IS IT READY TO SUBMIT?

Terry Burns, agent Hartline Literary Agency

 

One large hurdle to publication is submitting a good, professional-looking proposal or manuscript to an agent or editor. The object here is not to stand out but to look like an established pro. A submission that appears the submitter does not know what he or she is doing, or that looks like it will take too much work to get ready may receive little or no attention. Further, editors often wear the hat of acquisition editor and copy editor depending on where a project may be in the process. If an editor starts seeing a lot of things that need to be fixed as they read a submission it starts them thinking like a copy editor instead of like an acquisition editor affecting the attention they are giving the creative aspects of the submission. We want to give them as clean and professional of a submission as possible to keep from turning on the copy editor.

 

These rules cover the primary items for the formatting of the manuscript, but the submission guidelines posted by the editor or agent you are submitting to should be the guide. While it is true a manuscript might not be rejected for breaking only one of these rules (unless it's a glaring one), a combination is sure to catch attention. We have to prepare a manuscript in some manner anyway, we might as well prepare it right. If you need more help preparing to pitch or promote you can buy a helpful book entitled “Surviving Your Way to Publication” at my bookstore. This book is coming soon from Port Yonder Press and if pre-ordered now the purchaser will receive a free ebook of it to place on their computer until the print version arrives in another month or so.

 

Some of the key provisions are:

 

CHECKLIST FOR FORMATTING A MANUSCRIPT                                               ( CLICK HERE FOR PAGE ON WORD COUNTS)

 

• 1" margins, double spaced in New Courier12 or Times New Roman 12 font – only on one side of the page. To insure a consistent number of lines per page the widow and orphans feature should be turned off.
• Paragraphs should be indented .5 inch with NO BLANK LINE between paragraphs. They should NEVER be indented by spacing in (these have to be removed by the editor) a tab is acceptable although preferred is to go into paragraph formatting and just select first line indent.
• One space between sentences (after a period) – do NOT justify the right margin.
• If tracking changes has been used during the preparation process, these should be completely removed and not just "hidden."
• Chapters should begin near the center of the page (16 blank lines) and a page break (not section break) should be inserted at the end so chapter heads stay put if changes are made. Chapters do not require titles.
• There should be a header slug with author's last name, a word or two from the title and the page number in the upper left or right of the page. This should be in the header and NOT in the text so it does not move when text is changed. (click on view – then header and footer) Make sure under layout that first page different is checked so the header appears only on subsequent pages.
• The cover page on the front should use the title in normal size type centered halfway down the page and doublespace below it your name or byline. Your name, address and contact information in the upper left or lower right. Contact information should include phone number and email address, but SHOULD NOT include social security number.
• The word count (rounded off) should be in the upper right hand corner. Word count for many years was determined by multiplying the industry standard 250 words per page times the number of pages. Most houses now use computer word count.
• A forced scene break ( intentional white space) should be indicated by placing # centered on a line of its own
• Do not include drawings, colored type, fancy fonts, giant size type on the cover, or anything else to make your manuscript stand out – remember the goal is to look professional not different.
• Italics may be indicated by underlining, although most now will just take them inserted as italics where they go.
• Remember that regardless of what is being submitted the first paragraph or two MUST capture the interest of the reader, editor or agent by raising a question, capturing interest or arousing curiosity to cause them to commit to reading further down into the manuscript.
• Replace passive verbs with active verbs ( was, ing verb forms).
• When ready to submit the proposal itself will be single spaced, but the sample chapters should be placed in the proposal retaining their formatting so the editor or agent can insure the manuscript formatting is ready to go.
• Finally, individual places where you wish to submit may have requirements particular to how they wish to receive a submission. Always check submission guidelines usually available on their website and adhere to them religiously.

 

If professional editing is needed I don’t make referrals to avoid any conflict of interest, but do have a list of professional editors you may refer to if you wish at http://www.terryburns.net/Professional_Editing.htm

 

CHECKLIST AS TO WHETHER THE WRITING ITSELF IS READY TO SUBMIT:-----------------------------------------

                        This was a checklist for judges in a writing contest several years ago and author Deborah Raney found it so helpful that she adapted it for self-editing her own novels...

 

1. OPENING – Is there a hook to capture the short-attention-spanned reader’s interest? Does the book start in the right place, or is there too much backstory?

a. Does the first page COMPELL the reader to turn the page, not interest or encourage, but leave them no choice?

b. One page to hook and ten pages to hook the reader into the story

c. The reader should know what the story is about in the first 20-40 lines, not pages

2. CHARACTERS – Are the hero and heroine vivid, likeable characters? Do characters have that “something special” that makes them come alive? Are they described well? Do they change and grow from beginning to end?

3. PACING – Does the pacing flow throughout the book? Does the reader want to keep turning pages?

4. DIALOGUE – Does the dialogue sound natural and realistic? Does the dialogue build characterization and move the story forward?

5. SECONDARY CHARACTERS – Are the secondary characters believable? Do they provide a valid addition to the story?

6. SETTING – Is a time and place established? Is the setting easy to picture without taking over the story?

7. POINT OF VIEW – Is the POV for each scene wisely chosen? Are the POV transitions smooth and important? Does the writer avoid head hopping?

8. STYLE – Is the author’s style unique and appealing? Does she have a voice all her own?

9. CLICHÉS – Does the writer avoid clichés in plot, characterization, dialogue and narrative? (This doesn’t mean tried and true plot devices can’t be used. But they need to be done in a fresh way that makes you want to read on.)

10. Would you recommend this book to a friend?

 

Do you need professional help on the manuscript?

 

There is a list of professional free-lance editors at Professional_Editing.htm

 

A ballpark cost?

September 2008 the Editorial Freelancers Association posted these fees on their site as a rough guideline for common editorial rates. (EFA is a national not-for-profit —501(c)6— organization, headquartered in New York City, run almost entirely by volunteers.)

Copyediting, basic 5–10 ms pgs/hr $25–40/hr –
Copyediting, heavy 2–5 ms pgs/hr $35–50/hr
Substantive | line editing 1–6 ms pgs/hr $40–65/hr
Developmental editing 1–5 pgs/hr $50–80/hr
Proofreading 5–10 ms pgs/hr $25–35/hr Researching NA $25-50/hr
Writing 1–3 ms pgs/hr $50–100/hr $1–$2/wd