How to Make a Successful Submission

Exclusivity or multiple submission?

Re submissions: I used to observe the one publisher at a time "rule" but most publishers these days take months and months to respond to unsolicited manuscripts, even from writers in their "stables". For this reason, it has become necessary nowadays for writers to devise different submission strategies. Depending on the manuscript, and the publisher, this is my approach:

1. If the manuscript is likely to be awkward to place, (because there are only a few publishers for that genre), I submit to one publisher at a time, expressing an exclusivity period - that is, "You have exclusive rights to assess this manuscript for the next eight weeks, until 3 July, 2012, after which time I will submit it elsewhere if you have not expressed interest"

If the publisher has not responded by the date specified, then I phone (or email) them two or three days after the date and remind them their exclusive period has expired. Generally, they have a reply for you. If not, then politely let them know that you are now submitting elsewhere.

2. If I think the manuscript will be taken because it is "right" for the market in general, I submit simultaneously to up to 10 publishers, but advise each of them that it is a multiple submission. Some publishers - and Penguin is one - do not like this method. One such publisher held one of my submissions for nine months and when I rang to enquire, the commissioning editor replied, "Oh, I forgot to let you know that we're not interested".  Now, with that publisher, I offer a short (4-6 week) exclusivity period.

Re multiple submissions, if there are more than one publisher who want to contract, this is cause for celebration, and thus one can "auction" the work to the publisher offering the best contractual deal.

3. With regards to non-fiction, I never write the book then seek the publisher. What I do instead is to create a publishing proposal which supplies the reasons why the book (or series) will make lots of money. Publishers exist to make money, and books are their product, so if you can shine the light on their potential profits, they are sure to be interested. Generally, I submit proposals to 2-3 publishers at a time (basically because I don't want too many to know about my new book concept.)

Manuscript submission

The manuscript “musts”

As a manuscript assessor, I have been surprised by the high number of writers who send manuscripts to me without observing many of the submission “musts”. First, all manuscript pages should be numbered. The manuscript itself should be typed in double-space with paragraphs indented (not left-aligned). All manuscripts should be prefaced with a title page. This page requires the following information: story title, number of words, author’s name (including © sign), the author's contact details, including postal address, phone number and email. If you have a website, include this as well.

The cover letter

Your manuscript should be accompanied by a cover letter. This should be a simple introduction to the editor explaining what you are enclosing. If you have previously published, give brief details of what, where and when. (I include a separate sheet listing my 130+ book titles and publishing information.) If your work requires specialist information which you have, then disclose this (for example, you were a jockey and have written a book on horse racing.)

The publisher’s response

You should never expect a publisher to tell you why your work is being rejected: that is not his job. If a publisher does go to the trouble of expressing some interest, or in commenting on your work, then you can be reasonably certain that there is some interest in it. You can either ignore the comments or submit elsewhere, or you can respond to the comments by re-writing and re-submitting. When you re-submit, address your envelope and letter to the editor whose comments you received and remind her that you have taken her comments on board and are re-submitting.

By the way, if you want comments on your work, pay for a professional manuscript assessment.

The précis

Sometimes publishers ask for a précis of the submitted novel. A précis is really an abbreviated version of what your book is about. For some reason, many writers find it difficult to write. The main thing is to keep your precise short and simple. Never write more than a page or two. Write it as though you are telling a friend what your book is generally about. You don’t need to go into details: tell who your main character is, what motivates him, why he can’t get what he wants or needs, how he acts in order to overcome the obstacle, and whether or not he succeeds.

Manuscript rejection                                                                                                    It will help you if you know that every writer – even the most famous – has had his or her work rejected at some time. For reasons which you have no control over, you can have written a simply brilliant novel and still have it rejected. You may have sent it to the wrong publishing house, it may have been returned unread, the reader might be incompetent, the publisher may be over-extended and unable to accept more manuscripts, and so on.

• Did you target the wrong market?
• Did you submit a story that is the wrong length?
• Does your story need further polishing?
• Does the plot need work?
• Do the characters need work?
• Do you need to contact (or start) a writing group to help you work out what you might be doing wrong?
• Do you need feedback from a critique service?

As a writer, your work is going to meet with rejection - from editors, agents, and sometimes from critics who pen negative reviews. You are going to hear things you don't like from those offering critiques. You are going to get a 'no' when you send in samples of your writing to secure a grant or a writer's residency. Rejection is going to teach you; it might even challenge your desire to continue to write. You might have to ask yourself if you have the resilience to bounce back after rejection - or if you would be happier with another hobby or job. Is your desire to write strong enough to withstand rejection? Are you willing to put in the time necessary to polish your craft and market your work?

Once, in my writing career, I had 47 consecutive rejections of submitted manuscripts. That same year, however, I had seven acceptances! And remember, I have now had over 130 books published, so I must be doing something right (yes, Di – it’s called persevering.)

© Dianne Bates

Di offers a twice monthly online magazine for those in the Australian children’s industry. Go to www.buzzwordsmagazine.com to receive a free copy. If you decide to subscribe ($48 for 24 issues pa), Di will send you a copy of her article, 'How to Get Both Feet Past Publishers' Locked Doors.'

A Publisher’s Perspective

As most readers will know, I have a children’s book imprint, About Kids Books (http://www.aboutkidsbooks.com ). I am still seeking a first manuscript to publish (after receiving and rejecting 130 manuscript submissions). Recently I received an email from a newish children’s author. Below find her question -- and my answer.

I was wondering if it okay for me to ask you something as a publisher, please? If you don't mind sharing, what is it about the manuscripts you've received thus far, that hasn't appealed to you? What should I avoid?

Most of the stories I receive don't have a vivid, memorable voice. Often the language used is pedestrian, the storytelling not at all compelling. Often there is a lot of telling rather than showing. And opening paragraphs are lack-lustre and don’t grab one’s attention. Too often, as well, the punctuation – particularly paragraphing and dialogue -- is appalling!

Today, a children’s author friend sent me the first three chapters of her new novel today and eight hours later I am still thinking about it. That's the sort of story I want! The setting of her story is unusual (in a graveyard), the narrator is a boy ghost who meets a very eccentric girl (not sure if she's human, yet). My friend’s last manuscript, which I'm sure she'll get published, features, in an Australian country setting, a girl with synaesthesia who has a relationship with her family’s Japanese exchange student: both are keen on the history of the girl’s town.

What most attracts me is a story such as Maya Angelou said: 'The idea is to write it so people hear it and it slides through the brain and goes straight to the heart.'

I want to be moved by a story, whether it is deep and meaningful or full of imagination and fun (like Will Mabbitt's Mabel Jones books). One of the best books I read this year is by Linda Coggin. That Dog, Ray tells of how a girl gets 'inside' a dog; she tells the story from a girl's point of view, but as the story progresses the dog takes over the human in thinking and feeling. An amazing read! Another graveyard book, for older readers, which impressed me, is Magritt by Lee Battersby (Walker Books Australia).

So what I want is some -- or preferably all -- of the following -- a main character who totally engages the imagination and is memorable, prose that is rich and succinct, storytelling that sweeps the reader along, a setting that is unusual. It can be a story about anything! Originality is the key. Oh, and the book must be child-friendly (some authors focus too much attention on parents in stories).

An Australian debut author's book I'd have greedily grabbed with both hands is Figgy in the World by Tamsin Janu (Omnibus Books). Set in Africa about a small girl who goes with her goat looking for America so she can get medicine for her ailing grandmother (but the child has no idea where America is, only that the country has specialist doctors).

                                                                                                                                                                                   I am a big fan of junior novels by Ursula Dubosarsky and Glenda Millard. I would also publish any junior book written by my husband Bill Condon whose latest junior novel, The Simple Things (A&U) was CBCA short-listed in 2015. I am a huge fan of his multi-prizewinning novels for both children and young adults.

Yes, I will take a debut book: I have one at the moment which interests me and I am now getting a second -- and maybe a third -- opinion. It is set in Rome, has a third person narrative, and is from the point of view of a dancing cat which saves the day. It’s written by a debut author but the story is different from any other I've read. The author has absolutely no social media presence: until I asked her to do so, she didn't even have her own email address!

Finally, two other books (of the 130 mss I've read so far) which interested me...
One was a legend and far too short: I asked the (well-known) author for another story of the same size but she didn't have one. The other very interesting and well-written story, by someone who has published and is well known as an editor, was set in medieval England, but it needed a glossary:  this turned out to be 135 words, far too long. She says she is 'dumbing it (her story) down' which sounds sad, but I'll take another look if she resubmits. There was a third book by someone whose books I love, but this writer is in grieving and she just couldn't manage to re-write: maybe one day she'll get back to her humorous junior novel.

As a reader, my preference is for social realism books but anything that's terrific is of interest. Meantime, I have been reading an Australian historical novel All of Us Together which I'm sure to publish when it's finished (later this year).

Note: When the writer asked which of my own books I thought was worth a read, I told her A Game of Keeps (Celapene Press). It’s a book I think worthy of the About Kids Books imprint! Go to http://www.celapenepress.com.au and scroll down the page. You will see also that Celapene published Nobody’s Boy, a junior verse novel and CBCA Notable.

By Dianne Bates http://www.buzzwordsmagazine.com.au 

Demands on Authors

So much is demanded these days of book creators, more than ever in the history of publishing. Once all a writer had to do was to write his book and submit it to a publisher. Most publishers ‘in the good old days’ responded to submissions within a reasonable time, usually from six to eight weeks. When his book was accepted, the author would correct two sets of proofs – the galley and the page proofs -- and then wait for his book to be published, at which time he usually joined with his publisher to launch his book, such expense being borne by the publisher.

The author did not have to worry about his book’s blurb: even his back cover biographical blurb was done by his editor. Back then all publicity was handled by the publisher. Usually the author was paid a 10% royalty on recommended retail price and received an advance in excess of $3,000. And, too, most commercially published books were reviewed within a short period of time, most likely because there were fewer publishers which meant fewer published books.

Nowadays it is simply not enough to write and/or illustrate one’s book and hope that reason will prevail and that one’s book will be treated with respect. First, there is the question of submission: with most publishers sitting on manuscript slush piles for many months, sometimes years it behooves the author to make multiple submissions. Even then it can seem like forever before a publisher actually reads and responds to one’s submission, even if one has already published extensively. Acceptance is made difficult in these days by the plethora of writers, many graduates of university and college writing courses and by the high standard of submission required. Once editors would work with new authors, helping to shape and reshape promising manuscripts: nowadays it is practically expected that one’s manuscript has been professionally assessed and/or edited prior to submission.

If one’s work is accepted, then begins the difficult task of negotiating one’s contract with many publishers pushing for net receipts or less than 10% RRP receipts. Advances are generally poor and there's none at all for e-books. However, when the book is published is the time of the hardest work – helping to market and publicise one’s work. Most publishing houses expect authors – even established authors – to fill in multi-paged documents that reveal every personal detail, as well as any contacts, especially media contacts, made during their careers. Sometimes – and this has been my experience – publicists ask the author to fill in the media document every time a new book is accepted, even when he has already done this previously for that company.

Then there is the expectation that the author will work relentlessly to publicise his book. It is essential he has a website. It is also expected that he should use all electronic gadgets to promote himself and his work – with a blog, and on Facebook, U-tube, Linked-In, Twitter, and so on. There is also the expectation that the author be available for interviews, conferences, seminars, workshops. All of the above is usually at the author’s expense. More recently my publisher expected me to fly interstate – at my own expense – to launch my latest book. No mention was made of who was to handle accommodate and other travel that would be involved. This for a book which attracted an advance of only $500!

It is rare, especially in the children’s book industry, for there to be launches – unless the author not only organises but pays for one. One first time author I know spent all of her $3,000 advance catering for her launch: the publisher’s only contribution was to help with sending out invitations! This is not unusual in the industry.

When authors publish book series, it is not uncommon for the publisher to expect them to set up a series’ website. In any case, if the publisher plans to promote the book or series via its own website, the author is expected to provide plenty of material to be downloaded onto that site – including photographs. One author I know paid for a professional team of actors, dancers and camera crew to create a video to go on to U-tube to promote her book – at her own (very considerable) expense, of course. Other authors I know have paid for their own bookmarks, stickers, even posters to promote their books. Authors are also asked to be speakers at conferences, but rarely are they paid for their appearances – unless they are media personalities or from overseas.

These days the energy required for an author to promote one’s book doubtless costs more in energy, anxiety and out of pocket expense than the creation of the book in the first place. When will it all ever end?

Dianne (Di) Bates is the author of 120+ books, mostly for young people. Her most recent (junior novel) is A Game of Keeps (Celapene Press)

Di’s website is www.enterprisingwords.com.au  

 

 

EXPERIENCES WITH LITERARY AGENTS

Many new writers are desperate to find an agent to represent their manuscripts to publishers. They believe that only via an agent can their work be ‘discovered’ and published. Getting published this way certainly results in success for some authors, but my experience might result in you changing your mind if you are desperately searching for an agent. Over a long, successful literary career in children’s books, I’ve had three agents; however, I have managed to place all of my manuscripts – fiction and non-fiction – by myself.

It was easy enough to find my first agent (Ms X) and to have her represent my interests. Ours was a verbal contract; she was to place my work and to charge 10% of my income if successful. It didn’t take me long to discover that I actually knew more than she about the Australian children’s book market. In fact, I soon discovered that I was the first – and only – children’s author she represented. This was pre-computer days so our communication was via phone and letter. However, Ms X was difficult to contact by phone, and she did not answer letters. One day, while I was attending a writers’ festival, I saw her and tried to engage her in conversation. At the time she was accompanying a highly regarded author; in passing, she promised to ring me ‘soon’. There was no phone call. Consequently, I wrote her a polite note letting her know I preferred to go my own way. I have no idea whether she ever sent off any of my manuscripts to publishers. The bottom line was that she did not sell anything I wrote.

For a long time after this, I continued to represent my own interests and was very successful, sometimes placing up to seven or eight book manuscripts a year (mostly to the educational market which was flourishing at the time). However, a time came when I was very ill and needed help. When I rang Mrs Y, a highly regarded agent, and told her I had four contracts that needed to be negotiated, she expressed surprise that I’d contacted her. ‘Di,’ she said, ‘you know more about publishers than most writers.’ When I explained why I needed her help, she agreed to represent me. Before long the four contracts were signed and delivered.

I then began sending manuscripts to her. A publisher was interested in a joke book I’d compiled but, because the jokes were culled from various sources and were not ‘original’, the company offered only a paltry royalty which I would not accept. Mrs Y was unable to change the publisher’s mind, so the manuscript was withdrawn. She submitted other manuscripts of mine, but without success, though I managed to place some manuscripts and she negotiated those contracts. Royalties and royalty statements began to come in via this agent. It was fortunate that I took the time to check the statements because there were mistakes in payments. Mrs Y had negotiated a rising royalty on contracts, which meant that after a certain number of books were sold, the royalty would rise from ten to twelve and a half percent of RRP. My sales on several books exceeded the ten percent number; however, the publisher had not paid the twelve percent. Mrs Y had not bothered to check my contract against the statements. It was then I realised that not only was she not thorough in handling my affairs, but she was over-worked with too many clients. As well, she had not managed to place any of my manuscripts. I decided to terminate our relationship, though she continued to handle royalties on those books she had negotiated contracts for.

Notwithstanding these two poor experiences with agents, I nevertheless decided, many published books later, to secure the services of an agent who might be able to sell my manuscripts overseas. Mrs Z had a good reputation and had even managed to negotiate film rights for a colleague, so I wrote and asked her to represent my overseas’ and local interests. No problem there. The problem, however, was Mrs Z’s lack of communication. She was very slow to respond to emails (when she did) and phone messages went unreturned. On the positive side, it seemed that she did have publishing contacts, especially in America, and, when she bothered to contact me, she did let me know where my manuscripts were sent, and how the overseas’ publishers had responded. Unfortunately, Mrs Z was unable – as I had been – to place any of my novels overseas. Meanwhile, in Australia I had managed to interest a publisher in one of my books; however, the publisher was dragging its heels with a contract. It was when I caught Mrs Z out in a lie about communicating with this publisher, I decided the time had come for us to part company; thus I wrote her a short yet hopefully tactful letter terminating our verbal contract.

Not one of the three agents – all respectable and with many clients – managed to place one of my manuscripts. However, I have placed over 120 children’s books in the past 30 years. Yes, it is more difficult these days to get publishers’ locked doors. But it can be done. I do it all the time, even when publishers’ websites indicate they don’t take unsolicited manuscripts and will only accept them through an agent. I have written an article, ‘How to Get Past Publishers’ Locked Doors’, giving tips on how to succeed and am happy to send it to you free of charge if you write to me c% dibates@pacific.net.au

Getting an agent is sometimes as difficult as getting a book acceptance. Agents can be, so I’m told, very helpful. Some are more proactive than others, but some, I think, represent too many clients and as a result are over-worked and not as effective as a writer can be who is talented and determined to have her books published.

 

DIANNE (DI) BATES has published 120+ books for the education and trade markets. Some of Di’s books have won national and state literary awards; others have sold overseas.  Di has received Grants and Fellowships from the Literature Board of the Australia Council and has toured for the National Book Council. Di has undertaken commissioned writing for a large number of organisations and has worked on the editorial team of the NSW Department of Education School Magazine. She was co-editor of a national children’s magazine, Puffinalia (Penguin Books) and editor of another national magazine, Little Ears.  In 2008, Di was awarded The Lady Cutler Prize for distinguished services to children’s Literature. Her latest books are 11 titles in the fictional Bushranger series (Desert Dan the Dunnyman won the KOALA children’s choice book award) and Crossing the Line, short-listed for the NSW Premier’s Awards and sold into Germany. Currently Di works as a freelance writer. She lives in Woonona, north of Wollongong, NSW, Australia, with her author husband, Bill Condon. Their website is www.enterprisingwords.com