Write-Ideas

Submitting Your Writing for Review

New Guidelines for Class Participants and Private Clients

Guidelines for magazines and books, fiction and nonfiction are changing per the gifts that are available in various computer programs. So much formatting is automatic these days, and what's automatic is being determined less by editors and publishers than by software designers and capabilities. Therefore I encourage you to check the styles and guidelines offered by the newspaper, magazine, publisher, editor and/or agent with whom you wish to work. I also suggest you look at books such as Formatting: Submitting Your Manuscript published by Writers Digest Press, among other books on this subject.

As for me and this class, my guidelines are determined by what I've learned is acceptable (and "acceptable" is the operative word here) through my work with various industry people and what was considered correct in my graduate writing program. Along with that, I'm influenced by what I can read easily, because I do read about 400 manuscript pages per week. So the list that follows is what I expect from students and participants in my writing classes and workshops, plus private clients. Those of you who chose to be creative with my guidelines should know that I will not read any submission that does not respect my needs.

What to Submit:

Your submission can be (1) the result of an exercise, (2) a complete piece, or (3) a self-contained part of a longer work. You can make five (5) submissions over a nine-week class, one at a time, including rewrites. No submission should be longer than eight (8) pages.

Be sure to ask for the page and submissions expectations particular for your class, as this is subject to change.

Great Expectations:

Please format and proof your work, using the Manuscript Formatting Criteria listed below. Using these guideline and suggestions is not optional. If you do not follow these guidelines, your submission will not be read. If you need help using these guidelines prior to a submission, please contact me. The alternative, again, is that your work will not be read.

If you have a special request or circumstance, call or email me well in advance of class so we can discuss your concern. That includes if your piece runs over the page limitations or you want to make an additional submission. I usually allow special requests, but don't operate on that assumption. While I don't mind change, I do mind surprises.

Also you may make one (1) submission per semester for my eyes only. But, please be aware that first claim to my time goes to those who are submitting to the class. I also give preferential treatment to those who submit less frequently so that all people get adequate, personal attention during a class semester.

Always bring enough copies of your submission for everyone in the class. If the copying load seems great, talk with me about options to have your piece copied and distributed. There's always an option for those who ask.

Those submitting via email should make sure that the attachment is formatted as outlined here and is sent as either an attachment to be opened in Microsoft Word or as a PDF file for Acrobat Reader. If your on-line provider is AOL, sending attachments may be difficult if not impossible. Then you should fax or drop off copies of your submission.

The Manuscript Formatting Criteria:

Use a plain font, such as Courier, Palatino, New Century Schoolbook, Courier New, or maybe even Times. But don't use Times Roman, Times New Roman, or any font that is small, narrow, big or fancy.

• The font should be 12 point and nothing other than 12 point.
  
  
• Always double space.
  
  
• Number the pages--by hand if necessary--and include your first and last name on each page (plus your day telephone number on the first page) along with title of the piece and even the date of submission. The headers and footers are perfect for this information.
  
  
• Margins should be set to 1.25" all around.
  
  
• Print on one side of the paper only. If you worry about saving trees, use recycled paper, which I hope you use for drafts anyway.
  
  
• Paragraphs should be indented three (3) to five (5) spaces. Do not double-double space between paragraphs instead of indenting. (You may double-double space to show shifts in scene, in which case I encourage you to double space, insert centered stars (* * *), and double space again instead. Much more noticeable and less confusing--which is the point.)
  
  
• Spell check, spell check, spell check. In real estate, it's location, location, location. For writers, it's spell check.
  
  
• Secure the pages with a paper clip or a staple. I prefer a paper clip.
  
  
• Spacing between a period and the first word of the next sentence will be TWO spaces. I know this is controversial, so I will side with those who use two spaces.

Suggestions:

• If you have specific questions about your submission, write them on a separate sheet of paper and attach that page as the last page of your submission. (No, that page doesn't count as one of your eight pages.)
  
  
• Avoid fancy punctuation. Think periods, commas, question marks, quotation marks (single and double, as required) and an occasional long dash. Italics and underlining are not good tools for creating rhythm or emphasis in your writing, though one or the other is appropriate for the title of books. Exclamation marks don't do anything for your writing. (As Elmore Leonard notes, you only get to use ten exclamation marks in your whole life, and you've probably used your quota and then some already. Also, Kurt Vonnegut makes the point that semi-colons only serve to show that the writer attended college. And, when was the last time you spoke in colons, semi or full?)
  
  
• Avoid words that aren't within the normal range of your vocabulary. If you have to look up a word, use the definition rather than a synonym. The definition has more punch than a synonym. Here's an example: "But denial-as we now call that repudiation of the obvious-can only last so long." This is also a way in which to address technical vocabulary and jargon unfamiliar to some of your readers.
  
  
• Avoid adverbs. Adverbs generally end in "ly" and are thought to modify verbs or adjectives. Actually adverbs serve to weaken strong verbs or camouflage weak ones. Adverbs also tend to highlight weaknesses in a writer's style, craft and discipline. For example: Suddenly the door opened slowly. Ask agents and editors. And if you think of adverb as a "place holder," you'll discover that is a summary, rather than an evocation of story, place, character, etc.
  
  
• Look for repetitions of the same word. The "echo" of such a word disrupts the reader's attention, sometimes adding melodrama that undermines real tension. Instead consider being more observant and then find other words that work to expand the world you are creating with your word choices. For example: He found the crackling of the fire disturbing. The fire crackled again.
  
  
• Avoid the pronoun "it" when used outside of dialogue. "It" is an indefinite pronoun. Writing is not about the indefinite.
  
  
• Avoid what I call "leading dependent clauses" or LDC's. That means you should start your sentences with the subject rather than an introductory, transitional, prepositional or participial phrase. That includes dependent clauses. These are phrases offset by a comma and are not the subject of the sentence. Also make sure dependent clauses are next to the subject they are intended to modify. For example: Nicked and dinged, Paul recognized the desk as the old public school variety.
  
  
• Remember: Formatting and grammar are an essential indicator to a publisher and an editor that you are a serious writer seeking publication. Don't undervalue learning simple formatting, punctuation and grammar rules-especially the ones that apply to you.
  
  
• Finally, someone always wants to argue these points. Before you choose to enter into such a dialogue with me, please consider this: I believe any rule can be broken-as long as the writer doesn't end up with something on the page that distracts the reader from continuing to read. And, the best way break a rule-eventually-is to know the rule well by practice. Furthermore, practicing a rule often leads to epiphanies about writing and reading that can prove quite valuable. At least that has been my experience.

TOP