Writing dialogue with the editing format in mind is important to your story/novel.
The reason for this is because it's one less thing to worry about when you submit to your publisher and the editor needs to get through it. If you do not punctuate dialogue properly it helps create longer delays and causes more work for your editor who, according to statistics, is extremely over-worked.
Dialogue is so very important. It allows your audience to connect with and learn to care about your characters. It can also transcend the pages and make a profound impression on the reader and, at the same time, allow your audience to understand what you are trying to achieve with your characters--how else will they decipher who your protagonist/antagonist is supposed to be? To that end, narrative is exceptionally important as well. Dialogue, and narratives, also allow the author to expand more. I've found that I had more to work with regarding what goes on between my characters because of dialogue and narratives rather than letting the conversation end, which would have been a detriment in allowing my readers get to know and understand the important personalities I was creating. You want to bring out as much as possible as far as your protagonist is concerned, as well as your supporting characters and antagonists so that your audience understands them. And certainly it allows the audience to associate with and appreciate your antagonist.
I've read excerpts of books written with almost zero dialogue, meaning, the story reads as a narrative--there is no feedback from the characters themselves, which, mind you, are very integral to the story. Having no or little dialogue between characters causes the reader to maintain an unemotional, unhealthy distance from the subjects in the story--subjects the readers are objectively supposed to decide to care about or dislike. Characters are essentially the literary lifeblood of your story, hooking your audience in. Having your readers relate to your character's plights, victories, downfalls, etc., etc, helps elicit feelings and sympathy from your audience. Your audience needs to understand what it is your characters suffer through. Otherwise, how good could your book really be? Readers want to relate--that's one of the general, essential necessities in making them feel they have read an exceptional story. If your audience can't connect, then why should they hold any interest in the plot or the players?
This, of course, applies mostly to fiction, but it can be used in historical novels as well--any story in which you want your readers to connect with and care about, as well as the characters enacting it within the pages.
If you are writing literature that involves plot, themes, and interaction between characters, use dialogue rather than simple narration to convey what each character is feeling, thinking, and/or doing. Make it obvious as to which characters POV you are describing, regardless if it is written in first person or second. Otherwise, it can not only become confusing, but rather boring.
I found a post on K.M. Weiland's (@KMWeiland) Facebook page that discusses this very problem:
How to Recognize and Fix a Weak Character Voice.
*K.M. Weiland writes historical and speculative fiction and mentors other writers through her website, books, CDs, and blogs.
Editing Dialogue
Here are only a few examples on how to correctly edit your dialogue.
Much of correct editing relies heavily on dialogue tags (as well a proper spelling and punctuation), i.e., "he said", "she said", "they said".
Dialogue tags are both found at the beginning and ending of a spoken sentence.
Example:
She asked, "Would you mind going to the store and picking up some milk?"
"She" is capitalized because "She" is placed at the beginning of the sentence. You'll note that a comma has been placed just after "asked" as "She asked" is a dialogue tag preceding the sentence.
Examples of dialogue tags capping the sentence:
"Would you mind going to the store?" she asked.
"she" is lower case because this particular type of dialogue tag is still associated with the sentence, capping it off. And because it is a question, a "?" is used within the quotations as opposed to a comma.
Now, here is an example of two characters having a discussion together:
"I need you to go to the store," she instructed.
"Okay, I'll go in a minute." he remarked.
Placing a period after "minute" is okay because it is an imperative sentence at the end of the conversation. If the conversation goes on, then it would be a comma.
If you do not employ dialogue tags to end the sentence, you can use a period, and of course a question mark or exclamation point. i.e.,
"Okay, I'll go in a minute," he agreed. "If only I could find my car keys." ::no dialogue tag::
More Examples Of A Conversation Using Dialogue Tags:
"I need you to go to the store, " she instructed.
"Why didn't you tell me this before?" he wondered aloud.
"I did tell you before, you just didn't listen!" she exclaimed.
"You need to make sure you have my full, undivided attention," he admitted.
"Perhaps you are right. Next time I will see to it that you are paying attention," she agreed.
You can capitalize words like "she" & "he" to begin the next sentence after dialogue if the dialogue sentence ends in a period, question mark, or exclamation point, providing that the following sentence is beginning anew. i.e.:
"Will you please go to the store?" He understood that she was frustrated with him over this matter, and so he thought he ought to just go to the store and get it over with.
See how the "H" in "He" is capitalized as the dialogue sentence does not contain any tags.
Hyphens to indicate action during dialogue:
"I am planning to go to the store whether you like it or not,"--she flailed her arms about to let him know she was emphatic in her decision--"and there is nothing you an do to change my opinion or keep me from going!"
In the case where you are having a discussion among characters without dialogue tags, it should read like this.
Example:
"I need you to go the store."
She turned her face away from him, disgusted at the fact that he once again did not pay attention to her needs.
Note: There is a period at the end of the dialogue because it is an imperative sentence as opposed to part of a conversation. The "S" in "She" is capital as it is not part of a dialogue tag, but rather it begins a separate sentence. **Remember: In dialogue, a comma is only needed as the end of the sentence provided there is a dialogue tag indicating who had spoken the words.
Correct:
"Would you go to the store?" she asked politely.
Notice how "she" is lower case here. It is a dialogue tag so in essence, "she" belongs to the dialogue.
Incorrect:
"Would you go to the store?" She asked politely.
The "S" in "She" in the incorrect version has been wrongly capitalized. Again, only capitalize the words that close the dialogue.
To cap: Don't use capitals for dialogue tags. Only use capital letters for words that begin a new sentence that have nothing to do with the dialogue that had been spoken.
For more help: Punctuation In Dialogue
Author of the Bandita / Billy the Kid Series and currently working on and writing a contemporary novel with plans to publish soon. www.nicolemdixonauthor.com Follow Me On Twitter: @NMDixonAuthor Like My Bandita Page @BanditaBonitaandBillytheKid Website: NicoleMDixonAuthor.com
Wednesday, November 20, 2013
A Little Bit About Dialogue And Dialogue Tags
Writing dialogue with the editing format in mind is important to your story/novel.
The reason for this is because it's one less thing to worry about when you submit to your publisher and the editor needs to get through it. If you do not punctuate dialogue properly it helps create longer delays and causes more work for your editor who, according to statistics, is extremely over-worked.
Dialogue is so very important. It allows your audience to connect with and learn to care about your characters. It can also transcend the pages and make a profound impression on the reader and, at the same time, allow your audience to understand what you are trying to achieve with your characters--how else will they decipher who your protagonist/antagonist is supposed to be? To that end, narrative is exceptionally important as well. Dialogue, and narratives, also allow the author to expand more. I've found that I had more to work with regarding what goes on between my characters because of dialogue and narratives rather than letting the conversation end, which would have been a detriment in allowing my readers get to know and understand the important personalities I was creating. You want to bring out as much as possible as far as your protagonist is concerned, as well as your supporting characters and antagonists so that your audience understands them. And certainly it allows the audience to associate with and appreciate your antagonist.
I've read excerpts of books written with almost zero dialogue, meaning, the story reads as a narrative--there is no feedback from the characters themselves, which, mind you, are very integral to the story. Having no or little dialogue between characters causes the reader to maintain an unemotional, unhealthy distance from the subjects in the story--subjects the readers are objectively supposed to decide to care about or dislike. Characters are essentially the literary lifeblood of your story, hooking your audience in. Having your readers relate to your character's plights, victories, downfalls, etc., etc, helps elicit feelings and sympathy from your audience. Your audience needs to understand what it is your characters suffer through. Otherwise, how good could your book really be? Readers want to relate--that's one of the general, essential necessities in making them feel they have read an exceptional story. If your audience can't connect, then why should they hold any interest in the plot or the players?
This, of course, applies mostly to fiction, but it can be used in historical novels as well--any story in which you want your readers to connect with and care about, as well as the characters enacting it within the pages.
If you are writing literature that involves plot, themes, and interaction between characters, use dialogue rather than simple narration to convey what each character is feeling, thinking, and/or doing. Make it obvious as to which characters POV you are describing, regardless if it is written in first person or second. Otherwise, it can not only become confusing, but rather boring.
I found a post on K.M. Weiland's (@KMWeiland) Facebook page that discusses this very problem:
How to Recognize and Fix a Weak Character Voice.
*K.M. Weiland writes historical and speculative fiction and mentors other writers through her website, books, CDs, and blogs.
Editing Dialogue
Here are only a few examples on how to correctly edit your dialogue.
Much of correct editing relies heavily on dialogue tags (as well a proper spelling and punctuation), i.e., "he said", "she said", "they said".
Dialogue tags are both found at the beginning and ending of a spoken sentence.
Example:
She asked, "Would you mind going to the store and picking up some milk?"
"She" is capitalized because "She" is placed at the beginning of the sentence. You'll note that a comma has been placed just after "asked" as "She asked" is a dialogue tag preceding the sentence.
Examples of dialogue tags capping the sentence:
"Would you mind going to the store?" she asked.
"she" is lower case because this particular type of dialogue tag is still associated with the sentence, capping it off. And because it is a question, a "?" is used within the quotations as opposed to a comma.
Now, here is an example of two characters having a discussion together:
"I need you to go to the store," she instructed.
"Okay, I'll go in a minute." he remarked.
Placing a period after "minute" is okay because it is an imperative sentence at the end of the conversation. If the conversation goes on, then it would be a comma.
If you do not employ dialogue tags to end the sentence, you can use a period, and of course a question mark or exclamation point. i.e.,
"Okay, I'll go in a minute," he agreed. "If only I could find my car keys." ::no dialogue tag::
More Examples Of A Conversation Using Dialogue Tags:
"I need you to go to the store, " she instructed.
"Why didn't you tell me this before?" he wondered aloud.
"I did tell you before, you just didn't listen!" she exclaimed.
"You need to make sure you have my full, undivided attention," he admitted.
"Perhaps you are right. Next time I will see to it that you are paying attention," she agreed.
You can capitalize words like "she" & "he" to begin the next sentence after dialogue if the dialogue sentence ends in a period, question mark, or exclamation point, providing that the following sentence is beginning anew. i.e.:
"Will you please go to the store?" He understood that she was frustrated with him over this matter, and so he thought he ought to just go to the store and get it over with.
See how the "H" in "He" is capitalized as the dialogue sentence does not contain any tags.
Hyphens to indicate action during dialogue:
"I am planning to go to the store whether you like it or not,"--she flailed her arms about to let him know she was emphatic in her decision--"and there is nothing you an do to change my opinion or keep me from going!"
In the case where you are having a discussion among characters without dialogue tags, it should read like this.
Example:
"I need you to go the store."
She turned her face away from him, disgusted at the fact that he once again did not pay attention to her needs.
Note: There is a period at the end of the dialogue because it is an imperative sentence as opposed to part of a conversation. The "S" in "She" is capital as it is not part of a dialogue tag, but rather it begins a separate sentence. **Remember: In dialogue, a comma is only needed as the end of the sentence provided there is a dialogue tag indicating who had spoken the words.
Correct:
"Would you go to the store?" she asked politely.
Notice how "she" is lower case here. It is a dialogue tag so in essence, "she" belongs to the dialogue.
Incorrect:
"Would you go to the store?" She asked politely.
The "S" in "She" in the incorrect version has been wrongly capitalized. Again, only capitalize the words that close the dialogue.
To cap: Don't use capitals for dialogue tags. Only use capital letters for words that begin a new sentence that have nothing to do with the dialogue that had been spoken.
For more help: Punctuation In Dialogue
The reason for this is because it's one less thing to worry about when you submit to your publisher and the editor needs to get through it. If you do not punctuate dialogue properly it helps create longer delays and causes more work for your editor who, according to statistics, is extremely over-worked.
Dialogue is so very important. It allows your audience to connect with and learn to care about your characters. It can also transcend the pages and make a profound impression on the reader and, at the same time, allow your audience to understand what you are trying to achieve with your characters--how else will they decipher who your protagonist/antagonist is supposed to be? To that end, narrative is exceptionally important as well. Dialogue, and narratives, also allow the author to expand more. I've found that I had more to work with regarding what goes on between my characters because of dialogue and narratives rather than letting the conversation end, which would have been a detriment in allowing my readers get to know and understand the important personalities I was creating. You want to bring out as much as possible as far as your protagonist is concerned, as well as your supporting characters and antagonists so that your audience understands them. And certainly it allows the audience to associate with and appreciate your antagonist.
I've read excerpts of books written with almost zero dialogue, meaning, the story reads as a narrative--there is no feedback from the characters themselves, which, mind you, are very integral to the story. Having no or little dialogue between characters causes the reader to maintain an unemotional, unhealthy distance from the subjects in the story--subjects the readers are objectively supposed to decide to care about or dislike. Characters are essentially the literary lifeblood of your story, hooking your audience in. Having your readers relate to your character's plights, victories, downfalls, etc., etc, helps elicit feelings and sympathy from your audience. Your audience needs to understand what it is your characters suffer through. Otherwise, how good could your book really be? Readers want to relate--that's one of the general, essential necessities in making them feel they have read an exceptional story. If your audience can't connect, then why should they hold any interest in the plot or the players?
This, of course, applies mostly to fiction, but it can be used in historical novels as well--any story in which you want your readers to connect with and care about, as well as the characters enacting it within the pages.
If you are writing literature that involves plot, themes, and interaction between characters, use dialogue rather than simple narration to convey what each character is feeling, thinking, and/or doing. Make it obvious as to which characters POV you are describing, regardless if it is written in first person or second. Otherwise, it can not only become confusing, but rather boring.
I found a post on K.M. Weiland's (@KMWeiland) Facebook page that discusses this very problem:
How to Recognize and Fix a Weak Character Voice.
*K.M. Weiland writes historical and speculative fiction and mentors other writers through her website, books, CDs, and blogs.
Editing Dialogue
Here are only a few examples on how to correctly edit your dialogue.
Much of correct editing relies heavily on dialogue tags (as well a proper spelling and punctuation), i.e., "he said", "she said", "they said".
Dialogue tags are both found at the beginning and ending of a spoken sentence.
Example:
She asked, "Would you mind going to the store and picking up some milk?"
"She" is capitalized because "She" is placed at the beginning of the sentence. You'll note that a comma has been placed just after "asked" as "She asked" is a dialogue tag preceding the sentence.
Examples of dialogue tags capping the sentence:
"Would you mind going to the store?" she asked.
"she" is lower case because this particular type of dialogue tag is still associated with the sentence, capping it off. And because it is a question, a "?" is used within the quotations as opposed to a comma.
Now, here is an example of two characters having a discussion together:
"I need you to go to the store," she instructed.
"Okay, I'll go in a minute." he remarked.
Placing a period after "minute" is okay because it is an imperative sentence at the end of the conversation. If the conversation goes on, then it would be a comma.
If you do not employ dialogue tags to end the sentence, you can use a period, and of course a question mark or exclamation point. i.e.,
"Okay, I'll go in a minute," he agreed. "If only I could find my car keys." ::no dialogue tag::
More Examples Of A Conversation Using Dialogue Tags:
"I need you to go to the store, " she instructed.
"Why didn't you tell me this before?" he wondered aloud.
"I did tell you before, you just didn't listen!" she exclaimed.
"You need to make sure you have my full, undivided attention," he admitted.
"Perhaps you are right. Next time I will see to it that you are paying attention," she agreed.
You can capitalize words like "she" & "he" to begin the next sentence after dialogue if the dialogue sentence ends in a period, question mark, or exclamation point, providing that the following sentence is beginning anew. i.e.:
"Will you please go to the store?" He understood that she was frustrated with him over this matter, and so he thought he ought to just go to the store and get it over with.
See how the "H" in "He" is capitalized as the dialogue sentence does not contain any tags.
Hyphens to indicate action during dialogue:
"I am planning to go to the store whether you like it or not,"--she flailed her arms about to let him know she was emphatic in her decision--"and there is nothing you an do to change my opinion or keep me from going!"
In the case where you are having a discussion among characters without dialogue tags, it should read like this.
Example:
"I need you to go the store."
She turned her face away from him, disgusted at the fact that he once again did not pay attention to her needs.
Note: There is a period at the end of the dialogue because it is an imperative sentence as opposed to part of a conversation. The "S" in "She" is capital as it is not part of a dialogue tag, but rather it begins a separate sentence. **Remember: In dialogue, a comma is only needed as the end of the sentence provided there is a dialogue tag indicating who had spoken the words.
Correct:
"Would you go to the store?" she asked politely.
Notice how "she" is lower case here. It is a dialogue tag so in essence, "she" belongs to the dialogue.
Incorrect:
"Would you go to the store?" She asked politely.
The "S" in "She" in the incorrect version has been wrongly capitalized. Again, only capitalize the words that close the dialogue.
To cap: Don't use capitals for dialogue tags. Only use capital letters for words that begin a new sentence that have nothing to do with the dialogue that had been spoken.
For more help: Punctuation In Dialogue
Monday, November 11, 2013
Pacing
Pacing is extremely important to your story. Readers want you to get on with it, so don't dawdle--we get it. We don't need the trip to the corner store told in depth and detail. I can't tell you how many times I've hit a brick wall reading a book all because the pacing was horrendous. Even if your story drags on in only a few scenes. It's still too much.
In my own experience, my novel deals with The Lincoln County War, but because my book was meant as a character study on Billy the Kid, I really didn't want to delve into the war too much, but there was absolutely no way around that. Without that war, there's no Billy. So what I did was this: I told only the most essential, necessary points of that war. The points that, and this is important, moved the story along. It's actually important to touch on the things that not only help your reader to understand what the hell is going on in your story, but also keep the path clear for you to keep going. You don't want to lose your audience.
So many authors want to bloviate, maybe because they want to showoff how profound they can be. Believe me, this does nothing for the story. What's important is telling your story in a most effective manner, and if you drag on about something, not only will your reader become bored, but they'll get lost. So your ego will ultimately destroy the impact of your book.
You have no choice but to deviate in some cases as it pertains to allowing your readers to understand where you are going. It's knowing when to quit and not get caught up in the reverie of telling the tale.
And believe it or not, being an avid reader can, over time, instruct you, without knowing it, on how to move it along. If you're a natural you'll probably pick up a lot of key pointers if you read as religiously as I do.
Since I'm not some Creative Writing professor and don't have all day, here's a link that can relate it to you better. Pacing Your Story
In my own experience, my novel deals with The Lincoln County War, but because my book was meant as a character study on Billy the Kid, I really didn't want to delve into the war too much, but there was absolutely no way around that. Without that war, there's no Billy. So what I did was this: I told only the most essential, necessary points of that war. The points that, and this is important, moved the story along. It's actually important to touch on the things that not only help your reader to understand what the hell is going on in your story, but also keep the path clear for you to keep going. You don't want to lose your audience.
So many authors want to bloviate, maybe because they want to showoff how profound they can be. Believe me, this does nothing for the story. What's important is telling your story in a most effective manner, and if you drag on about something, not only will your reader become bored, but they'll get lost. So your ego will ultimately destroy the impact of your book.
You have no choice but to deviate in some cases as it pertains to allowing your readers to understand where you are going. It's knowing when to quit and not get caught up in the reverie of telling the tale.
And believe it or not, being an avid reader can, over time, instruct you, without knowing it, on how to move it along. If you're a natural you'll probably pick up a lot of key pointers if you read as religiously as I do.
Since I'm not some Creative Writing professor and don't have all day, here's a link that can relate it to you better. Pacing Your Story
Pacing
Pacing is extremely important to your story. Readers want you to get on with it, so don't dawdle--we get it. We don't need the trip to the corner store told in depth and detail. I can't tell you how many times I've hit a brick wall reading a book all because the pacing was horrendous. Even if your story drags on in only a few scenes. It's still too much.
In my own experience, my novel deals with The Lincoln County War, but because my book was meant as a character study on Billy the Kid, I really didn't want to delve into the war too much, but there was absolutely no way around that. Without that war, there's no Billy. So what I did was this: I told only the most essential, necessary points of that war. The points that, and this is important, moved the story along. It's actually important to touch on the things that not only help your reader to understand what the hell is going on in your story, but also keep the path clear for you to keep going. You don't want to lose your audience.
So many authors want to bloviate, maybe because they want to showoff how profound they can be. Believe me, this does nothing for the story. What's important is telling your story in a most effective manner, and if you drag on about something, not only will your reader become bored, but they'll get lost. So your ego will ultimately destroy the impact of your book.
You have no choice but to deviate in some cases as it pertains to allowing your readers to understand where you are going. It's knowing when to quit and not get caught up in the reverie of telling the tale.
And believe it or not, being an avid reader can, over time, instruct you, without knowing it, on how to move it along. If you're a natural you'll probably pick up a lot of key pointers if you read as religiously as I do.
Since I'm not some Creative Writing professor and don't have all day, here's a link that can relate it to you better. Pacing Your Story
In my own experience, my novel deals with The Lincoln County War, but because my book was meant as a character study on Billy the Kid, I really didn't want to delve into the war too much, but there was absolutely no way around that. Without that war, there's no Billy. So what I did was this: I told only the most essential, necessary points of that war. The points that, and this is important, moved the story along. It's actually important to touch on the things that not only help your reader to understand what the hell is going on in your story, but also keep the path clear for you to keep going. You don't want to lose your audience.
So many authors want to bloviate, maybe because they want to showoff how profound they can be. Believe me, this does nothing for the story. What's important is telling your story in a most effective manner, and if you drag on about something, not only will your reader become bored, but they'll get lost. So your ego will ultimately destroy the impact of your book.
You have no choice but to deviate in some cases as it pertains to allowing your readers to understand where you are going. It's knowing when to quit and not get caught up in the reverie of telling the tale.
And believe it or not, being an avid reader can, over time, instruct you, without knowing it, on how to move it along. If you're a natural you'll probably pick up a lot of key pointers if you read as religiously as I do.
Since I'm not some Creative Writing professor and don't have all day, here's a link that can relate it to you better. Pacing Your Story
Friday, November 8, 2013
Dealing With Rejection
Most writers who are serious about becoming published have more than most likely come across stories of rejection and are well aware of the fact that it's all but a near guaranteed certainty, so this post will be nothing new. But still, despite all that's been heard or read, many writers are still paralyzed by just the mere thought of being rejected.
Well, as everybody knows, in this industry, rejection isn't personal. And a lot of it has to do with who you submit your manuscript to, also. You're not going to make a lot of headway sending your fantasy novel to a publisher that only publishes books that deal with religion, or psychology, etc., etc... I was picked up after about a month of submitting because after sending my manuscript to all of the commercial publishers (which you should always attempt) which subsequently rejected me, I decided to go through the books that dealt with my subject matter and find out who published them. I then submitted my book to those publishers, and, fortunately, the first publisher I sent it to, and the publisher I truly wanted, wanted me back. I've written another blog that deals with submitting your story to the right publishing house, so I won't reiterate here (Attempting To Get Published)
It used to be that the large commercial publishing houses sought out talent and gave new authors a chance. Now they only risk it if you've been published before and maintained decent sales. Because of that, your best bet is submitting to a small publishing house, or even self-publishing. You don't receive the amenities with self-publication, such as proofreading, typesetting, books in print, marketing, etc., but regardless, that door is open for you so there is hope of getting your work out there if you've been turned away too many times.
The small publishing houses are not a guarantee either, however. In many cases a lot of success deals with how professional and "clean" your manuscript is when you send it. First and foremost, you really ought to have proper spelling and punctuation down. And what you submit should flow nicely and lack confusion. A lot of publishing houses receive sloppy, messy manuscripts. How can they take you seriously if that’s how you propose your work? So, REJECTION!
Always check out the publisher's website and find out exactly what they expect in the manuscript; do they want the entire book? Do they want only a few sample chapters (in which case choose the most inspiring and sensational chapters)? Do they want a synopsis included? Knowing all of these details and following the proper procedure can reduce your chances of being rejected.
But, as I’ve mentioned, I’ve already posted a blog about how to increase your chances in signing a contract with a publisher.
The rejection thing…Everybody always says it, and it’s nothing but the truth: You have to keep trying! I am the sort of person who does not want to deal with criticism and will avoid it if it serves no purpose for me. But I’ve always wanted to be a writer and in order to get there I knew I was going to have to swallow that jagged little pill and learn to deal with rejection—and I did. So you need to decide which is more important—your pride, or doing whatever it takes to make your dream or goal come true.
There are several stories out there that deal with successful authors being rejected constantly. J.K. Rowling was rejected many times over before being picked up, and she only received a contract by the grace of God when the editor's daughter picked up her manuscript, began reading, and enjoyed it. If J.K. Rowling had quit, I think everyone can agree things would be quite different for her.
The biggest thing here to remember, if you’re truly serious about and believe in your work: Fight for it! In fact, being rejected and going back for more is just a testament to how very serious you are. I was looking forward to fighting for my book, to be honest.
Please, please, please don’t become discouraged. To be a published author is to have a voice in this world, and it’s an accomplishment that many, many people wish they could complete but never do. Writing is hard work, and writing an entire novel is a huge effort. If you go through all of that trouble only to give up because one person out there isn’t in to your story then you’re foolish. When you submit that manuscript, and when it is read (if it is read), it is subject to that individual’s taste. And not everybody can recognize talent or importance right off the bat. Perhaps it doesn't speak to them. It doesn't mean the next publisher won't be excited over your story. Every industry is rife with tales of those who were not appreciated for their work “at the time”, and certainly the publishing industry is no different.
Well, as everybody knows, in this industry, rejection isn't personal. And a lot of it has to do with who you submit your manuscript to, also. You're not going to make a lot of headway sending your fantasy novel to a publisher that only publishes books that deal with religion, or psychology, etc., etc... I was picked up after about a month of submitting because after sending my manuscript to all of the commercial publishers (which you should always attempt) which subsequently rejected me, I decided to go through the books that dealt with my subject matter and find out who published them. I then submitted my book to those publishers, and, fortunately, the first publisher I sent it to, and the publisher I truly wanted, wanted me back. I've written another blog that deals with submitting your story to the right publishing house, so I won't reiterate here (Attempting To Get Published)
It used to be that the large commercial publishing houses sought out talent and gave new authors a chance. Now they only risk it if you've been published before and maintained decent sales. Because of that, your best bet is submitting to a small publishing house, or even self-publishing. You don't receive the amenities with self-publication, such as proofreading, typesetting, books in print, marketing, etc., but regardless, that door is open for you so there is hope of getting your work out there if you've been turned away too many times.
The small publishing houses are not a guarantee either, however. In many cases a lot of success deals with how professional and "clean" your manuscript is when you send it. First and foremost, you really ought to have proper spelling and punctuation down. And what you submit should flow nicely and lack confusion. A lot of publishing houses receive sloppy, messy manuscripts. How can they take you seriously if that’s how you propose your work? So, REJECTION!
Always check out the publisher's website and find out exactly what they expect in the manuscript; do they want the entire book? Do they want only a few sample chapters (in which case choose the most inspiring and sensational chapters)? Do they want a synopsis included? Knowing all of these details and following the proper procedure can reduce your chances of being rejected.
But, as I’ve mentioned, I’ve already posted a blog about how to increase your chances in signing a contract with a publisher.
The rejection thing…Everybody always says it, and it’s nothing but the truth: You have to keep trying! I am the sort of person who does not want to deal with criticism and will avoid it if it serves no purpose for me. But I’ve always wanted to be a writer and in order to get there I knew I was going to have to swallow that jagged little pill and learn to deal with rejection—and I did. So you need to decide which is more important—your pride, or doing whatever it takes to make your dream or goal come true.
There are several stories out there that deal with successful authors being rejected constantly. J.K. Rowling was rejected many times over before being picked up, and she only received a contract by the grace of God when the editor's daughter picked up her manuscript, began reading, and enjoyed it. If J.K. Rowling had quit, I think everyone can agree things would be quite different for her.
The biggest thing here to remember, if you’re truly serious about and believe in your work: Fight for it! In fact, being rejected and going back for more is just a testament to how very serious you are. I was looking forward to fighting for my book, to be honest.
Please, please, please don’t become discouraged. To be a published author is to have a voice in this world, and it’s an accomplishment that many, many people wish they could complete but never do. Writing is hard work, and writing an entire novel is a huge effort. If you go through all of that trouble only to give up because one person out there isn’t in to your story then you’re foolish. When you submit that manuscript, and when it is read (if it is read), it is subject to that individual’s taste. And not everybody can recognize talent or importance right off the bat. Perhaps it doesn't speak to them. It doesn't mean the next publisher won't be excited over your story. Every industry is rife with tales of those who were not appreciated for their work “at the time”, and certainly the publishing industry is no different.
Dealing With Rejection
Most writers who are serious about becoming published have more than most
likely come across stories of rejection and are well aware of the fact that
it's all but a near guaranteed certainty, so this post will be nothing new. But
still, despite all that's been heard or read, many writers are still paralyzed
by just the mere thought of being rejected.
Well, as everybody knows, in this industry, rejection isn't personal. And a lot of it has to do with who you submit your manuscript to, also. You're not going to make a lot of headway sending your fantasy novel to a publisher that only publishes books that deal with religion, or psychology, etc., etc... I was picked up after about a month of submitting because after sending my manuscript to all of the commercial publishers (which you should always attempt) which subsequently rejected me, I decided to go through the books that dealt with my subject matter and find out who published them. I then submitted my book to those publishers, and, fortunately, the first publisher I sent it to, and the publisher I truly wanted, wanted me back. I've written another blog that deals with submitting your story to the right publishing house, so I won't reiterate here (Attempting To Get Published)
It used to be that the large commercial publishing houses sought out talent and gave new authors a chance. Now they only risk it if you've been published before and maintained decent sales. Because of that, your best bet is submitting to a small publishing house, or even self-publishing. You don't receive the amenities with self-publication, such as proofreading, typesetting, books in print, marketing, etc., but regardless, that door is open for you so there is hope of getting your work out there if you've been turned away too many times.
The small publishing houses are not a guarantee either, however. In many cases a lot of success deals with how professional and "clean" your manuscript is when you send it. First and foremost, you really ought to have proper spelling and punctuation down. And what you submit should flow nicely and lack confusion. A lot of publishing houses receive sloppy, messy manuscripts. How can they take you seriously if that’s how you propose your work? So, REJECTION!
Always check out the publisher's website and find out exactly what they expect in the manuscript; do they want the entire book? Do they want only a few sample chapters (in which case choose the most inspiring and sensational chapters)? Do they want a synopsis included? Knowing all of these details and following the proper procedure can reduce your chances of being rejected.
But, as I’ve mentioned, I’ve already posted a blog about how to increase your chances in signing a contract with a publisher.
The rejection thing…Everybody always says it, and it’s nothing but the truth: You have to keep trying! I am the sort of person who does not want to deal with criticism and will avoid it if it serves no purpose for me. But I’ve always wanted to be a writer and in order to get there I knew I was going to have to swallow that jagged little pill and learn to deal with rejection—and I did. So you need to decide which is more important—your pride, or doing whatever it takes to make your dream or goal come true.
There are several stories out there that deal with successful authors being rejected constantly. J.K. Rowling was rejected many times over before being picked up, and she only received a contract by the grace of God when the editor's daughter picked up her manuscript, began reading, and enjoyed it. If J.K. Rowling had quit, I think everyone can agree things would be quite different for her.
The biggest thing here to remember, if you’re truly serious about and believe in your work: Fight for it! In fact, being rejected and going back for more is just a testament to how very serious you are. I was looking forward to fighting for my book, to be honest.
Please, please, please don’t become discouraged. To be a published author is to have a voice in this world, and it’s an accomplishment that many, many people wish they could complete but never do. Writing is hard work, and writing an entire novel is a huge effort. If you go through all of that trouble only to give up because one person out there isn’t in to your story then you’re foolish. When you submit that manuscript, and when it is read (if it is read), it is subject to that individual’s taste. And not everybody can recognize talent or importance right off the bat. Perhaps it doesn't speak to them. It doesn't mean the next publisher won't be excited over your story. Every industry is rife with tales of those who were not appreciated for their work “at the time”, and certainly the publishing industry is no different.
Well, as everybody knows, in this industry, rejection isn't personal. And a lot of it has to do with who you submit your manuscript to, also. You're not going to make a lot of headway sending your fantasy novel to a publisher that only publishes books that deal with religion, or psychology, etc., etc... I was picked up after about a month of submitting because after sending my manuscript to all of the commercial publishers (which you should always attempt) which subsequently rejected me, I decided to go through the books that dealt with my subject matter and find out who published them. I then submitted my book to those publishers, and, fortunately, the first publisher I sent it to, and the publisher I truly wanted, wanted me back. I've written another blog that deals with submitting your story to the right publishing house, so I won't reiterate here (Attempting To Get Published)
It used to be that the large commercial publishing houses sought out talent and gave new authors a chance. Now they only risk it if you've been published before and maintained decent sales. Because of that, your best bet is submitting to a small publishing house, or even self-publishing. You don't receive the amenities with self-publication, such as proofreading, typesetting, books in print, marketing, etc., but regardless, that door is open for you so there is hope of getting your work out there if you've been turned away too many times.
The small publishing houses are not a guarantee either, however. In many cases a lot of success deals with how professional and "clean" your manuscript is when you send it. First and foremost, you really ought to have proper spelling and punctuation down. And what you submit should flow nicely and lack confusion. A lot of publishing houses receive sloppy, messy manuscripts. How can they take you seriously if that’s how you propose your work? So, REJECTION!
Always check out the publisher's website and find out exactly what they expect in the manuscript; do they want the entire book? Do they want only a few sample chapters (in which case choose the most inspiring and sensational chapters)? Do they want a synopsis included? Knowing all of these details and following the proper procedure can reduce your chances of being rejected.
But, as I’ve mentioned, I’ve already posted a blog about how to increase your chances in signing a contract with a publisher.
The rejection thing…Everybody always says it, and it’s nothing but the truth: You have to keep trying! I am the sort of person who does not want to deal with criticism and will avoid it if it serves no purpose for me. But I’ve always wanted to be a writer and in order to get there I knew I was going to have to swallow that jagged little pill and learn to deal with rejection—and I did. So you need to decide which is more important—your pride, or doing whatever it takes to make your dream or goal come true.
There are several stories out there that deal with successful authors being rejected constantly. J.K. Rowling was rejected many times over before being picked up, and she only received a contract by the grace of God when the editor's daughter picked up her manuscript, began reading, and enjoyed it. If J.K. Rowling had quit, I think everyone can agree things would be quite different for her.
The biggest thing here to remember, if you’re truly serious about and believe in your work: Fight for it! In fact, being rejected and going back for more is just a testament to how very serious you are. I was looking forward to fighting for my book, to be honest.
Please, please, please don’t become discouraged. To be a published author is to have a voice in this world, and it’s an accomplishment that many, many people wish they could complete but never do. Writing is hard work, and writing an entire novel is a huge effort. If you go through all of that trouble only to give up because one person out there isn’t in to your story then you’re foolish. When you submit that manuscript, and when it is read (if it is read), it is subject to that individual’s taste. And not everybody can recognize talent or importance right off the bat. Perhaps it doesn't speak to them. It doesn't mean the next publisher won't be excited over your story. Every industry is rife with tales of those who were not appreciated for their work “at the time”, and certainly the publishing industry is no different.
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