REASONS MANUSCRIPTS ARE REJECTED

NOT USING THE CORRECT FORMAT
Publishers and editors are inundated with manuscripts every single day, and they simply don't have the time to educate you to what you should already know by doing some simple research, if you are serious about your writing career. Guidelines are found on each publisher's website. Read them very carefully. Each publisher is different, yet may have similar guidelines. It's important to do your homework.


MANUSCRIPT FORMAT (UNLESS OTHERWISE STATED)
If you're serious about being published, submit a professional looking manuscript. Here are some basic guidelines:

1- Use a good quality, reasonably heavy bond white 8½ x 11 paper.

2- Your manuscript should be typewritten or letter-quality printed. Use black ink only. 12-point Courier is the easiest FONT to read unless otherwise stated in the submission guidelines. 12 point Courier copies clearly, which will be helpful should your manuscript sell, and it conforms well to pagination formulas [250 words per page], which editors will appreciate. Publishers aren't interested necessarily in how many words you have written, but in how much page paper they are going to need to publish your work. Times New Roman is also a font asked for in some instances. Ask what the requirement is if not posted. Otherwise, go with Courier.

3- Margins should be 1 inch on all sides, left-justified only.

4- Double-space all materials with the exception of your cover letter. This leaves room for an editor to pencil in comments as they read through your work.

5- Do not put an extra space between paragraphs. This rule varies between publishers. I know of publishers who want each chapter to begin on a clean page. I know publishers who want new chapters to be spaced down halfway on a clean page. Ask.

6- Turn off your hyphenation. Words that are normally hyphenated are okay, but no breaking of words from line to line.

7- Indicate all paragraph beginnings with a 5-space indentation. Some publishers require a 3-space indent. Read the requirements carefully. There is a difference of using your indent/tab key and using a spacebar. Use indent/tab key only.


MANUSCRIPT STYLE (UNLESS OTHERWISE STATED)
Here are a few important pointers on manuscript style, all designed to make life easier for typesetters. Following these guidelines will make you look like a true professional and will be appreciated by every editor you come across in your writing career.

ITALICS: Underline italicized words if you are submitting to a traditional publisher. A print-on-demand publisher, or a short run publisher will have you use italics exactly where wanted. If the guidelines do not state this, ask.

En or Em DASH: Indicate an en-em dash by two hyphens. Some software will convert to a long dash, and some will not. Don't worry. The printer will correct at his end.

QUOTATIONS: Punctuation goes inside quotation marks, i.e. "I don't know," he said. "What do you think?" No question marks in the middle of a sentence…Example: "Why? are you doing this?" she asked. Keep punctuation where it belongs. This goes by the wayside of cute balloons dotting 'i's' and small 'i's' instead of capital 'I's' sprinkled throughout a poem or a manuscript. This is not a place to be cute if you want to be published. Most editors have degrees in English and they do not like 'cute'.

ABBREVIATIONS: Spell out all words, such as 'and', and all 'numbers'. [& and 1-2-3 is a no-no], unless there is a reason, such as in 'The Abercombie & Fitch Company', or the 'Trident 4 Company'.

PHOTOCOPIES: Some publishers accept them, others do not. Unless a publisher specifically says they will accept photocopies, don't risk it. Keep the copy and send the original to the publisher. Or better still, invest in a good printer and print an original copy. In the long run, it is most economical.

PACKAGING YOUR MANUSCRIPT TO MAIL
Do NOT staple or paper clip or fasten, or rubber band, tie in ribbons, bind in folders, or box your manuscript. Not ever! Invest in a box of Tyvek envelopes. Paper envelopes, even manila envelopes are known to burst when a large amount of paper is stuffed into them. You want your manuscript to arrive safely, in good readable condition, and intact.

WORD COUNT: Editors aren't interested in the exact number of words in your manuscript. What they are interested in is a way to quickly and accurately estimate the total number of finished pages a book will have. That is why it's recommended using 12-point Courier and 1-inch margins. These will give a publisher a standard formula to calculate the finished pages.

Using Courier and proper margins gives a total average word count of 250 words per page, which makes it easy to calculate the length of the typeset book. Example: On a page with a lot of dialogue, there may be as few as 150 words but it will still take a paper page to produce. An editor is only concerned with the number of lines that dialogue eventually will take up in the finished book. Submitting a manuscript with an average of 250 words per page makes the editor's job much easier.


PAGE LAYOUT (UNLESS OTHERWISE STATED)
TITLE PAGE: Put the title followed by your name in the center. Your address and phone number in the bottom left-hand corner, and the word count and the line you're submitting to, i.e. mystery, romance, science fiction, etc., in the bottom right-hand corner, and whether or not the manuscript is completed.

OPENING PAGE: On the first page, put your name, address and phone number in the top left-hand corner. Put the word count, and genre in the top right-hand corner, and if manuscript is completed. For all subsequent chapters, follow the header/footer format for a regular page.

ON EVERY CHAPTER'S OPENING PAGE from then on, put the chapter title [Chapter One, Chapter Two, etc.] about one-third of the way down the page. This leaves room for the editor to make comments in the space at the top of the page.

Note: Some editors want you to start chapters at the top of a clean page, some want you to begin a third or half way down a clean page, and some want you to continue without spaces. Be informed. Be correct. Ask. If guidelines are not posted at the publisher's website, ask.

PAGE TWO AND THEREAFTER:
HEADER ONLY: From the second page to the end of the manuscript, use this type of header: Your Name / The Manuscript Title TO THE LEFT. Page # in the upper right hand corner. You can find header/ footer information on your word menu, usually under View. This 'header/footer' on each page, ensures if any pages happen to be out of order, or the editor loses a page, they can easily find it, or know there is something missing. Most editors are very careful with manuscripts, but things do get lost.

BLATANT SPELLING ERRORS
Your spellcheck is your best friend. Use it. You would be shocked to know this isn't always done by too many aspiring authors and even published authors, if you've ever read a raw manuscript. Also, if your spellcheck underlines a word, check it at the point of origin, then when your document is finished, do a final spellcheck. Then run another spellcheck. Use your Thesaurus so you don't overuse words. It detracts from the manuscript. If you don't find your word in your current spellcheck, use a dictionary...and add the word to your computer dictionary. As simple and logical as this may sound to you, it isn't done as a rule of thumb. Note: Your spell-check isn't infallible. Use a dictionary if in doubt.

Note: IF YOUR SPELL-CHECK FAILS TO FLAG A MISSPELLED WORD, you may have accidentally added the misspelled word to your Custom Dictionary. To remove (or add) words, go to Tools..Options..Spelling & Grammar.. Custom Dictionaries. Select the dictionary you wish to modify and click Modify to bring up a dialog box in which you can remove (or add) words.

INCORRECT GENRE FOR THE PUBLISHER's NEEDS
What is the publisher looking for? This can vary from year to year. Does your novel fit the publisher's guidelines? Have you read anything from the publisher's list/genre you are submitting to, so you have an idea of what the publisher is looking for? Remember, this too is part of your research. This is probably the single most important reason a publisher will reject a manuscript: it doesn't fit within their guidelines. Therefore, it is even more important you do your homework and research, research, research.

GRAMMAR IS ALWAYS AN ISSUE WITH EDITORS
Grammar is always an issue with editors and your spellcheck is not infallible. You can always tell when a book has a good editor, or editing that is non-existent. Invest in a good book on basic grammar…and please read it! Grammar for Dummies is a good, inexpensive choice and very helpful for computer users. There are all sorts of online helps. We write what we THINK we wrote, not what we actually wrote.

HAVE YOU READ AND REREAD YOUR SUBMISSION TO FINE TUNE?
Have you made your mss as perfect and error free as you can? If you don't trust your own judgment, [and very few authors do in the beginning] invest in someone to do a pre-edit before you submit to a publishing house. Freelance editors' charge anywhere from $1 to $3 a page to edit your work, depending on how much work is involved. If a rewrite is needed, they will advise you. It is also excellent feedback for your work. There are also writer's critique groups you can take advantage of.

Note: Editors know how to polish and expand your storyline to make your novel the best it can be. But, they have to have something initially to work with. Writing is a craft and if you are serious about your craft, you should be working at and improving your craft every opportunity you have. Hint: It is easier to see errors or places to polish, by reading outloud, or printing out a copy and reading through it.

RESEARCH, RESEARCH, RESEARCH, AND THEN RESEARCH AGAIN
Get a four-inch notebook and print out your research documents so you have the information at your fingertips to refer to as well as an archive document_ You can also put the information on a CD or floppy. Some use a memory stick. Make a list of the books you used for reference.

Is your dialogue, mannerisms, surroundings and clothing correct for your novel's time period? One of the biggest mistakes in period novels is not using the vernacular of the day. There are no 20th century words and no flip dialog in periodicals. Granted, you are writing fiction, but the reader today is sophisticated and will still have an opinion of your work, and it is the reader who keeps you in business by buying your books. The price of books is rising. No one wants to invest in a book, which isn't good, and the reader will avoid new books in the future if you keep producing clunkers. Stay true to your hero and heroine's educational and life-experience background. Research professions, life styles etc., and keep your characters in character.

IF YOU WRITE SCIENCE FICTION or FUTURISTIC NOVELS
If you write science fiction or futuristic novels, your stories should have a basis in science fact to some degree. Then, let your imagination soar. Subscribe to science and science fiction magazines to stimulate your imagination further. Most magazines are on the net. Research!

IF YOU WRITE MYSTERIES, ADVENTURE, THRILLER or INTRIGUE
Be careful and diligent in your writing, and be sure your clues add up to the final solution. Dumping all your clues on the reader at the end of the story is a no-no. There are excellent websites to help you hone your skills. There are also some very good writers groups for each genre. Research!

POETRY IS A HIGHLY SUBJECTIVE FORM OF PERSONAL EXPRESSION
Even though personal, this too should also have form and content. Posting a few rambling, unrelated lines on a website does not make you a poet. Dumping your anger, emotional problems and angst is not poetry. Study forms and polish your work. There are excellent tutorials and educational websites out there to refer to. Read the masters. Poetry is more than the continual and boring self-expression of having poor relationships, or unrelenting, bleeding pain, or emotional problems ad nauseam, and too many poetry websites are devoted to this. Keep a diary or a journal of your angst instead, and publish only quality work.

WATCH YOUR USE OF REPETITIVE WORDS
Watch your use of 'that' and 'just'. 'That' does not refer to a person, yet it is an error in constant use, even by degreed professionals who should know better. It is a common error in the same category as 'ya' know', and countless other slang terms. Only use them if a character patois is required.

Note: Repetitious words to minimize, use sparingly, or eliminate from your manuscript. Then, anxiously, admit to, end result, almost, but, talk/speak (use correctly), was, as well as, that, within, what, by, as, begin to, "and" or "but" to begin a sentence

PUNCTUATION, SEMI-COLONS, PARAGRAPHS, FRAGMENTED SENTENCES
Know when to use and how to use punctuation. Some publishers want/require very little punctuation, the reasoning being: too much punctuation distracts the reader. Then, there are those publishers who very definitely want correct English punctuation [Chicago Style] with all the bells and whistles. Most publishers abhor too many fragmented sentences and short choppy paragraphs. A semi-colon is used to separate two subject/verbs/predicate sentences combined into one sentence. A paragraph is one idea, one continuing thought, and is not to be strung out into one-line paragraphs to boost your page count. Be sensible. One line paragraphs are for emphasis only, and only as a break. Otherwise, it is a waste of expensive paper.

DIALOG
Please, no rambling dialog for more than three or four exchanges without attributing the dialog to someone. Here is where you can enhance the emotion of your characters and show their growth as your story progresses. This can be done without using 'he said/she said'. When all else fails, do use 'he said/she said'. It's worked for centuries of writers before us. Publishers, editors, and readers hate to flip back and forth, read and reread and count lines to figure out who said what.

CONTRACTIONS
Contractions. Use them, but know when to use them. A sentence full of contractions doesn't read well. Make sure your sentences have rhythm and are well constructed, well crafted and sing. These are opportunities to pull your reader into your story.

CONVOLUTED OR 'RUN-ON' SENTENCES
These give editors roaring headaches, and they will have nightmares as a result. Your characters are not contortionists. Please don't have them doing four or five questionable maneuvers in one sentence. You do not have to draw a map of every movement of your character[s]. Make sure every sentence makes sense.

EXAMPLE: He picked up a towel, slung it over his shoulder, hitched his pants, poured the coffee, filled a tray and used his hip to open the door, while smiling at Jennifer who was sitting there waiting for him, as he set the tray down near the lamp. [The hero should be in traction about this time.]

JOIN A LOCAL WRITERS GROUP
Attend meeting religiously. The support and feedback one gets from such groups is phenomenal. Workshops and meetings encourage growth as a writer, and will help you keep your focus in a very difficult, yet rewarding profession. Many of these groups have mentor programs to help you along in your writing career. If you are serious about your writing career, this is the place to study, ask questions, learn, and exchange ideas.

ATTEND ALL THE WORKSHOPS YOU CAN AFFORD
Many are free or nominal cost, if you belong to a writer's group. These are usually given by published authors or people with experience, and as a rule are economically priced. There are many Community College courses devoted to writing. and look into Adult Education programs at your local high schools. Keep notes and suggestions in a separate notebook to refer to as needed. There are some good online workshops too. Workshops give you an opportunity to learn from published authors and guest speakers. If you take away only one thing from a workshop, it's worth the investment. And as time goes on, you will have a better understanding of what works for you with your own storyboard.

Note: Do remember, in these workshops, the speaker is only giving you their opinion on how things work for themselves, which is always subject to interpretation. It is not the only approach or answer. Their ideas are not written in concrete, but only to be used as a reference point for you until you are able to put together your own working guidelines as you progress in your writing career. Gather as many reference points as you can to be the most successful you can be.

ONCE YOUR STORY IS ACCEPTED…
Response times certainly vary, and widely, but generally you can expect to hear back from a publisher within 3-4 months. If you haven't heard anything by 3-4 months, a short letter of inquiry stating your name, the title of the work and the date you sent it, or even a brief phone call to the editor you sent your manuscript to, is not inappropriate. Do make it a friendly inquiry, not a demand.

Once your story is accepted, listen carefully to what your editor says to you and what is asked for, and please don't argue with them. They have an overview of the market, which changes rapidly if not daily. You will be dismissed out of hand for having a bad attitude should you grandstand like this. Arguing is not your goal. Getting published is your goal. Develop the ability and good sense to step aside when necessary. Your editor has the last word and is the one person who will help you on your way to publication. Writing and editing are two completely different hats to wear.

REVISIONS
An editor will possibly write or call with a request to see revisions. They are neither rejecting nor accepting the manuscript per se. Perhaps they liked something in the book a little too much to quite let go of it. In these cases, they may ask the author to revise the manuscript, perhaps even make suggestions.

It's up to the author to decide whether to make the revisions or not. Time is a factor, especially if you've gone on to other work, or have work that has a deadline and time is precious. You may work hard to rewrite your manuscript, only to have it rejected in the end, but don't be discouraged. A willingness to take editorial direction and revise your manuscript could also result in a sale. Even if the manuscript is eventually rejected, the editor will remember you as someone who is easy to work with. This one thing alone could influence a decision by that editor to carefully consider and buy your next submission.

BE FLEXIBLE
Be flexible, unless you own your own publishing house and can afford to be inflexible. Even if you are a published author, you can still learn something from your editor. If you are difficult to work with, no one will want to help you, and the door is closed very tightly from then on. Your arrogance will kill you in the marketplace. Word does travel in the industry. Editors come and go, but rumors grow and become disproportionate. You will be considered to be too much trouble, and the market is saturated with potential authors waiting in the wings, and very good ones at that. Don't be a roadblock to your own success. Be professional at all times. Writing is a profession.

KNOW YOURSELF
Know yourself, your strengths as well as your weaknesses. You are the best friend you will ever have, so be a "best friend." Work with your strengths. If you have problems interfacing with a variety of personalities, hire an agent to do this for you, and step out of your own way. It is the difference between getting your work published and not being published. Being argumentative will not get you published. No one in their right mind asks for trouble, or likes working with troublesome people unless one is a trial lawyer. High maintenance people are boring.

REJECTION LETTERS
You are going to get them. The unfortunate ones are the form letters, as if your work wasn't important enough to reject with a decent apology and 'thanks, but no thanks' or even a sympathy card. Even having a published novel, or several, will not be a guarantee you will not ever get a rejection from then on.

Publishers get thousands of queries, proposals, and synopsis, solicited and unsolicited manuscripts every year. The logistics alone prevents them from answering each submission personally, when their time could be better spent in reading the above mentioned. We don't have to like it; but this is the way of things. It goes with being a writer/author. Even the most published authors have horror stories to tell of the crassness of their rejection letters. Don't let this discourage you from your goals. Keep submitting your work, and remember, each NO is one step closer to a YES!

The reasons for rejections can be the publishers may have just bought or published books similar to yours or you may have hit this one editor's taboo with your topic, or the editor was only cleaning off their desk and asked an aide to help. Or, the publishing schedule may be full and may not allow for new acquisitions at the time you submitted, and so your work is rejected as a matter of form. Perhaps you submitted to the wrong editor/publisher. This is why it is important to do your homework. Whatever the reason is, respond to the editor/publisher with a brief thank you letter for the reading. Editors appreciate as well as remember small courtesies like this. You may meet up with that editor/publisher again someday, so leave a good impression.

THE OTHER SIDE OF THE COIN
There are Editor's horror stories (as well as writers) of sloppy manuscripts and of being accosted by eager writers at the strangest times and places. Each camp has valid reasons for their exasperation. Your goal is to get read and get published, not rehash grievances.

Acceptance of a manuscript is the part of the job editors like most. Editors usually call rather than write. It can take a year or more for a book to be published, from an acceptance to having a hard copy in your hands to admire, so be patient. You'll have plenty of time to peruse contracts and sweat over revision letters.

Celebrate your good fortune if you end up with a publishing contract. You will have to do all this again with your next submission.


About the Author: A Certified Hypnotherapist, personal and family counselor for many years, Lucas-Taylor now lives and works in Arizona, and is a member of the Arizona Society of Professional Hypnosis [ASPH]. She has been a contributing author to several publications on Women's Networking; Self-healing; Mind Disciplines; Diabetes; Hypnosis; and Goal-Setting Techniques; and has contributed to many books. She lectures and writes on such topics as Dream Interpretation, Behavior Modification and Relaxation, Regression Therapy, the ABC's of Mental Projection, and Using Visualization to Achieve Your Goals. She is also an author of commercial thriller fiction, poetry, and vintage recipe cookbooks.