up-front reading fees; they make their money by *selling* your book,
  not by reading it.

  [[[ The times, they are a-changing.  As the function of slushpile
  weeding is shifting from publisher to agent, many agents see reading
  fees as the only way to recoup their costs.   It is still true that
  you should try to find an agent who doesn't charge a fee first, and
  that you should check the credentials of fee-demanding agents very
  carefully -- make sure that their major source of funds is selling
  writers, not reading manuscripts. ]]]

______
HOW MUCH DO AGENTS COST?

  Agents should not charge authors up-front fees for copying, telephone
  calls, et cetera; this money should come out of the agent's percentage
  of the gross.  The standard agent's fee for fiction seems to have
  risen to 15 per cent.  Agents' fees for screenplays are reported to
  have remained at 10 per cent.

______
PROFESSIONAL GROUPS FOR WRITERS

GENERAL:

National Writer's Union
13 Astor Place
New York, NY 10003
[phone]

  This group provides "contract consultation services, health care
  plans, and grievance resolution services among others.  They are
  affiliated with the UAW and appear to be a cross between a real labor
  union and a writer's advocacy group."

MYSTERIES:

Mystery Writers of America
236 W. 27th St.
New York, NY 10001
[phone]

ROMANCE:

Romance Writers of America
13700 Veterans Memorial Drive
Suite 315
Houston, TX 77014
[phone]

  General Membership open to "established romance authors and writers
  interested in pursuing a career in romance writing."  Associate
  Membership open to "booksellers, editors, agents, and other industry
  professionals."

SCIENCE FICTION/FANTASY/HORROR:

Horror Writers of America
HWA Executive Office
PO Box 10901
Greensboro, NC 27404-0901

  Membership open to anyone.  Annual dues of $45.00, levied from the
  beginning of the calendar year.  Writers join as either Affiliate Members
  or Active Members.  Active Membership, which gives voting privileges for the
  Bram Stoker awards, is attained by the sale of one novel for a certain
  minimum advance or the sale of three short stories to professional markets
  (those paying 3c/word or more to all contributors).  Benefits include a
  subscription to the roughly bi-monthly HWA Newsletter; the HWA Market
  Report, a specialized version of Kathy Ptacek's *Gila Queen's Guide*; a
  membership directory with names, addresses, phones, and agents; a focused
  publicity effort for members' books; the right to submit stories to the
  HWA anthology (two have thus far been published as mass market paperbacks);
  and various other evolving benefits.  The annual business meeting and awards
  banquet is held each June, sometimes on the west coast but typically favoring
  the east coast where the editors are.


Science Fiction and Fantasy Writers of America
Peter Dennis Pautz
Executive Secretary
Science Fiction and Fantasy Writers of America, Inc.
5 Winding Brook Dr. #1B
Guilderland, NY 12084
$60.00 annual membership fee

  Membership open to *published writers only*: you must show evidence of
  having sold at least three SF short-stories or one novel to
  "professional" markets.  Associate membership is open to people with
  fewer publications; write SFFWA for the qualifications, as they are
  expected to change during 1992.

  You can subscribe to the SFFWA newsletter, *Bulletin*, without being
  a member, through Pulphouse Press; see the FAQ booklist for
  Pulphouse's address.

CHILDREN'S BOOKS:

Society of Children's Book Writers (SCBW)
P.O. Box 296, Mar Vista Station
Los Angeles, CA 90066
$40.00 per year annual membership fee

  Publishes 6 newsletters a year, containing market reports, gossip, and "How I
  Sold My Masterpiece" articles.  Yearly market summary, descriptions of
  manuscript format, etc. available to members for cost of postage.
  Membership open to all; unpublished writers and illustrators are
  "Associate Members".  Sponsors annual conferences at both the
  national and local levels.


RADIOPLAYS, SCREENPLAYS, AND TELEPLAYS:

Writers' Guild of America
8955 Beverly Boulevard
West Hollywood, CA 90048

  This is a professional writer's union.  Membership in the Writers' Guild
  of America is limited to individuals who have made sales
  totalling 12 points on their arcane scale (story or screenplay for a
  feature are 12 each, story or script for a sitcom is 6, etc. ad nauseam).

  The sales must have gone to WGA-signatory production entities; the
  writer cannot have been involved in the company in a hiring
  capacity.  (This is to prevent writers' joining the guild through
  paying for vanity productions.)

  There is a "signatory" status for agencies representing writers for
  the WGA. Any guild-signatory agency is prohibited, among other
  things, from charging a reading fee.

TECHNICAL WRITERS AND OTHER TECHNICAL COMMUNICATORS

Society for Technical Communication
901 N. Stuart St., Suite 304
Arlington, VA 22203-1822
[phone]

    The Society for Technical Communication is open for membership to
    people actively engaged in some phase of technical communication or
    interested in the arts and sciences of technical communication or in
    allied fields.  There is also a student membership for college
    students.

    The society has approximately 134 chapters worldwide.  Many chapters
    sponser seminars, publication competitions, special interest groups,
    and job banks.

[[[ I need information on the following:
    Writers, Inc.
]]]

ELECTRONIC:


  The electronic writers' list is being run as a listser list called
  the Fiction Writers Workshop and based at Penn State University.
  The list owner is Chris Conn and members can get information about the
  list by sending mail to him at [e-mail].

  The BIX system has several active writers' groups.  'writers' is a
  general group for writers and wannabees.  'writers.pros' is for
  published writers only. Focus tends to be on computer-related
  journalism, though the trials and tribulations of everything from
  fiction to history to textbooks to poetry get discussed.
  'writers.talk' is for chatting with authors and friends.
  'new.writers' is for newcomers.

  COMPUSERV and GEnie also have writers' groups.

[[[ Can members of these give me more information? ]]]
--

Note: FAQ is also available from ftp.apple.com, in /pub/lsefton/misc.writing.
The files will be updated as information arrives.