Remember the scene from Seinfeld where Elaine develops a rash, and every attempt to seek medical help ends in the ominous click of a ballpoint pen and a permanent notation in her file that marks her as a difficult patient – all the way up to the government level? What, you may ask, does that have to do with writers making themselves submission-ready?
Well, my friends, you are Elaine, your masterpiece of fiction is a rash, and somewhere out there is someone ready with a ballpoint pen.
What if your submission makes an editor never want to hear from you again? Are you prepared to make a name for yourself for all the worst possible reasons, all of which tie your name to literary garbage? What do you suppose that does for your chances of getting published in the future?
Everyone makes mistakes when they start out, but writers who begin the submission process rarely think about submission-readiness or the effects of a premature effort.
Unfortunately, writers waste a lot of time with false starts – not just their own, but that of the publishers and editors and agents who must slog through acres of tripe and dreck just to waste more time sending out rejection letters. Are you one of those writers who make editors want to quit their jobs? Will you get it wrong? Did it already happen?
Are you submission-ready?
Find out. Before you lick that stamp, here’s a check list that can help you determine your submission-readiness:
- You’ve vetted your entire work somewhere for detailed feedback, and parts of it broadly through different venues:
- writing conferences
- writers’s groups (with at least one person who knows something about writing)
- writer-in-residence programmes
- college/university coursework
- professional editing services
- legitimate competitions
- publication history
- You’ve learned to self-edit:
- POV is clear and strong, without confused multiple points-of-view within a scene
- purple prose is under control (and you know what it is when you see it as well as when you write it)
- sentences vary in structure, length, and word choices, and partipate actively to convey pacing and tone
- able to pick out repetitious words and phrases both in close textual proximity and overall
- minimal spelling and grammar mistakes
- no errant homophones (it’s/its; their/there/they’re, etc.)
- able to maintain focus on the main story line and excise anything that detracts from moving the plot forward – even when you love it
- facts are checked and double-checked
- You understand what kind of story you’re writing:
- You know whether your characters are flat or dimensional, you know the narrative uses of each, and you made a deliberate choice based on the kind of story you’re writing.
- Your plot choices are focussed and well-considered:
- appropriate use of flashbacks
- structurally sound
- Character development arc is defined
- tied to events and experiences
- keeps the story moving forward
- you can easily describe it to someone
- You’ve identified your audience
- You’ve made conscious and purposeful structural choices:
- you know how your narrative is shaped
- you know how to start and end a paragraph, and why
- you know how to start and end a chapter, and why
- you know where to start and end your story
- You’ve mastered dialogue:
- it’s natural
- each character voice is distinct, even without indicators
- it drives the story forward
- it adds to character development
- You display a mature attitude about writing:
- you are able to accept analysis and criticism without falling apart
- you understand that nobody is going to steal your work or your ideas no matter who sees it
- you are able to distinguish between valuable critique and misdirected criticism
- you show an ability to simultaneously work and wait
- you’ve read books produced by the publishing house(s) to which you are submitting, you can see an obvious pattern of literary tastes, you know that the publishers’ preferences either relate to your writing or don’t, and this research informs your choice of publishing targets.
Everybody who ever started out writing stinks. Everybody. There is a learning curve that takes longer for some, and less time for others. For some writers the window of opportunity and the story’s readiness won’t come together for years or even decades. A great story is worth holding onto, and worth waiting for that conjunction of time and talent and tastes that turns a seemingly futile effort into literary magic. The key is having the strength of character to resist sending your material out simply because your wrote it, and knowing the difference between your story’s readiness and your own.
No matter where you are on the curve, there is no advantage to rushing unless you’re writing a shocking expose about political candidates and the election is in a few months. Even then, opportunity does not make a well-told story.
Your chances of getting published are greatest when your work displays a consummate consciousness of craft, professionalism, and maturity; when you’ve faced the death of any illusions about the writing life or your own magnificence; when you show a willingness to do the hard work of making yourself as submission-ready as you have made yourself author-ready.
Because if you don’t … CLICK!
Other posts by Sandra Chmara:
- The Best Editing Tool You Probably Don’t Use
- How Narrative Is Like A Symphonic Score
- Women And Writing: Epic Fail
- Workshops, Writer’s Groups, Classrooms
- Banning Books … Yours
- Free Fiction Timeline Worksheet
- Stuck Noplace, Going Nowhere – Writer’s Purgatory
- The Query Letter – Why You Should Never, Ever …
- What Stage Is Your Writing In?
- Being Original In A Copycat World
- The Truth Behind Writing What You Know
- What If The Muse Is Just Not That Into You?
- Motive Killed The Writer
- Literary Horse Flop
- Will You Survive Writing?
- Great Writing Secrets – The Business Letter
- Why We Write