Cleanliness Is Next to Godliness

Regardless of whether you're writing the next great literary masterpiece, or you're putting together a new resume, spelling and grammar count. A lot of new writers make the mistake of assuming that a few bumps and bruises on their manuscript won't keep it from being read and/or accepted.

Think about it this way: if you're going to send something to a publisher, you're basically going to an informal, long-distance interview. You may have the best of intentions, and ingenious ideas, but writers, by definition, are expected to write well, and this means catching and correcting errors. Hospitals don't hire surgeons who can't suture properly, welding companies don't hire workers can't use a torch, and editors don't give contracts to writers who can't produce clean, accurate copy.

That being said, it's sometimes difficult to edit and proofread our own work. By the time we're ready to send something out, we've seen it so many times that we're too close to it to be objective. Here are a few suggestions:

• Get other people to read it for you, preferably people who know how to write. If you can afford to hire a professional editor, great! If not, have at least a few other pairs of eyes look over your work.
  
• When reading your own work, try to break it down into smaller pieces. Checking one hundred pages in one sitting may make your eyes cross, but doing ten or twenty pages per day is be more manageable.
• Invest in a dictionary and a thesaurus. Spell-check on a computer will catch a few things here and there, but it's no substitute for your own judgment and a reliable reference book.
• Don't try to correct every type of error at once. Go through once for spelling, then a second time for sentence structure, then a third time for something else.
• If you can, put the manuscript aside for a week or two. Coming back to it later will allow you to reboot your brain, and evaluate the work from a fresh perspective.
• Editing and proofreading is picky, technical work. It isn't the sort of thing that should be done with the television blaring, or with people buzzing around you. Try to find a quiet spot where you can focus.
• Choose a format that works for you. Some people do fine with reading from a computer screen, while others need to print things out in order to really do a good job. If you do opt to stay on the computer, see if you can get hold of a bigger monitor, so that you won't strain your eyes.
  
• Never assume that editing and proofreading end when you submit a manuscript. If it comes back with a rejection, take it as an opportunity to polish up the work even more before sending it out again.
  

Has "Paper and Pen" Gone Out of Style?

I'm as addicted to modern technology as the next person. I spend a great deal of time on the internet (hence the blogging), I love my ipod, and I consider USB keys to be fashion accessories. I do, however, stubbornly cling to the practice of writing on paper. It may be because I like the bohemian feel of a worn out notebook, or because I have a hard time being creative while staring into a screen. Regardless, I know I'm not alone in wondering if it's still okay to be somewhat low-tech when it comes to writing. On a regular basis, I get asked whether being a professional writer includes owning a computer, or learning to send emails. For anyone who feels at all technophobic, but still intends to take a stab at the writing business, here's what you need to know.

• Anything you submit to an agent, publisher, editor will have to be typed. In many cases, it will also have to be available in electronic format, either as a CD, or as an email attachment. If you're not comfortable using a word processing program, then you need to get some lessons, or find someone who will type it for you.
  
• Although few publishing professionals don't allow you to submit actual manuscripts through email, many of them do use this as a primary means of communication with potential authors. If you don't have an email account, get one. If you don't already check your email regularly (once a day is usually fine), you should get into the habit of doing so.
  
• Like it or not, electronic formatting is becoming more popular in publishing. People do read books online, and with portable devices. Moreover, many publishers use blogs, social networking sites and podcasts as part of their marketing campaigns. If you want to present you and your work as a good investment, you should at least familiarize yourself with what's out there.
  

Going It Alone: Is Self-Publishing Right For You?

It sounds like the ideal solution, doesn't it? You don't have to wait for the publishing world to realize you're a genius, you get ultimate creative control of your work, and you get to take all the credit when it becomes a best-seller. True, self-publishing does allow for all of this, but there are some important things to consider before jumping in.

• Who is your target audience? If you're hoping to produce something for family and friends, or if you've got something that will be distributed to a very specific group or organization, self-publishing might be ideal. You'll get a book that looks great, and is durable.
• Even self-published works should be given an ISBN number. This is usually free, and officially registers your work so it will be easier to find. Many self-publishers will offer to arrange for this.
• Very few self-publishers offer to market or distribute work for their authors. Be brutally honest with yourself about the amount of time, effort, money and expertise you're able to commit to getting your work out there. Most big bookstore chains don't buy self-published works. Realize that if you don't do the all of the footwork, your books will likely sit in boxes in your basement.
• Self-published books are often put onto the market without editing, proofreading or critique. It may seem ideal to avoid having a publisher tell you what you can and can't do, but we're often poor judges of our own work. If your self-publishing company doesn't provide editing and proofreading services, you should seek out a freelancer to make sure that you are producing a quality book.
• Use a reputable self-publisher with a good track record. If you're going to invest thousands of dollars, you should at least be sure that the book will be well constructed and attractive, and that the company producing it isn't likely to disappear.
• Many people self-publish with the hope that the book will be picked up by a larger company in the future. Unless your self-published work is a runaway best-seller, it's highly unlikely that publishers or agents will take it on.
• Never, ever sign away all rights to your work to a self-publishing company. If you're going to go this route, you should at least ensure that you keep control of what happens to your book.
  

Writing Contests: Goldmine or Cash Grab?

It's difficult to get published (no big secret), but as writers, we still crave recognition. The thought of having an award-winning piece of writing is definitely intriguing, even if it doesn't come with a contract or Swiss bank account. There are a number of reputable competitions, but there are also quite a few organizations that aim to prey on writers looking to get their work read. Here are a few things to watch for when submitting work to contests.

1. Many contests have entry fees, and this shouldn't necessarily raise a red flag. You should, however, watch for contests that ask for excessive fees, or that necessitate that you purchase a copy of an anthology of winning work, or cough up money in order to travel to pick up your prize.

2. Many reputable publications promise a subscription to everyone who enters the contest (and consequently, make their entry fees match the usual cost). This doesn't necessarily mean that the contest isn't legitimate. It's just a way for publications to raise funds and awareness, while scouting for new talent.

3. Look for specifics. Seek out contests that that state when and where the winners will be announced, as well as the names and credentials of the judges. If possible, look for a paper trail. If a contest promises publication, see if you can track down copies of work by previous winners.

4. Be aware that some publishers don't accept work that's been entered in contests and competitions, just as they don't accept work that's been submitted to other publishers. If there's something you really want to see on the shelves, you might want to save it.

5. Entering (and winning) a contest should never entail signing over your rights to your own work. If your story or poem is good enough to win a prize, it might be good enough to publish later on, and you'll want to have the ability to send it elsewhere.

6. Money is a common prize, but there are other valuable things to be gained. Some contests send winning entries to actual publishers for consideration, some offer free copies of winning work, and some provide professional critique.

7. Always do a background check on the company or organization sponsoring the contest. Have they run the contest before? Do they do other publications? Do you know anyone else who has entered and/or won?

8. In general, if a contest seems too good to be true, it probably is. Getting published and recognized is a long, slow process, even in the best of situations. Anyone promising that you'll be instantly rich and famous is probably looking to sell you something. Your work is worth sending to someone who will really appreciate and respect it.

On Not Keeping Up With Technology

It's pretty much cliche to say that North America has gone electronic. One rarely meets someone without an email address, and most of us shop, pay bills and get information on our home computers. It isn't unusual, however, to find publishers who still insist on conducting business the old-fashioned way, with paper, envelopes and lots of postage. Although things are changing slowly, it's still the case that very few companies in the word business accept submissions, or communicate with authors, by way of email. Frustrating and costly as this may be to those of us on the sending side of things, publishers do have their reasons for holding out.

Publishers are aware of trends in technology, and are struggling to adapt, like everyone else. Many produce ebooks, and all of them make use of the internet and online communications to present, promote and market their books. Reasons for insisting on paper submissions are simple:

• Even the smallest publishing company receives more submissions than they can process. Most do read at least a little bit of each one, but it takes time. Having submissions come through the mail tends to slow the flood of proposals and manuscripts.
• For whatever reason, people tend to be a little more careful with work on paper than they are with work on screen. Asking authors to submit by mail tends to force them to take the process a little more seriously, which results in a higher quality of submissions.
• Email, despite its many conveniences, is not foolproof. Messages fall into junk boxes, get lost, and accidentally get deleted. Snail mail may not be perfect, but it's easier to keep track of something that can be seen and touched.

When All Else Fails…Seek Help from Above

• It’s a dirty job, and for some reason, some of us feel like we have to do it. We’ve decided to write, and therefore we’ve tacitly accepted the brain strain, the caffeine dependency, and the truckloads of rejection letters we’re going to receive. We wonder how anyone ever gets anywhere in this business.
  
  Well, for as long as we’ve been scribbling on cave walls, we’ve been feeling the compulsion to tell our stories. It’s good to know that there are millennia of fellow humans who went before, and if they found ways to cope, so can we. If you need proof, just look to ancient mythologies and religions. Many cultures have tales of saints and heroes who champion and look out for those who lived by their pens, and even in the age of memory sticks and email submissions, it’s still comforting to keep them in mind while toiling over a manuscript. Here’s a small sampling from the pantheon of blessed beings who have had a writer’s back:
  
• Saint Lucy: she’s often depicted carrying a quill, and a plate of eyeballs (?). Perhaps the eyes are meant to represent “the vision” writers are supposed to have.
  
• Theuth: the ibis-headed Egyptian god who is credited with inventing language (for better or for worse).
  
• Saraswati: Hindu goddess of knowledge and the arts. Lucky for us, she’s also associated with prosperity.
  
• Hermes: Greek messenger god with winged heels. May we all be so swift!
  
• Ogma: an Irish deity who is called “honey-tongued”, and is said to have invented the ogham alphabet.
  
• Fuxi: a Chinese god said to have invented language…and who also put together the humans who would use it.

Birds of a Feather: The Value of Conferences and Workshops

Whether you believe that misery loves company, or that victory is a dish best shared, it's worth your while to investigate the miriad of get-togethers available to writers. It's a common misconception (and an unfortunate one) that new writers aren't welcome or accepted at these functions. Full membership in associations may be limited to those with a few notches in their belts, but newcomers are almost always welcome at conferences. In fact, you're likely to find yourself surrounded by emerging artists and those who are still learning. Here are a few things to consider:

• Many of the workshops at conferences are actually geared toward beginners. When in doubt, contact the organizers and ask which ones would be most appropriate.
• If travel is an issue, bear in mind that many national organizations choose a different location every year for their annual conferences. Chances are, they'll be coming soon to a city near you.
• If you're unable to take time away from work, or if you're on a budget, look for conferences that allow you to enrol for one or two days at a time, or even for an afternoon.
• If there are lunches or dinners included in the conference, take full advantage. As is the case with any profession, networking is an integral part of being a writer. Along with other new writers, you'll be surrounded by seasoned professionals, and possibly editors and publishers.
• Gatherings don't have to be big in order to be helpful. Check with local bookshops and libraries for smaller local meetings, or writers' groups that meet regularly.
• The information gained in workshops is always useful, but sharing experiences with other writers is invaluable. Writing is a solitary profession, and touching base with others in the business can be excellent motivation.
• Bring your contact information with you. Business cards are fairly inexpensive, and can be made at home. Remember to keep them very simple, and triple-check for grammar and spelling errors.