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HOW TO QUERY PUBLISHERS
There are three rules to good writing.
Unfortunately, no one knows what they are.
W. Somerset Maugham
PLEASE NOTE: I hope you find something of value here and the information on this page helps you reach your goals, but I do not give personal advice. The greatest asset you have as a writer is belief in your own talent. Good luck!
On this page...
Query Letter: Part Resume, Part Sales Pitch
The Six-Paragraph Format
E-mail Queries
The Waiting Game
To Call or Not to Call
A Day In the Life of an Editor
Avoiding the Circular File
Titles: A Rose By Any Other Name
PUBLISHERS AND AGENTS TO AVOID
Sample Query Letter from Real Life
How Fiction and Nonfiction Queries Differ
Links: Publisher Resources
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QUERY LETTER: PART RESUME, PART SALES PITCH
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At last. You've done your homework, you have a slant, know about competitive books, have a list of six publishers appropriate to your subject matter, a spectacular working title came to you in your dreams and you're ready to compose the winning query letter. Now what the hector is a query letter and why should you spend your time writing one?
A query letter is a combination of written sales pitch and summary of your book idea with a twist—it opens the door to the publishing world and introduces your unwritten nonfiction to editors. Think of it as a good resume. It sells the editor on you and your ability to write. A query letter is the editor's first and lasting impression of you. If you can answer how your book is different, why it will sell to a specific market, and why this is the right publisher for your work, then you are ready to query.
Selling your ability to write by query letter, rather than complete manuscript, is the most time-efficient way to write. You can submit several queries at a time to different publishers, thereby increasing your chances of a positive response; or, if you have more than one book running around in your head, you can query several ideas at a time to different publishers, seeing which idea is best received.
To be fair, some writers believe there are no good reasons to write a query letter unless you are asking for agent representation. The reasoning behind this is you will be rejected without the editor ever seeing your completed work. They suggest sending unsolicited manuscripts. These writers place emphasis on studying the markets well and selecting your publishers with care.
I will respond to this reasoning with a simple suggestion to look at the statistics. If a large publisher receives over 2000 unsolicited manuscripts a year, why would you want to be in that pile? The advantage of saved time far outweighs the disadvantage of sending a query letter.
With a one or two-page letter, you can get an idea out there without spending days, weeks or months researching and writing a manuscript that may not be viable. A book can take a year or more to write. A query letter is your best bet to see if there is a market before you spend lots of time writing a book.
Query letters produce faster responses from editors and enhance the odds of an invitation to send your proposal or manuscript. Removing your work from the "unsolicited" pile is a very good thing. It is time to send a query letter whenever you have a well thought out idea for a nonfiction book that you believe has a viable market.
There are many good ways to organize a query letter. My own design has six paragraphs:
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1. The Hook (also called the lead):
Why your book idea is different.
The first paragraph is the attention grabber. Mention the title and type of book early. The punch line goes here, never save it for last. Simply stated, what is your book about and why does it stand out from the crowd?
2. The premise and summary:
Why you want to write it.
This is the basic idea and a brief summary of your book. Be precise and organized. No rambling.
3. The audience/market:
Why it will sell.
What does your book offer and to whom? Why will it sell? Use statistics if you have them.
4. The particulars:
Length, permission to quote, artwork, and readiness to send.
This paragraph provides technical information about the book and the time needed to complete it. As a rule of thumb, it takes eight months to a year to write a book. Allow time for the unexpected.
One double-spaced typed page is about 250 words. An average book is 65,000 words. If you don’t know how long your book will be, use 65,000 words. Editors know you’re estimating. Because publishers vary on artwork and permission to quote another author, always read their specific manuscript guidelines.
5. Background and credentials:
Why you are the person to write it.
This is your bio in brief and tells of your pertinent experience. Sell yourself without bragging. If you have no writing experience, don't mention it. As an adult, you have life experience: how does it relate to your book?
This is where you state your education and work experience if it pertains to your book. Resist all temptation to make comments like "This is the best book ever written about (blank),” or “I've always dreamed of seeing my name in print." Such remarks scream amateur.
6. Simple closing:
Is this a multiple or exclusive submission? Also called simulaneous or single submissions.
State the name of the book one more time and mention that you have enclosed an SASE, self-addressed, stamped envelope. Underneath your name, type 'multiple submission' (sending to two or more publishers at once) or 'exclusive submission’ (sending to only one). This information is expected but you can be subtle.
Go to a library or buy the current copy of Writer’s Market and study the section called Query Clinic. In no time, you’ll have an invitation to submit your wonderful manuscript to a publisher.
To read an actual query letter that produced a book contract, and also follows the six-paragraph format, click Sample Query Letter from Real Life.
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A NOTE ABOUT E-MAIL QUERIES:
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Some publishers will tell you that it is OK to E-mail your query letter. Consider that editors get 100 or more E-mails every day. If you decide to go the E-mail route, be sure to observe all the rules of good form, grammar and business etiquette. Don't get creative with weird fonts, strange colors, odd graphics, all capital letters, all lower case letters, or no punctuation.
If you want to stand above the crowd, a query letter by regular mail remains your best bet—-unless specifically stated that E-mail queries are the preferred route, as with most E-publishers. An E-mail query is still the first and lasting impression of you and your writing. Make it a good one.
Pen to Paper:
Write a rough outline of your query letter. Take it one point at a time and note where more research is needed.
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THE WAITING GAME
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You will notice that most publishers list a time frame of response, usually a few weeks for query letters up to a few months for proposals and manuscripts. It may take a small press as long as nine months to respond, but if you have included a SASE, they will respond. If you decide to inquire after three months, do so only by mail.
Summon every bit of patience that you can and wait for a response within the stated time limit. Don't start biting your fingernails and call two days after you send your baby out. They will respond—-but you must wait for delayed gratification.
If, after two weeks beyond the stated time frame for response, you still haven't heard a word, it is quite acceptable to send a polite follow-up letter of inquiry. No calls, please.
You can begin by writing something like this: "Just a quick follow-up to my query of ten weeks ago. How is the submission faring with you? Thank you for considering (insert your title here). I look forward to hearing from you."
You will not harm your chances of success with a tactful follow-up, provided you have waited the prescribed amount of time to write. If you get a rejection slip, run off more query letter copies, (with correct names and addresses, of course), put the darlings in envelopes and mail them out to other publishers until you get the results you want.
Make good use of your time while you are waiting. Ask for publishing guidelines, research your book, read about writing or the publishing industry, study competitive books, start your proposal, begin the manuscript, make a list of Plan B publishers to query if your first batch is rejected and, above all, don't give up. Whatever it is, do something that moves you one step closer to your goal of becoming a published author.
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TO CALL OR NOT TO CALL...
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If using few adverbs is the cardinal rule of writing, then not calling editors is the cardinal rule of publishing. Do not call a publishing house and ask to speak with an editor. You will not win friends or influence people by taking up an editor's time with requests for catalogs or a run-through of your best-selling book idea.
You'll be doing that with your winning query letter, and a well-written query letter speaks louder than a cold call or E-mail ever could. There is a time to establish a positive working relationship with your editor. That time is after he or she has expressed interest in your work.
If you're calling for a front list catalog, speak to someone in sales. If you're phoning for contact information, speak to the operator and only the operator. Resist all temptation to pitch your idea to an editor by cold-call. You want to increase your chances of success in a highly competitive business and being impatient won't do it. Let your writing talk for you—-it’s your most powerful language.
The information in Writer's Market can be fifteen to thirty months old. Editors change jobs and publishers change focus. There are reasons to call the publishing house and speak to the operator. One of them is the problem of androgynous names. Don't assume that Gerry is Geraldine. Gerald won't like it.
In my experience, I think it is wise to verify contact names and addresses, but operators know everything. When I called one small press, I spoke only to the operator. I asked who was in charge of acquisitions, how do you spell the name and does she prefer Miss, Ms. or Mrs. I found out that Writer's Market had misspelled the editor's name.
It was an important call because editors don't like their names misspelled, but I didn't talk to the editor. The operator had all the information I needed. She even asked me if I'd like to be transferred to Ms. X. I resisted all temptation and replied no thanks, you've answered my questions. I then sent my query letter, proposal and manuscript to the editor (name spelled correctly) and was eventually offered a contract.
In all of this, I never once spoke directly to the editor or E-mailed her. My query, proposal and manuscript did all the talking for me. Make yours do the same.
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BRAVE NEW WORLD:
A Day In the Life of an Editor
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Your query letter, proposal, or manuscript has left the safety of your loving embrace and is headed to the big city. Strangers, many of whom you'll never know, will now determine its fate. The notable exception is your editor and he or she is your link to this brave new world. In order to understand why cold-calls or follow-up calls to editors are not good form, you need to understand the editor's job. She (*) is overworked, underpaid and above all, is doing what she's doing because she loves books.
(*) Please note: Many editors are men. I have chosen to use the pronoun 'she' to maintain the flow of writing.
An editor reads for a living. In most publishing houses, she is juggling at least three lists: books currently being acquired, books currently being produced, and books currently being promoted. Depending upon the house, this can be anywhere between 20 and 100 books. That's a lot of books to juggle.
When it comes to the editor's attention, there is an astounding amount of competition for your query letter, proposal or manuscript. It becomes your job to learn as much as you can about publishers and editors and how they operate. I recommend Richard Balkin's A Writer's Guide to Book Publishing. (Penguin Books, 1994)
Although an editor's day officially begins at 9 A.M., most are at their desks before that and stay long after the 5 P.M. whistle. There is little time in an editor's day to do the "real work" of reading and evaluating query letters, proposals and manuscripts; or prepare for tomorrow's committee meetings. Most of this work is done on the editor's own time after hours, at home, on the subway, in the car pool, or on the weekends.
As six o'clock melts into seven, your editor arms herself with her evening's homework: a pile of manuscripts, or an acquisitions packet for tomorrow's meeting. If it's been a "slow" day, she might have only an Internet research project to consider. But she always heads for home with something that requires her uninterrupted attention. At midnight, she can read no longer and tomorrow will be a busy day.
Editors are in the business of spotting good books that will sell and, most of the time, their business extends far beyond that. They are not therapists, writing instructors or buddies. They have a job to do and not enough time to do it. Avoid cold calls because editors respond best to your written work. Please be patient. Your editor has not forgotten you and she is going as fast as she can.
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AVOIDING THE CIRCULAR FILE...
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By following a few simple guidelines you can ignite an editor's imagination with your grace and style. Here is a summary of do's and don'ts that will keep you out of the circular file.
DO:
· Organize and clarify. Arouse interest, be specific and close with a key point. You can also use the form of lead, summary and bio.
· Keep your letter concise with clear thinking, no abstractions or rambling.
· Use active voice. "The book will", not the book would. "The readers will", not the reader would.
· Your letter needs to emphasize the market when you query a small publisher. Remember, they either have no marketing staff or a limited one. Small publishers need to know you are willing to market your own book.
· Exit the letter gracefully with a polite and positive closing.
· Use an 11 or 12-point plain font like Arial or Times New Roman in only black ink. Avoid colored paper. Use a heavy bond, expensive white paper for your final copy.
· Get the editor's correct name and spelling if at all possible. See To Call or Not to Call above.
· Always send a SASE (self-addressed, stamped envelope) with your query letter. No SASE, no response. If you send a proposal or manuscript, include postage and a mailer for its return. No return postage/mailer, no return of your material.
· Proofread. Read the hard copy before mailing because printers do strange things like run off last lines to the next page or run off first lines to the bottom of a page.
Computer spell check cannot fix all your problems.
With dictionary in hand, read everything you've written. Your trusty spell check doesn't know the difference between to, two and too; rite, write and right; or four, fore and for. Words that are spelled correctly, such as point and pint, can also slip through undetected.
If you don't proofread your own spelling, consider that the following sentences made it through my computer spell check: Ewe can right four too years, or want two rite fore to years, without getting it two write. Get the pint?
· To avoid embarrassing repeats, keep a record of letters sent and to whom.
· Send a polite reminder by mail after three months, but check publishers' guidelines for dates of response. A small publisher may take up to nine months to respond.
DON'T:
· Address Dear Sir or Madam. Get the name exact if the publisher will give it to you.
· Assume the sex of an editor. Chris may not be a man.
· Toot your own horn too much. Editors expect you to be positive within reason. Avoid phrases such as "the best book ever written" or "your next best-seller."
· Use phrases like "I've always dreamed of seeing my name in print." Editors are not responsible for your dreams.
·Assume that editors are writing instructors, therapists or good buddies. Editors are in the business of spotting good books that will sell; they are not in the business of critiquing your work, or holding your hand.
· Write "I'll welcome your editorial input." Editors want you to come with the brilliant ideas and do the work.
· Mention you have no writing experience, have never been published or have no degrees. You have experience as an adult. Mention that instead.
· Give unnecessary details of your life. Avoid "I won the eighth grade creative writing contest," unless, of course, you are currently in the eighth grade.
· Use tacky humor such as "Mr. Smith, I'd like to propose to you."
· Call an editor to see how your query is faring. See To Call or Not to Call on this page.
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TITLES: A ROSE BY ANY OTHER NAME
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OK, you have a great idea, you know the competition and you have a list of publishers to query, but what are you going to call the darn thing? A title can add focus, energy and excitement to your project in the early stages. A compelling title is a critical tool for marketing your book later on.
A title must accomplish several tasks. It will instantly tell readers what the book is about and pique curiosity. It should also be positive. Remember that bookstores will be finding and ordering your title by computer, so the subject of your book needs to be in the first five words.
My original title to Tarot Shadow Work was In the Shadow of the Star. While I am still fond of that poetic title, it couldn't survive the "first five words" rule of computer databases. You can't tell that it has anything to do with the tarot.
Subtitles are good because they give you a second chance to tell the reader what your book is about. In many situations, however, the subtitle will not be used, so the main title has to do all of the work.
Your title needs to reflect the slant and tone of your book. Don't put a silly title on a serious piece and vice versa. Also, readers do not like to be tricked. One of the worst tricks I read was an article entitled "Why Marry When You Can Just Be Engaged?" The article was about the benefits of leasing a car versus buying one. Someone probably thought they were oh-so-clever when they came up with that one, but the title made me angry and I stopped reading right there.
Just like the writing process, there is a method to the madness of creating a great title. You need to do some research, brainstorm and let go of the whole thing for a while. Relax and forget about it. The seed you planted in your unconscious by brainstorming will gestate while you go about your business.
Browse in bookstores and write down titles that both grab you and turn you off. Take your list home and play with it awhile. How can you do better? Titles cannot be copyrighted but characters and methods can.
For example, you can write a book called Gone with the Wind, but that book cannot be about Scarlet and Rhett in the antebellum South. You can also write a book called Tarot Shadow Work, but you'd better not have four star-shaped tarot layouts with names like Star of Discovery or Star of Hope in it.
Before you go to sleep, do a little ritual and ask your dreams to help you find a title. Write your request on a piece of paper and put it under your pillow. As soon as you wake up, write down everything that you can remember. Do this for a full week and your unconscious will come through for you.
Don't worry too much about finding the "perfect" title because a publisher will probably change it. If your subject is interesting and the idea is sound, a bland title won't detract from your query letter. It's the text of your query that makes or breaks the letter.
When in doubt, just slap a working title on it and let the editors decide. Examples of working titles include What You Should Know About…, How to… ,Wicca for…., Astrology and… or Tarot and… Good writing is good writing, regardless of title.
· Pen to paper: Start thinking of titles for your book. Browse bookstores. Brainstorm, incubate dreams. A book becomes real when it has a title. Anyway, you have to call it something besides "the book" when you write your winning query letter.
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PUBLISHERS AND AGENTS TO AVOID
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HEADS UP: Before you send your work to a publisher or agent, please spend some time at Writer, Beware: www.sfwa.org/beware.
The site includes lists of specific publishers and agencies to avoid and why. Study them well to save yourself heartache later.
NOTE: The Writer, Beware link above does not open a new window. Use your back button to return here. If you prefer to open a new window, type the address in your Internet browser window and click Go.
Major publishers, like Bantam Doubleday and Random House, require that you have an agent, while small presses and some larger niche publishers do not. Before you waste your energy sending a query or manuscript to a house that works with only agents, first read the guidelines found in books such as Writer's Market.
I recommend two books about agents. How to Be Your Own Literary Agent, by Richard Curtis, provides a comprehensive view of the publishing process and takes the mystery out of how to approach publishers on your own behalf.
Literary Agents: What They Do and How They Do It, by Michael Larsen, gives you an insider's look at the world of literary agents, how to find one and what to do after you have. Larsen has helpful hints on how to spot trouble: There are those rare literary agents who do not work in the best interests of the author, and he offers advice on the best course of action. Larsen gives pointers on what to do when the relationship between you and your agent goes sour. Writer's Market also carries useful agent information.
All rules of good communication apply when approaching an agent. Treat your potential agent with the same level of professionalism that you extend to a publisher. If you use an agent, you do not approach a publisher yourself—-that’s the deal you have made with your agent.
Having a literary agent is a "good news and bad news" situation: the good news is that your agent will work very hard to find a home for your manuscript and s/he has the inside track on how to do it.
The bad news? It’s as competitive to find an agent as it is to find a publisher, maybe more so. Consider, too, that you will share your money, as well as your success, with your agent.
Truth is, most new age publishers prefer to work directly with an author. In Writer's Market, publishing houses like Llewellyn print statistics like this: "30% from first-time authors; 90% from unagented writers." This means that out of 100 titles published every year, thirty of them are from first-time writers like you, the rest come from established writers. Out of these same 100 authors, ninety of them are without agents.
The worst thing you can do is pretend you have an agent (or a lawyer) when you don't. Not-so-clever aspiring writers sometimes have friends call publishers and pose as agents. It's very easy to spot fraud because of the credentialing process that all legitimate agents go through.
Please don't embarrass yourself with this kind of dishonesty. You lose all credibility, and therefore chance of success, when you choose the deceptive route. What you send out comes back to you (at least) three-fold.
Good luck and, above all, keep writing!
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SAMPLE QUERY LETTER FROM REAL LIFE
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The following letter is the original query that I submitted to Llewellyn and Weiser Books for Tarot Shadow Work. It took me about one month of research and a dozen, or more, rewrites to complete it. I was very lucky--both publishers asked to see the manuscript and both publishers offered me a contract. I am not telling you this to boast. The query follows my six-paragraph format explained on this page. It worked for me. It can work for you, too. The only difference in the sample below is that my web text editor does not allow me to indent paragraphs. You may either center your own name and address at the top, or leave it justified to the left. The original version followed standard protocal set by the Chicago Manual of Style.
If you are familiar with Tarot Shadow Work, note that many things in the sample don't match the final version of the book, including its title and the foreward by Laurie Cabot. Publishing is a process: editors look for workable manuscripts, and then they mold them into the books you see in a store. Tarot Shadow Work was a work in progress all the way from query letter to proposal to manuscript to book. Avoid being tied to your words by the umbilical cord. The professional expertise of editors will make your book better. Isn't that what you want—-to have a book that is the best it can be?
Author's Full Name (No pen names)
Home Street Address
City, State Zip Code
Telephone number with area code
E-mail address
Web site address (optional)
Date
First and Last Name of Editor, Title
If the title is long, place it on the second line
Name of Publishing House
Name of Imprint, if appropriate
P.O. Box or Street Address
City, State Zip Code
Dear Mr., Ms., or Mrs.(Surname Spelled Correctly):
"One does not become enlightened by imagining figures of light but by making the darkness conscious." C. G. Jung
So begins In the Shadow of the Star: A Handbook for Healing. The Jungian shadow workbook, introducing a new application of tarot, differs from others in the field because the exclusive focus is discovery and integration of the shadow. Laurie Cabot, author of four books on wicca, has agreed to write the foreword.
The book premise is simple-a house divided against itself cannot stand. The shadow is unresolved inner conflicts and unexpressed emotions. If left unattended, our shadow divides us against ourselves. Our house, or sense of self, is weakened. Readers are led through a process of shadow discovery and recovery by a series of tarot card layouts, journal entries, guided visualizations and meditations. The goal is integration, not rejection, of the shadow. The workbook concludes with a realistic sense of hope: change occurs because of self-love and the power of choice. Readers are encouraged to seek professional counseling when necessary. No prior knowledge of tarot is required.
I created this method of tarot shadow work, or conflict resolution, because of my own losses. My self-help book offers a concrete way to ease emotional pain and most of us are souls in pain. Mature women with interests in healing, Jungian psychology and tarot will buy the book. Laurie Cabot's foreword attracts students of earth religions.
The book contains approximately 75,000 words and can be ready in six to eight months. I will mail you a proposal within three months of your positive response. It will include a bio sheet, an outline of the book, three completed chapters and a bibliography. I will request permission to quote Jung and reproduce the Rider-Waite tarot deck from Princeton University Press and U.S. Games, Inc., respectively.
I teach professional tarot consulting and self-published the manual used in my classes. My husband is a psychiatrist. He will lend his expertise to a chapter called "When Professional Help is Needed." I have a successful tarot consultation service and plan to write a book entitled The Professional Tarot Consultant: A Guide to Starting Your Own Business. My Bachelor of Arts degree is in psychology and I am a registered nurse.
I believe In the Shadow of the Star is a viable book. What do you think? A self-addressed stamped envelope is enclosed for your convenience. I look forward with interest to your reply.
Sincerely,
Cursive Signature Here
Type full name here (No pen names)
Simultaneous (or exclusive) submission
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HOW FICTION AND NONFICTION QUERIES DIFFER:
The Realities of Selling Fiction
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Over 45,000 new nonfiction titles appear every year. Magazine editors need one million new nonfiction articles per year. Only 5000 new fiction titles are published yearly, and many of those are by authors who have published before. (1) There are exceptions to every rule and you could be one of them. Stephen King was rejected for nearly fifteen years before he sold ‘Salem’s Lot.
As a fiction writer, you will do best if you have a thick skin, never take rejection personally, love the process of writing, and believe in your talent. Commercial publishers' reluctance to take risks with new fiction writers is one reason small presses have been flourishing in recent years.
If you have "The Great American Novel" running around in your head, go for it! But you will increase your chances of success three ways: 1) Approach small presses first; 2) Get an agent. Many good books are available on the subject, but getting an agent is as hard as getting published; and, 3) Your best bet: send a stunning fiction query letter to small publishers or literary agencies.
I recommend reading How to be Your Own Literary Agent by Richard Curtis, Houghton Mifflin Company, 1996. The book is a thoroughly professional rundown on common questions that writers ask about book publishers, whether the writers have agents or not. Covers every aspect of the business of getting a fiction or nonfiction book published.
The following fiction query format will help you get your foot in the door of small presses and literary agencies:
Paragraph One:
Give the small press editor or agent all the vital information: title, length, category of fiction, tone of writing (historical, satirical, inspirational, humorous, poetic, etc), and short theme of plot. Example, "This humorous mainstream novel is about three feisty women…" Please don't write "fiction novel" in your query letter because the phrase has amateur stamped all over it. A novel is fiction. So, you either write fiction, or a novel, not both words together.
Paragraph Two:
Explain why the novel will appeal to a wide audience. It should read like the flap copy of your book. Read some book flap copy before you write this paragraph. Example, "This novel is a must-read for every woman who has ever dated."
Paragraph Three:
Offer a brief plot summary. Summarize the plot; don't restate the theme, as you did in paragraph one. Example, "The story begins when Ellen…"
Paragraph Four:
Talk about yourself, emphasizing your experience on the subject matter in your novel, your background, any writing credentials, unusual ideas for marketing the book. If you have no publishing experience, don't mention it. As an adult, you have plenty of life experience. Emphasize your life experience and how it relates to the story.
Simple closing:
"I will show my manuscript to only one publisher (or agent) at a time, so if you are interested, please contact me at your earliest convenience." Include contact information in your letterhead and always enclose a SASE.
OR...
"I believe (TITLE) is a viable book idea. What do you think? A self-addressed, stamped envelope is enclosed for your convenience. I look forward with interest to your reply." Then, after your printed name type Multiple Submission or Exclusive Submission, that is, sending to many or sending to only one.
WHAT NEXT?
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If you have sparked an editor's or agent's interest, s/he will ask you to send a plot synopsis and the first fifty pages of your novel. I recommend using Writer's Digest Guide to Manuscript Formats available through most online stores. Don't be abstract in the synopsis. Let your synopsis explain the characters and excite the reader about the story itself.
The plot synopsis should be three to five pages long, double-spaced, in an 11 or 12-point plain font such as Arial or Times New Roman. Use only black ink, quality paper like bright white and avoid fancy script fonts. The synopsis needs to show how the subplots weave themselves together with the main plot.
When you send the plot synopsis and fifty pages of the novel, be sure to include a SASE and enough postage to return everything you sent. Date and hand-sign your letter. Never send your only copy of anything to a publisher or agent. Keep a log of date sent, to whom and response.
Final fiction note:
Most large publishers, like Simon and Schuster, work only with agents. Without an agent, you increase your chance of success by approaching small presses first. Good luck! I look forward to reading your best-selling novel.
FOOTNOTE:
(1) Page, Susan. The Shortest Distance Between You and a Published Book. New York: Broadway Books, 1997, p. 68.
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LINKS
The links below open new windows and offer resources for finding publishers appropriate to your project. They are also great for researching the markets.
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My E-mail: NewAgeWriting@aol.com
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A professional writer is an amateur who didn't quit.
Richard Bach
© Copyright 2004-2008 Christine Jette. All rights reserved.
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