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Inklings Issue 3.05
================================================================
i n k l i n g s
Newsletter for Writers on the Net
Issue 3.5 Mar. 5, 1997
================================================================
<http://www.inkspot.com/inklings/issues/ink0305.html>
In this issue, Jeff Herman (author of _Insider's Guide To Book
Editors, Publishers, and Literary Agents_) offers tips on what to
do after you sign the publisher's contract. Michelle Sagara (Ask
The SF/Fantasy Author) answers the question, "How do I write a
book synopsis?".
This issue sponsored in part by:
================================================================
* The Reporters Network * http://www.reporters.net
Free E-mail services for reporters and freelance writers, online
media directory, bulletin boards and journalism resource pages.
News and Announcements- majordomo@reporters.net (subscribe news)
================================================================
* Samurai Consulting * http://www.samurai.com
Services include internet consulting, WWW page design, electro-
nic newsletters, mailing lists, FTP sites, system maintenance,
training. Email: Bryan Fullerton <bryanf@samurai.com>
================================================================
ISSN 1205-6413. Copyright 1995-1997 Debbie Ridpath Ohi. See end
of issue for more info, and for details on how to subscribe and
unsubscribe. Send comments to editor@inklings.com (please use a
meaningful subject header!). For information on how you can
become an Inklings sponsor, send e-mail to editor@inklings.com
with "rate card" in the subject header. No attachments, please.
================================================================
| CONTENTS THIS ISSUE: |
| From The Editor's Desk |
| Fresh Ink & Market Information |
| What To Do After You Sign The Publisher's Contract |
| Ask The SF/Fantasy Author |
================================================================
FROM THE EDITOR'S DESK
======================
Because of increasing traffic and site expansion, I've decided to
move Inkspot to its own virtual web server. Eventually this will
mean you can access Inkspot with "http://www.inkspot.com" instead
of "http://www.inkspot.com/~ohi/inkspot/". During this
transition, you may experience occasional difficulties in
accessing Inkspot and Inklings on the web. If you do, you can
always access the sites through the following temporary URLs:
http://www.interlog.com/~ohi/inkspot/
http://www.interlog.com/~ohi/ink/inklings.html
Thanks to Renee Wittenberg for mentioning Inklings in her article
for WRITER'S JOURNAL (Mar-Apr/97, p19). Thanks also to Kathleen
Hinds for recommending Inkspot and Inklings in her BYLINE article
(Mar/97, p28).
FRESH INK
=========
Free newsletter for writers!
----------------------------
NovelAdvice is a free semi-monthly newsletter for writers. The
contents are strictly on the craft of writing, primarily fiction,
but also creative nonfiction. To subscribe, send email to
jeannewrtr@aol.com with the word "Subscribe" in the message
header. Each newsletter is about 60k and will arrive in an
attached file or in multiple emails. Website still under
construction.
The GGG's Writer's Write
------------------------
Humorous fiction and poetry, web publishing help section,
writing-related links.
http://www.gggpages.com/writing/
Email: GGGPages@aol.com
Pete's Place of Canadian Freelance Journalism
---------------------------------------------
Writing-related articles and links.
http://www.npiec.on.ca/~pwarwick/
Writer's Bookcase
-----------------
Order books online. Writing-related links.
http://www.ozemail.com.au/~keithbin/
Dark Writing Resource
---------------------
Resource for writers of horror, dark fantasy, suspense, and
the supernatural.
http://www.geocities.com/SoHo/5771/dark.html
The Right Writer
----------------
Site includes copyright forms, info for new and young writers,
writing-related links.
http://nimbus.ocis.temple.edu/~cforrest/Lit.html
DarkEcho newsletter
-------------------
DarkEcho is a free weekly newsletter packed with useful info for
horror writers. Includes market info, publishing news,
interviews, reviews, other info. See DarkEcho website for more
horror writer resources. To subscribe, send email to
darkecho@aol.com with "subscribe" in the subject header.
URL: http://www.darkecho.com/
Markets Abroad
--------------
Quarterly newsletter by writer/publisher Michael Sedge. Provides
up-to-date info on foreign publications that seek contributions
from writers around the world. Available in email, fax, or print
(postal) version. US$27/year for email version, $31 for fax/mail
version. Send check to Michael Sedge Publications, 2733 Midland
Road, Shelbyville, TN 37160.
Email for info: pp10013@cybernet.it
================================================================
MARKET INFORMATION
==================
Please note: Inklings does its best to print only accurate market
info. However, it cannot be held responsible for lost postage,
time, etc. that you may incur due to inaccuracies. Do not send
submissions by email before inquiring first. You should get
current, detailed guidelines before submitting. Include SASE for
snailmail replies. More market info at:
http://www.inkspot.com/~ohi/inkspot/marketinfo.html.
SPECIAL THANKS TO THE FOLLOWING MARKET SOURCES:
SCAVENGER'S NEWSLETTER
Monthly market info letter for sf/f/h/m writers & artists.
More info at: http://users.aol.com/Lemarchand/scavenger.html
THE GILA QUEEN'S GUIDE TO MARKETS
POB 97, Newton, NJ 07860-0097 Email:K.Ptacek@genie.com
http://www.teleport.com/~alecwest/gila.htm
CHILDREN'S WRITERS MARKET LIST (magazines only)
Available by e-mail or snailmail. Email mshauers@midusa.net.
==-----------------------------------------------------==
"FNASR" = First North American Serial Rights, "SASE" =
self-addressed, stamped envelope, "simsubs" = simultaneous
submissions, "mss" = manuscript, "RT" = response time, "GL" =
guidelines, "wds" = words.
***If you are a paying market and would like your guidelines
included in a future issue of Inklings, please fill out the form
at: http://www.inkspot.com/~ohi/inkspot/mktpayform.html
PAYING MARKETS:
Seventeen
---------
SEVENTEEN, 850-3rd Street, New York, NY 10022: Susan Brenna,
Features. This secular publication uses 1000-3000 word (literary)
fiction for girls 13 to 21; articles to 2000 words by adults.
(Voice items of 1200 words by writers 21 year or younger only.).
They pay $500 to $1500 on acceptance. They buy one-time rights
from adults; may now take the same rights from teens. The slant
is toward older girls. They like a cover letter, listing credits.
(Source: Children's Writers Market List)
E-mail: thespin@aol.com.
Full Moon Publications
----------------------
FULL MOON PUBLICATIONS, 577 Central Ave., Box 4, Jefferson, LA
70121-1400. Request guidelines. Be sure to enclose a S.A.S.E.
with postage for 3 ounces. Small press publisher seeks
submissions for various genres--horror, vampire/gothic, mystery
(thrillers, hard-boiled detective or British--Sherlock
Holmes/Jack the Ripper/cozy tea styles), scifi (no hardcore) &
fantasy, western) plus historical, multi-cultural, occult &
paranormal, literary & personal/grrrl, the craft of
writing/writers'market/writers. Articles, reviews, interviews,
essays, poetry, fiction, photos & art work needed. Zines,
newsletters, books & chapbooks, anthologies, catalogues,etc.
published. Small fee plus free copy or free copy only. Small
press publishers operate on a shoe-string budget. However, small
press serves as a good place to start. Some writers even remain
loyal to small press for their entire lives. "We pay one cent up
to 1200 words, 1/2 cent up to 1500, and 1/4 cent thereafter for
essays, articles, reviews, and interviews, plus free a free copy.
We pay only by free copy for poetry and fiction." (Info rec'd
Feb.14/97)
Email: Sharida Rizzuto <photomax@earthlink.net>
The American Cottage Gardener
-----------------------------
Rand B. Lee, Acquisitions Editor, The American Cottage Gardener,
PO Box 22232, Santa Fe, NM 87502-2232. Literary horticultural
quarterly. SEEKS: Nonfiction articles, 750-2000 words, on the
history and practice of cottage gardening in North America
(Canada, USA, Mexico). Query first; "we cannot be responsible for
unsolicited manuscripts". PAYMENT: $25 per published page of text
(approximately 750 manuscript words per printed text page),
secured by contract and delivered on publication. "Every garden
writer to whom we've spoken has a favorite horticultural topic
that they've held back from writing about because there didn't
seem to be a market for it. Our magazine is designed in part to
be a showcase for gardening writers and writing gardeners who are
frustrated with the intellectual and thematic restrictions of the
mainstream gardening press, and who want to let other gardeners
know about a particular genus, plant, gardening lore, or slice of
gardening history. You could even write about your garden at
home; we are always interested in showing our readers how other
people in other parts of the country live with plants." TIPS: "We
want your authentic voice, fully backed by your intelligence and
wit. No exclamation points; no false folksiness; no writing down
to your audience. Take a risk and write about what really excites
you as a gardener. We are particularly interested in hearing from
writers gardening in the Deep South; from garden historians; from
monogenerimaniacs (you know who you are); from ethnic minority
gardeners. However, don't let this stop you from querying us.
Remember our focus is the home gardener, so no estate landscaping
articles, please." Pays on publication. Email queries okay. "We
purchase only First North American Serial Rights. All rights
revert to author upon publication." (Info rec'd Feb.19/97)
Email: randbear@nets.com (Rand B. Lee)
URL: http://trine.com/GardenNet/ACG/
Crystal Ball
------------
CRYSTAL BALL, P.O. Box 98, Ripley OH 45167: Marlene Powell,
Editor. This is a new quarterly for readers 10-14 who have
interest in science and technology. Interested in nonfiction,
plus science fiction and fantasy. Wants material to 4000 words,
buys 1st rights and occasional reprints. Pay is .025 word.
(Source: The Children's Writer's Market List)
Plants, Animals, and the Environment
------------------------------------
ATTN.: Internet Submissions (subject covered), Plants Animals and
the Environment, Wm. C. Brown/McGraw-Hill Publishers, 2460 Kerper
Boulevard, Dubuque IA 52001. Monthly online zine/website debuting
in Aug/97. CONTACTS: Topic: Zoology, Marine Biology, Contact:
Adora Pozolinski, Associate Developmental Editor. Topic:
Environmental Science, Botany Contact: Kathy Loewenberg, Senior
Developmental Editor. "We are currently in the process of
creating a combined zoology and marine biology web site, an
environmental science web site and a botany web site. All of
which will be linked to our current site:
http://www.wcbp.com/pae/, and will complement our textbooks. The
emphasis is on providing both instructors and students new and/or
more detailed information in those subjects already covered (or
touched upon) in our books. (See our web site for a list of the
textbooks which will be enhanced by these sites.)" PAYMENT: Pays
on acceptance. 5c/word for text-only, "willing to negotiate with
people for submissions which include HTML coding, graphics, etc."
Email submissions okay. "We would like to purchase the right to
be the first to publish the article on the internet/web." "The
type of articles we are particularly interested in, at this time,
would be non-fiction (with the following examples): 1) Topical
annotated bibliographies: with an emphasis on helping students
find good and useful articles for use in their research
assignments; and with an emphasis on helping professors find good
and useful articles for use in their classroom preparation. 2)
Case studies: to give students and professors clear and
interesting real-life examples of topics covered in our text
books. 3) Biographies of, and interviews with, people working in
these fields: to give both students and professors examples of
the careers that support the study of zoology, marine biology,
environmental science and/or botany. LENGTH: 1000-7000 words"
TIPS: "Things which will help you: 1) Clear writing style 2) Well
researched and accurate information 3) The ability to provide the
text in standard HTML coding, or the ability to provide a content
and HTML combination which makes your submission unique and
interactive. (Note: this is desired, not required) 4) Some kind
of credentials in the area you are writing about. (Have you taken
classes in the subject? Do you have a Masters? PhD? Are you
teaching this subject?)" (Info rec'd Feb.19/97)
Email: adora.pozolinski@tmhe.com or wcbp-pae.review@tmhe.com
Main URL: http://www.wcbp.com/pae/
GL: http://www.wcbp.com/pae/write.html
Strictly Romance Magazine
-------------------------
Indigo Prints, Strictly Romance Magazine, 2599 E. Main St. Suite
181, Bexley, Ohio 43209. Shawna Williams, Editor. Quarterly
romantic fiction magazine that showcases short stories ranging
from "very sweet to very sensual". Pays on acceptance. No email
submissions, email queries only. Buys one time rights and may use
for not only hard copy, but on line as well. Rights revert back
to author upon publication. "All stories must be fiction and have
romantic slant. Any category, for example, time travel,
paranormal, historical, contemporary, sci-fi etc.. Lengths
ranging from 2500 up to 5,000...if longer query. Pays in
contributor's copies/and or $10-20 per short story. We also
accept
poetry. Submit at least three at a time." "We am not looking for
confessional type stories. We am very openly seeking more
paranormal, futuristic, historicals, and gothic more than
contemporary. Though we do accept all. Strictly Romance Magazine
is dedicated to new up and coming romance authors. We are
flexible and willing to work with writers to give our audience
the best we can find." (Info rec'd Mar.4/97)
Email: IndigoPri@aol
URL: http://members.aol.com/IndigoPri/index.html
Writer's Digest School seeks novelists
--------------------------------------
Writer's Digest School is looking for published novelists to add
to their instructor staff in the following categories: mainstream
(especially women's/coming-of-age stories), historical (not
romance), fantasy (especially Christian and "high" fantasy, also
new age). "We require at least three commercially published
novels in same category. Instructors work with students in our
home-study Novel-Writing Workshop, which is an introduction to
novel writing and marketing, and our Advanced Novel Writing
Workshop, in which student and instructor work together on a
manuscript." Interested novelists should reply with publishing
credits to: Writer's Digest School, 1507 Dana Ave., Cincinnati,
Ohio 45207, Attn: Stephanie Steele, Director.
================================================================
WHAT TO DO AFTER YOU SIGN THE PUBLISHER'S CONTRACT
----------------------------------------------------------------
by Jeff Herman
Jeff Herman is a respected and well-known New York agent and
author of Insider's Guide To Book Editors, Publishers And
Literary Agents. This article is reprinted as a courtesy of
AUTHORLINK!, an on-line information service for editors,
agents and writers, located at http://www.authorlink.com.
Congratulations! You've sold your book to a well-established
publishing house, and now belong to the elite club of published
authors. You'll soon discover that your personal credibility is
enhanced whenever this fact is made evident to others. It may
also prove to be a powerful marketing vehicle for your business
or professional practice.
Unfortunately, once your book is actually published, there's a
better-than-even possibility that you'll encounter several
disappointments. Some of the most common are: (1) Neither you nor
anyone you know can find the book anywhere. (2) The publisher
doesn't appear to be doing anything to market the book. (3) You
detest the title and the jacket. (4) No one at the publishing
house seems to be listening to you. In fact, you may feel that
you don't even exist for them.
As a literary agent, I live through these frustrations with my
clients every day, and I try to explain to them at the outset
what the realities of the business are. But I never advocate
abdication or pessimism. There are ways in which every author can
substantially remedy these endemic problems.
What follows are practical means by which each of these four most
common failures can be preempted. I'm not suggesting that you can
compensate entirely for the publisher's failures; that's a tall
order. However, with lots of smarts and a little luck you can
accomplish a great deal.
ATTACKING PROBLEM NO. 1: NEITHER YOU NOR ANYONE YOU KNOW CAN FIND
THE BOOK ANYWHERE
This can be the most painful failure. After all, what was the
point of writing the book if it's virtually invisible?
Let me digress briefly by introducing a bit of philosophy. As
many of you may know from the popular material on codependency,
to be a victim is to be powerless, which means you don't have the
ability to improve your situation. With that in mind, avoid
becoming merely an author who only complains and remains forever
bitter.
No matter how badly your publisher screws up, don't fall into the
victim trap. Instead, find positive ways to affect what is or is
not happening for you.
Your publisher is like an indispensable employee whom you are not
at liberty to fire. You don't have to work with this publisher
the next time; but this time it's the only one you've got.
There are a handful of writers, such as Norman Mailer, whose
books pay a large part of the publisher's rent. These writers
have earned the luxury of being very difficult, if they so
choose. But the other 99.98% of writers are not so fortunate. No
matter how justified your methods may be, if you become an author
to whom everyone at the publishing house dreads speaking, you've
lost the game. They still have their jobs, and they see no reason
to have you in their face. In other words: Always seek what's
legitimately yours, but always try to do it in a way that might
work for you, as opposed to making yourself persona non grata
till the end of time.
Trade book distribution is a mysterious process, even for people
in the business. Most bookstore sales are dominated by the large
national and regional chains, such as Waldenbooks, B. Dalton,
Barnes and Noble, and Crown. No shopping mall is complete without
at least one of these stores. Publishers always have the chain
stores in mind when they determine what to publish. Thankfully,
there are also a few thousand independently owned shops
throughout the country.
Thousands of new titles are published each year, and these books
are added to the seemingly infinite number that are already in
print. Considering the limitations of the existing retail
channels, it should be no surprise that only a small fraction of
all these books achieves a significant and enduring bookstore
presence. The bookstore will dedicate most of its visual space to
displaying healthy quantities of the titles they feel are safe
sells: books by celebrities and well-established authors, or
books that are being given extralarge printings and marketing
budgets by their publishers, thereby promising to create demand.
The rest of the store will generally provide a liberal mix of
titles, organized by subject area. This is where the backlisted
titles try to stake their claims. For instance, the business
section will probably offer two dozen or so sales books. Most of
the displayed titles will tend to be by the biggest names in the
genre, and their month-to-month sales probably remain strong,
even if the book was first published several years ago. In other
words, there are probably hundreds of other sales books written
in recent years that, as far as retail distribution is concerned,
barely made it out of the womb. You see, the stores aren't out
there to do you any favors. They are going to stock whatever they
feel they can sell the most of. There are too many titles chasing
too little space.
It's the job of the publisher's sales representative to lobby the
chain and store buyers individually about the merits of her
publisher's respective list. But here too the numbers can be
numbing. The large houses publish many books each season, and
it's not possible for the rep to do justice to each of them.
Priority will be given to the relatively few titles that get the
exceptional advances.
Because most advances are modest, and since the average book
costs about $20,000 to produce, some publishers can afford to
simply sow a large field of books and observe passively as some
of them sprout. The many that don't bloom are soon forgotten, as
a new harvest dominates the bureaucracy's energy. Every season,
many very fine books are terminated by the publishing reaper. The
wisdom and magic these books may have offered is thus sealed
away.
I have just covered a complicated process in a brief fashion .
Nonetheless, the overall consequences for your book are in
essence the same. Here, now, are a few things you may attempt in
order to override such a stacked situation. However, these
methods will not appeal to the shy or passive:
Make direct contact with the publisher's sales representatives.
Do to them what they do to the store buyersÑsell 'em! Get them to
like you and your book. Take the reps near you to lunch and
ballgames. If you travel, do the same for local reps wherever you
go.
Make direct contact with the buyers at the national chains. If
you're good enough to actually get this kind of access, you
probably don't need to be told what to do next.
Organize a national marketing program aimed at local bookstores
throughout the country.
There's no law that says only your publisher has the right to
market your book to the stores. (Of course, all orders must go
through your publisher.) For the usual reasons, your publisher's
first reaction may be "What the hell are you doing?" But that's
okay; make them happy by making your efforts work. It would be
wise, however, to let the publisher in on your efforts up front.
If your publisher objectsÑwhich she mayÑyou might choose to
interpret those remarks as simply the admonitions they are, and
then proceed to make money for all.
ATTACKING PROBLEM NO. 2: THE PUBLISHER DOESN'T APPEAR TO BE DOING
ANYTHING TO MARKET THE BOOK
If it looks as if your publisher is doing nothing to promote your
book, then it's probably true. Your mistake is being surprised
and unprepared.
The vast majority of titles published receive little or no
marketing attention from the publisher is beyond catalog
listings. The titles that get big advances are likely to get some
support, since the publisher would like to justify the advance by
creating a good seller. Compared to those in other Fortune 500
industries, publishers' in-house marketing departments tend to be
woefully understaffed, undertrained, and underpaid. Companies
like Procter & Gamble will tap the finest business schools, pay
competitive salaries, and strive to nurture marketing superstars.
Book publishers don't do this.
As a result, adult trade book publishing has never been
especially profitable, and countless sales probably go unmade.
The sales volumes and profits for large, diversified publishers
are mostly due to the lucrativeÑand captiveÑtextbook trade. Adult
trade sales aren't the reason that companies like Random House
can generate more than $1 billion in annual revenues.
Here's what you can do:
Hire your own public relations firm to promote you and your book.
Your publisher is likely to be grateful and cooperative. But you
must communicate carefully with your publishing house.
Once your manuscript is completed, you should request a group
meeting with your editor and people from the marketing, sales,
and publicity departments. You should focus on what their
marketing agenda will be. If you've decided to retain your own PR
firm, this is the time to impress the people at your publishing
house with your commitment, and pressure them to help pay for it.
At the very least, the publisher should provide plenty of free
books.
Beware of this common problem: Even if you do a national TV show,
your book may not be abundantly available in bookstores that
dayÑat least not everywhere. An obvious answer is setting up 800
numbers to fill orders, and it baffles me that publishers don't
make wider use of them. There are many people watching Oprah who
won't ever make it to the bookstore, but who would be willing to
order then and there with a credit card. Infomercials have proven
this.
Not all shows will cooperate, but whenever possible you should
try to have your publisher's 800 number (or yours) displayed as a
purchasing method in addition to the neighborhood bookstore. If
you use your own number, make sure you can handle a potential
flood.
If retaining a PR firm isn't realistic for you, then do your own
media promotions. There are many good books in print about how to
do your own PR. (A selection of relevant titles may be found in
this volume's Suggested Resources section.)
ATTACKING PROBLEM NO. 3: YOU DETEST THE TITLE AND JACKET
Almost always, your publisher will have final contractual
discretion over title, jacket design, and copy. But that doesn't
mean you can't be actively involved. In my opinion you had better
be. Once your final manuscript submitted, make it clear to your
editor that you expect to see all prospective covers and titles.
But simply trying to veto what the publisher comes up with won't
be enough. You should try to counter the negatives with positive
alternatives. You might even want to go as far as having your own
prospective covers professionally created. If the publisher were
to actually choose your version, the house might reimburse you.
At any rate, don't wait until it's after the fact to decide you
don't like your cover, title, and so forth. It's like voting:
Participate or shut up.
ATTACKING PROBLEM NO. 4: NO ONE AT THE PUBLISHING HOUSE SEEMS TO
BE LISTENING TO YOU
This happens a lot,though I bet it happens to certain people in
everything they do. The primary reasons for this situation are
either
(1) that the people you're trying to access are incompetent; (2)
that you're not a priority for them; or (3) that they simply hate
talking to you.
Here are a few things you might try to do about it:
If the contact person is incompetent, what can he or she really
accomplish for you anyway? It's probably best to find a way to
work around this person, even if he begins to return your calls
before you place them.
The people you want access to may be just too busy to give you
time. Screaming may be a temporary remedy, but eventually they'll
go deaf again. Obviously their time is being spent somewhere.
Thinking logically, how can you make it worthwhile for these
people to spend more time on you? If being a pain in the neck is
your best card, then perhaps you should play it. But there's no
leverage like being valuable.
Maybe someone just hates talking to you. That may be their
problem. But, as many wise men and women have taught, allies are
better than adversaries. And to convert an adversary is
invaluable.
CONCLUSION
This essay may come across as cynical. But I want you to be
realistic and be prepared. There are many publishing success
stories out there, and many of them happened because the authors
made them happen.
For every manuscript that is published, there are probably a few
thousand that were rejected. To be published is a great
accomplishmentÑand a great asset. If well tended, it can pay
tremendous dividends.
Regardless of your publisher's commitment at the outset, if you
can somehow generate sales momentum, the publisher will most
likely join your march to success and allocate a substantial
investment to ensure it. In turn, they may even assume all the
credit. But so what?
==--------------------------------------------==
Jeff Herman's books (Insider's Guide To Book Editors, Publishers
and Literary Agents) can be ordered from:
Jeff Herman
The Jeff Herman Agency
140 Charles St., Ste 15A
New York, NY
10014 (212) 941-0540
Copyright (c) 1996 by Jeff Herman. All rights reserved.
================================================================
Ask The Experts
---------------
*** Please put "inklings question" in the subject header. ***
Judith Bowen (ROMANCE WRITER) jbowen@max-net.com
David Bredeen (POET) drpoetry@ktc.com
Charles Deemer (SCREENWRITER) cdeemer@teleport.com
Susan Graham (AGENT) slgraham@atl.mindspring.com
Paula Guran (HORROR WRITER) DarkEcho@aol.com
Carol Henson (BOOK DOCTOR) UBKX12C@Prodigy.com
Ken Jenks (ELECTRONIC PUBLISHER) MindsEye@tale.com
Bob Sablatura (JOURNALIST) bob.sablatura@reporters.net
Michelle Sagara (SF/FANTASY WRITER) Michelle.Sagara@sff.net
Lee Wardlaw (CHILDREN'S BOOK WRITER) Katknip2@aol.com
Marcia Yudkin (FREELANCE WRITER) send to editor@inklings.com
Sharon Zukowski (MYSTERY/SPY WRITER) 76372.2252@CompuServe.COM
Columnists may be unable to reply privately to every message, but
will answer selected questions in future issues of Inklings.
================================================================
ASK THE SF/FANTASY AUTHOR
----------------------------------------------------------------
by Michelle Sagara
<Michelle.Sagara@sff.net>
How do I write a book synopsis?
-------------------------------
Q: Some SF/F book publishers will accept the first couple of
chapters of a book along with a synopsis of the rest of the book.
But what are the guidelines for writing a book synopsis? How long
and detailed should it be? How close to the action should it
remain? For example, should it just summarize what happens, or
should it also have author's comments ("the character begins the
transition to maturity here" or "this idea has been handled
before but the treatment differs here because...")?
A: In my experience -- and all experience in this case is
subjective <g> -- the synopsis should capture the -feel- of
the
book that you want to sell. Some writers do a scene by scene
breakdown, but on the whole it's not necessary; what -is-
necessary is to give the editor a sense of the emotional texture
of the work, and its breadth. I find it really, really easy to
be arch ("and then a bunch of stuff happens" is one example),
which is something to be avoided as much as possible if you
haven't dealt with the editor before.
As a rule of thumb, I wouldn't go longer than 10 pages for a
synopsis (unless the book is huge); it's not meant to be an
outline. Many, in fact all of the ones I've read, of the
synopsis are done in present tense, and yes, if your
interjections don't break the sequence/mood you've been setting,
pointing out something like "the character begins transition to
maturity here" is perfectly acceptable.
Remember that the editors have the sample chapters that begin the
book, so they'll have a very good sense of your style from those.
==-----------------------------------------------------==
Michelle Sagara is the author of The Sundered novel series (Del
Rey) the Hunter Series (DAW, under her married name Michelle
West), as well as many short stories. _Hunter's Death_ was
recently released and _The Broken Crown_ will be available in
June of '97. URL: http://www.turing.toronto.edu/~west/mms
Copyright (c) 1997 Michelle Sagara. All rights reserved.
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