Before we begin, take another look at the tag-line up on the top left. ‘Unpublished author’. ‘S what it says. So to be giving advice on how to submit to a publisher or agent may seem a little presumptuous.
But I’ve been trying, and I’ve been reading books, and I’ve been speaking to people – and several bodies have been asking me for full manuscripts recently, so I reckon I’m doing something right. And, since so many sources offer different advice, I thought it might be helpful to give my tuppeneth and see if we can’t thrash something out between us. Just to get things clear from the start, this is based heavily on talks by from David Headley, Adrian Magson, Madeleine Milburn and Daniel Clay at Winchester Writers’ Conference 2013, as well as books like the Writers’ and Artists’ Yearbook (also 2013) and miscellaneous others. I’d also recommend Daniel Clay’s static blog for another perspective: http://danielclaysblog.blogspot.co.uk/.
Submission systems are changing. Just a few years ago, the chances of anybody accepting material through any channel but the post – with self-addressed envelope, immediately doubling postage-costs – were practically non-existent. Publishers weren’t the earliest adopters of modern technology, but once they got the bit between their teeth there was no stopping them. Now most (but not nearly all) publishers/agents take email submissions. And a growing minority now have dedicated web-forms and won’t accept any other method. So with all this diversity, can any one page give advice appropriate for all?
Well, no matter how you get your work to right people, the fundamentals remain the same. Most houses are looking for one, two or three things: a covering letter; a synopsis; and a sample of your writing. Usually the sample is three chapters or 10,000 words, but this varies greatly (and I’ll say this again because it’s so important); it’s crucial that you read the guidelines carefully for each different submission.
The synopsis is the least important part of what I think of as the standard submission package. I know it’s one of the hardest things to get right, but really it’s there as backup for the (probably junior) member of staff who’s reading your work. If they like your covering letter and sample they’ll want to check that the story looks promising: that you haven’t gone crazy and finished with God (or aliens, or great wizards – all the same, really) suddenly appearing to magically punish the wrongdoer and endow your hero/heroine. Unless that’s what your book’s been about all the way through. Consistency, people!
So I won’t say anything more about the synopsis right now. Nor will I waste time discussing your sample writing: just make sure it’s double-spaced (but check the guidelines, just in case) and in a standard font, has page numbers and a header with your name and the title of the book. And is good, obviously.
That leaves us with the covering letter. And it’s time to consider what an agent/publisher is looking for when s/he wearily flicks to the next file on their e-book reader. They want:
- Great writing
- To be able to sell your work
- To be able to work with you
- To know that you can help them to sell your book
Essentially we’re talking about a business letter here. A job application. This isn’t the place to demonstrate your flair with gimmicks or examples of what a ‘free-spirit’ you are. That comes in your sample. They want to know they can work with you. They want you to be respectful, to include all the info they’ve asked for and to make a short case for your work.
Agent Madeleine Milburn suggested that covering letters should take the following form (not verbatim):
- Dear… (personal name if possible)
- I’m currently seeking representation/a publisher for…
- Type of novel – genre, word-count, YA/adult etc; the ‘story’ in as near to one sentence as you can get. Your fifteen word elevator pitch
- Why you’re approaching this particular agent
- A bit about you: your writing ‘qualifications’. Any blogs/social media sites you’re a part of. But don’t use the ones where you’re acting like a – well, as the Americans would say, ‘like a drunken frat boy’. Keep them to yourself, thank you very much. Filthy child.
- Thanks etc
Oh, and please, please, please – don’t forget your contact details. Even if you’re emailing. Just – just don’t. Also don’t let it go over a page in length – and that can be awkward, what with the wotnots of letter-writing; address, yours faithfully etc.
Email and tel. nos
Dear Mr Publishgasm
I am currently seeking a publisher for my novel, The Rabbits of Satan. Set in 15th century Nuremberg, it is a cross between historical fiction and horror, and is aimed at an adult audience. It follows the attempts of young warrener Jurgen to foil a plot against the master the Prince – a plot that involves carnivorous rabbits, buxom wenches and dark, dark magic – and a trail that leads to the very heart of Bavarian politics.
The novel is my eleventh and is complete at 86,000 words. It’s intended as the first in a trilogy. Please find attached the opening chapters as requested on your website. It would be wonderful to work with Publishgasm as I see you as very much as the leader in 15th century Bavarian books and feel we would be a natural fit.
In terms of market The Rabbits of Satan can be compared with works by authors such as [two or three authors who have recently broken through so that the agent/publisher knows where they’d sit on the shelf].
I am currently employed at the Nuremberg Experience, Staffordshire, and previously worked as a warrener. I have a blog [give the address]. I’m committed to my craft and am determined to make my career in the field.
I am very grateful for your consideration and your time, and would be delighted to send you the full manuscript in either hard or electronic form, as you desire. I look forwards to hearing from you.
Yours, with thanks