What is a thriller, aside from the obvious? This genre is known for the intensity of emotion it creates. Apprehension. Exhilaration. Anxiety. The main character (MC) has a goal, a nearly impossible one at times, and a heroic effort and/or sacrifice is required to overcome obstacles and reach that goal. Time is almost always a huge concern, as the MC must accomplish some feat (rescue his girlfriend, find the antidote, stop the terrorists) before disaster strikes. The level of intensity can either build slowly throughout the book or hit the reader from the very beginning, but it must generate a level of tension that keeps the reader turning pages. Most importantly, good thrillers keep up an intense pace, and the reader is swept along for an incredible ride.

If the author has done a good job with accurate research and an intricate plot, the reader will also come away emotionally satisfied with having learned something. Thrillers, by their very definition, create a thrill, but they also provide good information about the legal system, a medical procedure, the inner world of Soviet espionage, military weaponry… Patricia Cornwell writes a series of medical thrillers based on her knowledge of the medical examiner’s world—a world that fascinates her fans, who are sophisticated and want accurate facts, not vague explanations or made-up procedures.

Thrillers are often lumped together with mysteries, but there are key differences between these genres. In mysteries the MC is presented with a puzzle (a murder, for instance) and must look for clues to solve that puzzle. In thrillers the MC faces a nightmare of a situation (impending disaster, serial killers, airborne viruses) and must learn new skills to cope with the circumstances. Most, if not all, of the “clues” are provided in a thriller, and the reader expects twists and turns and surprises rather than answers. Thrillers appeal more to the senses than an intellectual exercise in detective work, considered too “tame” for true thriller aficionados. It’s the emotional connection that counts.

Here are some of the basic subgenres of the thriller world. Keep in mind that there are often overlaps between two or more subgenres.

Medical. Modern medical technology is used to harm rather than heal. Robin Cook is the master of this genre. Forensic thrillers are another popular offshoot.

Legal. Usually, a lawyer or someone associated with the law takes on the legal system, often putting their own lives at risk. John Grisham and David Baldacci are well-known in this category.

Disaster. The town’s dam is going to burst in 24 hours or less. A ship innocently heads to port, carrying a bomb that could wipe out half of California. A meteor hurtles toward Earth. Any natural or manmade disaster that affects a large group of people can become a disaster thriller.

Action-Adventure. Difficult to successfully pull off, thanks to the huge amount of action and plot required, this is nevertheless a hugely popular genre, especially when translated to film. It’s characterized by physical action, bravery, and violence, and you’re likely to encounter high-tech weapons and remote, dangerous locations. Think The Bourne Identity.

Horror. Silence of the Lambs is a good example of this subgenre, emphasizing mental, emotional, and physical trauma for the MC as he/she battles a monster, human or otherwise. This also ties in to Serial Killer thrillers, in which the MC must track down a killer who threatens a group of people. Lots of blood and gore; lots of suspense.

Techno. This usually focuses on military technology of some sort, and this technology is essential to the plot. Tom Clancy’s work comes to mind immediately.
In the rich literary banquet of thrillers, the reader can also choose from police, spy, romantic, historical, supernatural, political, erotic, and conspiracy thrillers—and, more often than not, a combination of one or more of these subcategories. It’s a wildly popular genre overall, thanks to the adrenaline rush, complex plots, and big storylines. Thrillers are exciting. They are dangerous. And they should leave us feeling satisfied that not only did the MC save the world from (insert global threat here), but we learned a little something in the process. And even if we’ll never need to know how to detect a false heart attack during an autopsy, it makes us feel smarter if we do.

by Gilda Haber, Ph.D., Department of English Composition, Literature and Professional Writing

As instructors some of us love to write, and some of us also enjoy attending writers’ conferences. This summer I attended three writers’ conferences—one in Manhattan at Marymount Manhattan College, one at UDC, and one at Georgetown University, held by Washington Independent Writers (WIW).

Prior to the conference registrants receive a program and a list of available agents. It is wise for participants to choose the panels they wish to attend and to research and make appointments with agents in your genre prior to the conference. The writing conference is a good opportunity for the serious writer with an idea or a manuscript to network.

We meet other writers and authors, share our interests, attend specific panels of choice (such as a fiction, nonfiction) or meet, one-on-one, with literary agents. Each member of a panel speaks on his or her expertise and takes questions on how to write and sell one’s work. Most importantly, serious writers usually sign up to meet agents who attend the conference. Although hard to get, agents are interested in finding new talent.

One of the goals of a writers’ workshop is to meet agents in person. But both panel speakers and agents are relentlessly focused on writing as a business. Either work is well-written and has possibilities of selling to the public or it isn’t. You may have one but not the other advantage. Agents and publishers also put in long hours without compensation for the love of bringing a book from conception to birth. You must seek out the agent right for you, one who has sold books in the field that interests you, and one with whom you feel comfortable. The agent not only judges your work, but judges you personally, as to whether he or she likes you. You do the same.

I came armed with business cards and with queries, hoping, in 60 seconds, to seduce some agent with the excellence, uniqueness, excitement, and salability of my work. Who else but a writer labors intensively, creatively for months or years for the love of writing, to create a work of art and with no sure reward in sight?

Frankly, I was terrified of meeting some of these agents in person, especially those who have represented famous people. So far I had only read agents’ credentials on paper and seen the kind of deals they made, the kind of books they sold. The agent I most feared seeing turned out to be friendly but strictly businesslike. From my experience and from agents met at writing conferences, I learned the following:

One needs talent to write but, to paraphrase Edison: "success is 99% perspiration and 1% inspiration." Work hard and be persistent in sending out your work.

Do not copy anyone else’s style. Be yourself and develop your own. Welcome constructive criticism. It is the highest form of friendship. Give constructive comments to friends’ writings. If your grammar is weak, find a good copy editor.

Writing groups are very useful for feedback. (I, myself, run a writing group.)

Find out which books are written on subjects that interest you and who was the agent, editor and publisher for those books. Such information is often found in the book’s acknowledgments or by Googling the book’s name and author. Get to know that agent’s background, even his/her hobbies and interests.

There are books in public and school libraries on publishing markets. Buy one.

Do not send work sloppy in appearance or make spelling mistakes.

Be professional. Make sure to spell the agent’s name correctly. Read the agent’s rules for submission, and strictly observe those rules.

Do not unduly flatter the agent or boast about your own work.

Research dates, times, names, events, even names of paintings for authenticity.

Use verbs. Avoid adjectives and adverbs; show and do not tell readers what happens. Where appropriate, use dialogue; but dialogue must move the action.

Prepare a query before writing to an agent. Your query can refer to one or two books that agent has sold but not to all the agents’ sales. This is gratuitous.

Your query should consist of: why you chose this agent; why you are writing this book; what the book is about; why you are qualified to write this book; and how it differs from other books written on the same theme; say who will read your book and what you can personally do to promote the book’s sales. All this information should be written on one page. This is one of the hardest parts of writing.

If the agent answers your one-page query and says he/she is interested, either you know what the agent wants you to send next or ask the agent what he/she wants you to send. Do not get too excited. This is only the first of many steps.

Only send material when it is your very best work. There are no second chances with an agent. Revise and share it with peers and/or an editor relentlessly.

Fiction should be complete before sending; nonfiction has different rules.

Do not expect to be accepted at once. Expect many rejections. Some famous books were rejected as many as 50 times before becoming best-sellers. Some great books never become best-sellers. Do not leave your job or expect to become rich unless, besides being a good writer, you happen to be lucky. When it is rejected revise, revise, and share your work with other writers. As you revise early work, you will become more adept; writing ages like fine wine. Revisions with constructive peer comments or editorial assistance will refine your writing.

Keep a journal or a diary to write down interesting material, even dialogue as it occurs.
This will make your writing fresh, even if you use the material years later.

Write what you know about, but be careful in writing about someone you know. People may sue a writer if they recognize themselves and object to your presentation of them, especially if their personal lives are revealed.

There are grave challenges and risks to take as a writer. One exposes all of one’s skills and charms, as well as one’s weaknesses and foibles to others. But what joy when I see one of my 40 articles or stories in print, and what a joy it is to write!!

Good luck! See you at the next conference!

A good novel is often revised several times before it makes its way to publication. As daunting as this seems, revision is simply part of the process of taking that first draft and turning it into a polished and coherent novel and, hopefully, one that will make you a star.

If the process seems intimidating, break it down into manageable steps. Some writers make one thorough sweep, and others make multiple passes, concentrating on different areas each time (characterization, plot, theme). However you work best, take the time to find those weaknesses that could halt the flow of your plot or take credibility away from your main character.

Set a date. Give yourself a firm deadline, and break down what steps you need to take and when. Stick to your deadline.

Take a break. Now, walk away from your masterpiece, and let it sit untouched for at least a week or two, longer if you can stand it. Give your brain some time to remove itself from the process for a more objective view.

Print it out. Have a double-spaced copy of your manuscript in hand, with two-inch margins for note-taking. A spiral-bound notebook and a few pens of different colors can help you stay organized. For example, use a red pen for deleting words or sections, a blue pen for additions, and use the notebook for more detailed revisions or notes to yourself.

Revision. As you go through your novel chapter by chapter, ask yourself the following questions:

1) Story line
• Is my plotline solid all the way through?
• Are there any holes that leave the reader confused?
• Is the story set in an appropriate time, place, season?
• Is my theme resolved at the end?

2) Point of view
• Is the point of view effective in telling my story?
• Is the point of view consistent throughout?

3) Characters
• Do my characters stay consistent throughout the story? If not, have I developed situations that account for any changes in personality?
• Are my characters flat or one-dimensional, or are they believable and richly developed?
• Are my characters unrealistic or stereotypical, or are they realistic, with flaws and idiosyncrasies?
• Do my characters evoke emotional responses from the reader?

4) Scene
• Are my scenes predictable?
• Do I provide concrete details or vague generalizations?
• Do they contain a good mixture of dialogue, action, narration, and introspection?
• Is each scene relevant to the story (moves the story forward) or could it be considered filler?
• Are my scenes bogged down by too much narrative (“telling”)?

5) Dialogue
• Is my dialogue practical and does it accurately reflect the character speaking?
• Is the dialogue essential to the scene?
• Is my dialogue weighed down by “he said, she said” construction?

Line-by-line editing 
 
Once you’ve resolved plot, character, and scene issues, make a final pass through your manuscript with an eye toward the basics: punctuation, grammar, word choice, and sentence structure. Run a spell-check and keep an eye out for embarrassing typos as well. (At this stage it is often helpful to have a well-versed grammarian and objective reader take a stab at this.)

• Have I repeated a favorite word or phrase too often?
• Is my sentence structure varied and interesting, or do I use the same length and phrasing throughout?
• Do I rely on clichés?
• Have I used gender-neutral language?
• Have I stayed consistent regarding hair color, age, dialect? Are my characters’ names spelled consistently throughout?

And, finally, once you’ve made these revisions, take a little break and then reprint your masterpiece (with one-inch margins). One more pass through should reveal how effectively your revision strategy has worked. When satisfied take time to revel in the moment. You’ve accomplished a monumental task.

If so, be sure someone else hasn't already written about your topic in this comprehensive list, published by EW.com.

Click here for the list and complete article, written by Kate Ward.

And after you've completed your original memoir, contact Writer's Relief, Inc. for information on how to target your work to appropriate literary agents.

Like E-mail, E-vites, and E-queries, E-publishing refers to electronic publishing, representing a brand-new concept in providing reading material electronically. The work can be published online or on a CD or in a format that is compatible with a handheld reading device. Aside from general formatting, the production and printing aspects have been eliminated from the publishing process altogether

It may seem like one of those sci-fi visions of the future—people reading books and magazines from electronic devices as they hover over to the next docking station—but E-publishing is here, and it’s probably just a matter of time before it becomes mainstream. Nothing will ever take the place of a cozy paperback to read by the fire, but in this age of eco-awareness and with the love affair humans seem to have with gadgets, E-books just might be here to stay.

One of E-book readers’ common complaints is that no one wants to sit down at a desk and read a novel off the computer screen, and even though you can curl up on the couch with your laptop, the resolution of the screens leaves much to be desired. So readability is a problem. Handheld reading devices were invented to resolve that issue, and there are several models on the market, such as the Sony Reader, Microsoft Reader, Amazon Kindle, and eReader. There are also Webpads and PDAs that offer E-book reading capability. Some of these devices have enough memory to hold dozens of E-books, including reference books that could be invaluable to students and business people. And they’re lit from within, so it’s easy to read in bed without disturbing your sleeping partner! The technology for these devices changes daily, and for now it’s a wait-and-see to determine what will become standardized in this market.

So far there are thousands of e-books to choose from, and this number is sure to increase dramatically if the concept catches on. Nonfiction and how-to books were the forerunners in this new technology, but Stephen King paved the way for more famous novelists to explore the medium. His E-book, Riding the Bullet, shook up the industry and forced publishers to begin the process of adapting to the changes. It took a big-name author to make publishers sit up and take notice, but E-publishing offers newer writers an alternative to traditional publishing.

For writers considering breaking into the world of E-publishing, there are a few things to consider.

ADVANTAGES:

• The author usually makes a higher percentage of royalties for E-books, and royalties are often paid more frequently—but sales numbers can be markedly lower than print, at least for now. And there are no advances paid to e-book writers.

• Because there is little financial investment required by the publisher, editors are more willing to take risks on new writers and nontraditional work.

• Electronic publishing is ideal for smaller work, since a print run on a small project is rarely cost-effective for a traditional publisher.

• Printing is the most expensive aspect of publishing, and E-publishing offers a more economical and eco-friendly alternative. E-publishing also offers a much faster turnaround—generally a few weeks or months after acceptance—compared with up to two years at traditional houses.

• It’s extremely easy and cheap to make updates to E-books that are already in circulation, which is invaluable for nonfiction, how-to books, and technology-related work that changes constantly.

• It’s easier to self-publish in E-book format when traditional publishers don’t feel the work would sell well. If E-book sales prove the publisher wrong, they are sometimes willing to pick it up and sell it in print.

• Authors usually retain all other rights to the work, while traditional publishers claim as many rights as possible.

DISADVANTAGES:
 
• The reading devices are still quite expensive, and it’s hard to commit to the price when the technology may be obsolete a year from now. And the price of the works themselves is not significantly cheaper than their paper counterparts, which hurts sales.

• E-publishing does not offer all the layers of quality control that traditional publishing provides. You, the author, are responsible for the editing of the book, and you must do all the marketing yourself. At a traditional publishing house, there are a host of professionals to provide quality control and up sales for your work.

• E-book publishing credits do not carry the same weight as print credits.

• Piracy is much easier with electronic work.

• You miss out on seeing your baby on the shelves of Barnes & Noble. (However, since e-books have ISBN numbers, your readers can walk into B&N and order a copy of your book.)

There is no substitute for the smell and feel of a brand-new paperback or your dog-eared copy of Wuthering Heights. But be prepared for a marked increase in online reading material and electronic reading habits. You may find yourself reading The Wall Street Journal in bed on Sunday mornings from an E-book reader sooner than you think.

Many writers have found success writing for the nonfiction market. The beauty of this market is that your book doesn’t have to be written before you can sell it. (In fact, many claim that it’s downright foolish to invest time and effort in a book that hasn’t yet been sold.) Unlike fiction, you can break into the market armed with nothing more than a killer book proposal, and we’re here to help you go about it.

In general, the nonfiction book proposal is designed to give editors a well-organized, detailed sales pitch describing what your proposed book is about and how it will make money for the publishing company. An additional bonus is that writing the book proposal forces the author to organize and focus the project approach. The book itself may go through many changes depending on editorial input, but the proposal should follow a generally accepted format. We’ll break down the anatomy of a book proposal and then give you some general tips.

COMPONENTS:

Title Page

Include your name and contact information with an approximate word count and the proposed title of your work. Make sure your main title describes the subject matter of the book to aid in keyword searches, and don’t rely on subtitles to convey vital information—subtitles are often dropped in computerized listings and library databases. Consider this your working title, as publishers may elect to change it.

**Optional: Summary (also known as the Overview, Synopsis, or Executive Summary) - 1 page maximum

Begin with a very short description of your book’s basic premise. Whatever makes your book stand out should be highlighted in the first few sentences. This is the "hook," so make it interesting and unique; powerful yet concise. Capture the editor’s attention right off the bat, and make it clear what you’re selling. If the editor has to hunt around for the point of your book, he/she is likely to toss it aside and review the next proposal in the towering pile.

Chapter by Chapter Outline - 1 to 4 paragraphs per chapter

Create a dynamic outline by highlighting each chapter’s major points. Emphasize each chapter’s unique and/or important function in relation to the rest of the book. By the time the editor has read this outline, he or she should have a clear idea of the overall book.

The Market

This section should include information about the book’s intended audience and why the book addresses the needs of that particular audience. Make sure that your market is broad (as in "women ages 30-60" or "people who buy cars"), and provide as many demographics of your targeted audience as possible. Include observations about current trends that favor your book and highlight what makes your book unique.

Also include information about the competition. If there are other books out there on the same subject, yours had best offer a new or original take. Identify current books that are similar, and explain how yours fills a specific niche. If there are complementary books out there, show how your book can be positioned to the publisher’s advantage.

Give the editor or agency enough ammunition to sell your work to their review board.

Author Information

This is where you list your education, writing credentials, contacts, experience—anything that makes you uniquely qualified to write this book. If you don’t have a journalism degree or a list of publishing credits, highlight other things that show you have what it takes to tackle the subject. For instance, you may be a parent of a special-needs child, and, although you have never been published, your experience qualifies you to offer a unique perspective—assuming that your writing is up to par.

You will also need to outline your own promotional ideas and resources to help market the book. Include information about affiliations, contacts, or endorsements you may have lined up. Do you have a prominent person willing to write the foreword? Media contacts? Web sites, bookstore appearances, newsletters, and possible sequels or spin-off information should be included in this section. To use the example above, you may be a member of the Autism Society of America, and with the contacts you have made within that organization you can offer greater promotional opportunities.

Specifications

This is where you outline an approximate word count, the number of chapters, and an estimated completion time frame. If your book will contain a number of charts, photographs, or illustrations, say so. You may also describe the general format you envision. However, be prepared to be flexible when it comes to length and format—the publisher will have the final say.

Note: A full-length nonfiction book contains 9 to 15 chapters. Don’t submit an outline for a book that contains less than 9 chapters. Make sure you have enough material (and time) to fulfill this obligation before you propose it.

Table of Contents

Quite simply, this is a list of chapter titles to give the agent or editor an idea of what will be included in your book.

Sample Chapters

If you have already begun the writing process, send one or two completed chapters (Chapter 1 and 2 are preferable). Do not send chapters from the middle of the book.

OTHER TIPS

Your book proposal should be similar in style to your proposed book. In other words, if your book is meant to be humorous and lighthearted, make sure your proposal is written in the same style.

Make sure the proposal is edited and proofread within an inch of its life. Agents and editors admit to passing over potentially great ideas if they have to wade through a sea of errors and typos and coffee stains.

Always include a self-addressed stamped envelope (SASE) for responses. Your material will be recycled.

When formatting, we recommend using a 12-point, easy-to-read font like Times New Roman or Arial, with one-inch margins all around, and left justification.

We love educating writers about ever-changing industry standards. Let us know if we can help you with any or all elements of putting together a stellar book proposal.

When you send out a query letter, it has approximately two seconds to grab an editor's or agent's attention before being relegated to the Round File. Forget trying to "trick" someone into noticing your query by using bright-purple stationery or flashy fonts—instead, give the editor exactly what he or she wants: a concise, well-written synopsis of your work that shows you've done your research, both into what an editor/agent wants, and what the public will want.

Many writers rush through the process of writing the query, thinking that the focus should be on their manuscript, not their introductory letter, but editors and agents do not have the time to evaluate manuscripts individually. Your query letter must be convincing on its own, both in its ideas and the quality of the writing. Any number of mistakes can get your query passed over, and although it may seem unfair to be judged on a one-page letter, that's the nature of the business.

A query letter is what a writer sends to an agent or a fiction editor in the hopes of having the entire manuscript requested. It is a one-page, self-contained introduction that says, in essence, I have a unique book (short story/poem) I'd like you to read. If you are intrigued by my query letter, I have enclosed a synopsis and sample chapters (or the short story/poems).

The concept is much the same for nonfiction books, except that the work does not have to be completed. The query letter is a polite introduction to your proposed nonfiction work, with the hope that the editor will be intrigued and request a proposal. I have outlined a book on home-schooling, and here is why I believe it will sell.

There is no magic formula to help sell your ideas. The most writers can do is to educate themselves on the art of the query—by keeping current on industry guidelines, studying successful query letters, heeding the advice of editors and agents, and through practice.

There are four necessary parts to a query letter, and it's up to you to decide how to effectively order them. Writers with impressive backgrounds, publishing credits, or expertise in their subject matter may choose to highlight their credentials first thing. An unpublished writer may choose to wow the editor with the premise of his story right up front. The important thing is to cover all the important points:

1) The "hook"

This is where you "hook" the editor or agent. Describe the general concept of your work, or use a personal tie-in to show you either have done your research or have a commonality with the agent or editor you're approaching. One or two lines should do.

In 1642 a volcano wiped out an entire village in Malaysia. This is the story of the two lone survivors.

Or: We met recently at the Oakdale Writer's Conference, where you mentioned that you were interested in Civil War material. My book, Civil War Tales, takes a brand-new look at the battle at Gettysburg.

At this early stage an agent will likely make the decision to read further based on genre alone. Make it clear what you are offering, and define your work in terms of genre and length and perhaps the reason you wrote the book (if there's an interesting story behind it).

My book falls into the women's fiction category and was inspired by a family member who struggled with bulimia.

Or: My book is a science fiction novel based on my experience in DNA research and is complete at 150,000 words.

2) The overview

This is where you describe the plot of your story. Keep it to one paragraph, and give just enough information to describe the general plot, the setting, central characters, the conflict, and the resolution. Be specific. Your plot paragraph should include the time frame of your novel as well as the location or setting.

This novel takes place in rural Georgia in the 1960s—a time of strife and racial tension.

Introduce your main characters, but leave the minor characters for your synopsis. At this point you want to avoid slowing the editor or agent down with any unnecessary information. Keep it interesting and keep it moving.

3) Your credentials

This is an easy task for previously published authors and experts but a daunting task for the unpublished writer. Whether you've got a string of best-sellers behind you or this is your first writing endeavor, make sure you come across as confident (but not arrogant). If your query letter is good, your lack of experience need not count against you.

Highlight any publishing credentials (no vanity presses!), writing experience, and education.

I've published numerous short stories in Literary Magazine and have a degree in journalism from Impressive College.

Or: This book is based on my findings while on an archaeological dig in Africa for Stanford University, where I currently teach archaeology.

If your background experience has no bearing on the subject, leave it out. However, if your writing credentials are not impressive, by all means highlight anything in your background that merits writing your book.

As a mother of a child with Down's syndrome, I feel uniquely qualified to write about the subject.

4) Thank you

In closing, be sure to thank the editor or agent for his or her time and offer to send sample chapters (if not enclosed) or the complete manuscript. Enclose a self-addressed, stamped envelope for convenience, and sit back and wait—or start working on your next submission.

Watch for a future post when we will tackle the issue of marketability when approaching editors and agents.

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Author’s Submission Service Since 1994

A blurb is a short summation of your book to help readers decide if they want to invest the time in reading it. The blurb can also be a sentence or two of glowing praise written by a fellow author to help market your book, but for this article we'll focus on the copy that appears on the back cover of a book.

A blurb is much like a short synopsis—you have approximately 250 words in which to summarize your book in a concise, engaging package. And before you panic, you should know that the traditional publishers have editorial staff to write blurbs for you, or they hire freelance help. But if you're self-publishing or need to write a blurb for promotional purposes, such as for your Web site, that's cause for celebration not panic—you have something to blurb about! Your task is to give potential readers an enticing peek into the nature of your book and leave them wanting more.

Here's how.

Carefully follow the publisher's guidelines for length and for other information that must be included. You may also want to study samples of blurbs on other books they've published. The average length of a blurb is between 100 and 250 words. You don't have much wiggle room, and the blurb is no place to try to cover the entire plot, so make each word count.

Identify your audience. If you've written a book of poetry, sum up the general flavor or tone of your work—it could be "a dark collection of soul-wrenching prose," or perhaps they're poems that focus on relationships or nature or Southwest culture. Either way, potential readers will want to know what they're getting into. If your book is an action-packed adventure, you'll want to focus on the major plot points. And a blurb for a romantic saga with a dashing hero should focus on the element of romance and the heroic character rather than the plot itself, unless the plot is as strong as the element of romance. The setting can also be a crucial detail to include if it is central to your book.

Identify what makes your book unique. If your book has a quirky take on a subject, convey this to your potential readers. Is it a true story or based on actual events? If your book is nonfiction, consider the benefits to the reader—does it teach something important and valuable? Impart unique wisdom? Use whatever hook you've got to engage readers.

Match the tone and style of your book to your blurb. If your book is humorous, make sure your blurb reflects that. A dark, ominous tone works well for a thriller but would scare off readers looking for historical romance.

Once you've sketched out your blurb, check to make sure it's clear, concise, and engaging. A rambling, unfocused, wordy blurb gives the impression that your writing will be more of the same. Test your summary out on fellow writers or friends and colleagues who haven't read your book. You need their honest opinions, specifically: Does the blurb make them want to read more? If it does, you've accomplished your goal. Congratulations!

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Author’s Submission Service Since 1994

In a previous post (http://www.writersreliefblog.com/post/Genres-Defined2c-Part-I.aspx), we defined the broadest categories of genres and broke them down into some common subgenres. For this post, we added a couple of genres and thought it would be fun to delve a bit deeper into some of the lesser-known subgenres…especially the newer ones with interesting names like cyberpunk and splatterpunk. Catchy, huh?

Romance:

We are all familiar with the romance genre. Every supermarket has an aisle with dozens of titles, so there’s no denying its popularity. It’s a genre with many subcategories, and most are self-explanatory. For instance, historical romances take place in—you guessed it—historical times. Combine a historical romance with a good mystery, and you have a historical romance mystery. Regency romances take place in the early 1800s and are set in England (when the Prince Regent ruled Britain). Inspirational romances have a spiritual theme, and multicultural romances involve characters from different racial backgrounds. There are also time-travel romances, where the characters travel back and forth between dimensions; paranormal romances, involving otherworldly elements; contemporary romances (set after the World Wars); and Victorian romances, which are set in Victorian times.

There are two criteria for a romance novel: there must be a central love story, and there must be an emotionally satisfying ending, as in marriage or a happily ever-after scenario. Once these two criteria are met, the writer can take a variety of directions and set the story in the present day, historical times, or even in a prehistoric setting.

Speculative Fiction:

The term "speculative fiction" is a broad umbrella that covers several genres, including horror, science fiction, and fantasy. It’s based on speculation about other worlds and otherworldly characters and events.

Science Fiction:

This is a genre bursting with interesting subcategories. Science fiction is based on futuristic concepts and technological advances—hence the name "science." From this common denominator, the genre can then take one of dozens of paths, depending on plot. These subgenres include time travel, adventure (space exploration, for example), robots and computers, aliens, parallel worlds, and even elements of romance, mystery, and horror.

Science fiction is loosely categorized as either "hard" or "soft," and defining these categories can stir up some hot debate among aficionados. In general, hard science fiction is based on scientific accuracy, and the science is absolutely crucial to the plot. The events in the story could conceivably happen based on technology as we know it, and there’s an element of realism involved. An example may be a novel about a fleet of robots, or a mega-computer that tries to take over the world. Isaac Asimov and Arthur C. Clarke are authors who employed this method.

"Soft" science fiction typically focuses on the people or the society who live in the fabricated environment; science and/or technology are a part of the story but are not central to it, and more focus is placed on character development and social issues than realistic scientific breakthroughs. Margaret Atwood’s The Handmaid’s Tale is a good example of soft science fiction.

One new and interesting subgenre has become known as "cyberpunk," based on the short story by that name by Bruce Bethke in 1980. Cyberpunk is usually set in the near future and is based on punk attitudes and information technology. It involves a complete breakdown or a radical change in the social order, and its characters typically live on the edge of this society.

Horror:

Under this genre, the subcategories are quite self-explanatory. They include medical thrillers, vampires, demons, serial killers, and monsters (both human and nonhuman). "Splatterpunk," however, is not quite as clear. The term, coined in the mid ’80s, refers to a category of horror where all boundaries of good taste are crossed, and nothing—absolutely nothing—is sacred. If you’re into gory, shocking, in-your-face horror, this is the genre for you.

Literary Fiction:

This is first-class fiction, where the quality of the writing is the star of the show as opposed to the plot. Literary fiction explores the human condition, and it does so through outstanding writing, innovative language, and original ideas. It’s read by a niche audience and not targeted to the "common man" audience.

Mainstream Fiction:

Mainstream fiction is considered more "popular" because it appeals to a broader audience. Any genre can be used to produce a mainstream or widely popular novel. The plot must have elements to which a broad spectrum of readers can relate, usually focusing on relationships and personal conflicts. Mainstream fiction can be horror, romance, mystery, or science fiction, but it must have this in common: a wide audience. Many of Stephen King’s books, for example, appeal to readers who normally do not buy horror novels.

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A genre is a category of literature, a way to organize and define various types of fiction. Writers are familiar with the main genres, such as romance or mystery, and readers are most familiar with them. Genre fiction is the most widely read fiction in the world, and every reader has a favorite. But the lines of genre are blurry, and new categories and subcategories are evolving all the time. The following are some of the best-known categories and their subgenres, and it is by no means a comprehensive list.
 
ROMANCE: A romance is a love story in which the central focus is on the development of the love relationship between the lead character and a love interest. The romance itself is the key element, as is the emotional engagement of the reader. The book should have a happy or satisfying ending.

Subgenres include:

Contemporary
Gay and lesbian romance
Romantic mysteries
Historical romance
Regency romance
Victorian romance
Ethnic/multicultural romance
Inspirational romance

SCIENCE FICTION: Science is the star of this show. Science fiction often takes place in the future and is based on technological advances, both real and imagined, and how they influence the characters and their world.

Subgenres include:

Hard science fiction
Soft science fiction
Cyberpunk
Time travel

FANTASY: Often grouped together with science fiction, fantasy tales are based on heroes, myths, folklore, fairy tales, and magic. The Lord of the Rings is a good example of fantasy fiction.

Subgenres include:

Fairy tales
Saga, myth, and legend
Dark fantasy
Sword and sorcery
Time travel
Paranormal powers

WOMEN’S FICTION: These are books that focus on women’s issues and relationships and are written and read primarily by women. While there are often romantic elements, the focus is not necessarily on one partner, and the endings are more realistic than the happily ever-after endings of the strictly romance division. Think Bridget Jones’s Diary. Often called "Chick Lit" or "Chic Lit," women’s fiction has birthed spin-offs such as "Mommy Lit" (focusing on motherhood) and "Chica Lit" (which focuses on Latinas).

HISTORICAL FICTION: This type of fiction is set against historical backdrops, where the setting is as important as the plot. While considerable research goes into these books, historical accuracy is not the immediate goal.

HORROR: This genre involves the supernatural, the monsters in the closet, and the fear of the unknown. The goal is to scare or unsettle the reader, and Stephen King has a corner on this market.

Subgenres include:

Medical thrillers
Supernatural thrillers
Psychological horror
Vampires and werewolves
Demonic possession
Mythological monsters
Splatterpunk

MYSTERIES: A mystery usually involves a crime (most often murder), the investigative process, and the resolution of the crime. The main character is often a police officer or a detective, and the reader is given clues, both real and false, to help solve the mystery.

Subgenres include:

Hard-boiled detective fiction
Crime fiction
Supernatural mysteries

ADVENTURE/SUSPENSE: Also called "thrillers," this category often combines elements from other genres. Readers of this genre can expect action, and lots of it. The main character will have to face a villain of some sort, and obstacle after obstacle will be thrown our protagonist’s way.

CHRISTIAN FICTION: This is fiction that reflects Christian views and focuses on the relationship between the main character and God. Christian fiction can include any of the major genres, such as romance or science fiction.

TEEN FICTION: Teen fiction encompasses all genres but focuses on characters near a teenager’s own age who deal with issues that are important to their age group, like relationships, teachers, and decisions about their futures.

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When you’re writing a story, be it a short story or a full-length novel, you may have many objectives in mind. Sure, you want to see it published—a moneymaker would be nice, too—but don't you really want your reader to gasp when things get exciting? Jump when things are unexpected? Sigh when your heroine finds true love? When your reader feels what your character feels, you’ve accomplished that elusive goal and made an impact—brought your story alive through your character(s).

When planning your story, at some point you’ll have to make an important decision. In order to bring your character(s) to life, you must decide who will be telling the story. Whose point of view will engage us, the reader, most effectively?

First Person:

Many editors and publishers will tell you that a novel written from the first person point of view (I, we) is often a sign of an inexperienced writer, and—toss!—into the trash it goes. Check your local bookstore and take note of how many best-sellers are written in first person. They exist, but novels are far more often written in third-person narrative, and for good reason.

In first person, the character is also the narrator, either playing a central (active) role or a peripheral (sideline) part. As the first-person narrator, you have but one point of view to offer, and this can be limiting. There’s simply less opportunity to bring depth to the story. On the other hand, a first-person narrative creates an undeniable intimacy with the reader.

Poems and short stories don’t necessarily need to delve into other characters’ viewpoints, thoughts, and feelings, and writing in a first-person narrative works quite well. There are also a great many well-received novels out there written in first person, so don’t let sweeping generalizations deter you from choosing the point of view (POV) that works best for you.

Second Person:

This is a difficult and uncommon style to pull off successfully. Imagine an entire novel where the character, narrator, or even the reader is referred to as “you.” (“You walk down the street and notice the wide array of street people tucked into corners and alleys.”) Often considered an experimental form, this type of narrative would be nearly impossible to sustain through a full-length novel and would be more successful in a short piece. Examples include “How-To” stories, such as “How to Date a Brown Girl…,” by Junot Diaz.

Third Person:

Storytelling from a third person point of view (he, she) offers a clear distinction between the author and the characters, allowing the author complete freedom to travel through the story and its characters. The narrator is not a character and can therefore comment on every aspect if so desired.

Omniscient Narrator. Usually reserved for longer fiction, this narrator is all-knowing and can enter any character’s thoughts, interpret any character’s speech or actions, and provide commentary on their backgrounds and motives. As an observer with the knowledge of the characters’ history, the omniscient narrator makes judgments and offers opinions along the way. This is a technique that offers a great deal of freedom for the writer.

Omniscient Narrator (Limited). In this technique, the narrator’s knowledge is limited to one character—the protagonist. Other players are seen only externally. The narrator’s voice takes on the flavor and nuance of the main character, and no other information can be brought in from other sources (characters) other than what is observed through plot and dialogue. This is the most commonly used POV in short stories and novels.

Objective Narrator. An impersonal POV, the objective narrator offers no opinion and no value judgments, leaving the interpretation of events and dialogue up to the reader. The reader’s knowledge is limited to external descriptions, and the reader is invited to infer his or her own meaning from them.

Once you’ve chosen your point of view, consistency is a matter of personal preference. Switching POVs can cause confusion for the reader and interrupt the flow of the story. If you do choose to use multiple POVs, make it obvious when a new character takes over the storytelling. Use a new section (paragraph, chapter) for a new narrator, perhaps even labeling the section to make it abundantly clear whose point of view it’s coming from.

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One of the toughest tasks for a new writer is mastering the art of writing effective dialogue. It sounds easy enough—just add some quotation marks and write down that conversation between your characters! But it's not always easy to write realistic conversation, and poorly written dialogue can sabotage even the most clever and engaging novel or short story.

Dialogue sets the tone and scene of the story, revealing the personalities within the characters and creating dramatic intent. Well-written dialogue should stimulate the reader's curiosity or create tension. It should move the story along, rather than bogging it down. And it should provide important information without sounding mechanical or forced. The trick is to convey a natural, realistic conversation while loading your dialogue with meaning, rather than wasting words on mundane exchanges.

"Hi, Laura. How are you?" asked Bob.

"Hi, Bob. I am fine," said Laura.

"That's good to hear," said Bob.

You get the drift. Not only is the dialogue bereft of any meaning, insight, or pertinent information, but the speech tags (he said, she said) are boring and repetitive. And this idle chatter, while realistic, is a waste of the reader's time.

Better to create some tension:

"Hi Laura. It's been a while! How have you been?"

"Oh, Bob, I didn't see you..." Laura mumbled.

Laura didn't answer Bob's question, possibly implying that things are not well. She sounds distracted, causing the reader to wonder what's on her mind. Using a little subtext allows your readers to discover meanings that aren't laid out in black and white for them, reducing the possibility of boredom. Dialogue should be realistic but more revealing than everyday chatter between real people.

Dialogue between characters can also be used to present some history or back story to the reader. Rather than relying solely on narration, let the characters reveal what you're trying to tell the reader, and it'll be a lot more interesting. Make it natural, however, or it will read something like this:

"Oh, Edith! It's so good to see you! I heard your husband went to prison for killing his secretary's husband. And they were having an affair, too, right? It must be hard to be forty years old and living in Chicago all alone, especially now that you've been laid off from work!"

This one-sided interchange is obviously designed to give the reader as many details as possible in a single paragraph, but it's an awkward and transparent ruse. Give the characters time to interact, and allow details of their personalities and the plot to come through gradually...and naturally.

Speech tags (he said, she said) are often unnecessary and can clutter up your dialogue. If you've clearly defined your characters, the reader will already be able to identify the speaker. You can be a bit creative with the speech tags you do use, but be careful not to overdo it and draw attention to them. The dialogue itself should be the focus. Experiment with the rhythm of your sentences: vary the placement of speech tags or intersperse action instead.

"Laura, it's so good to see you!"

"Er...you, too, Bob," replied Laura, a bit less enthusiastically.

"I haven't seen you around much. Have you been out of town?"

"No." Laura placed her hand on Bob's forearm. "In fact, Bob, I'm afraid I've been avoiding you."

And avoid redundancy, which often means eliminating adverbs:

"I am furious with you!" she cried furiously.

"Me? Why, I'm the one who ought to be furious!" he replied indignantly.

Finally, read your dialogue out loud, eliminating the narration and speech tags. Does it sound natural and realistic? Dialogue should sound like people talking together, although, as the author, you have eliminated the normal stutters, pauses, "er's" and "ummm's" that often plague real speech. Consider the following:

"Mikey, you just have to get out of here. Julio's gang will be here any minute."

"I know, man, but I can not just run away. That would be cowardly."

"Cowardly, yes. But would you rather die?"

Would two gang members really speak this way? If it doesn't sound realistic to you, it won't sound good to your reader, either. And that's who you need to impress.

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So now you’re a writer. You’ve had some success, maybe even great success, in getting your poems or short prose pieces published. Or you’ve completed your manuscript, have shopped it to what seems like a million agents who don’t share your vision, but you still want to publish your book. Or what you’ve written isn’t made for the mass market: you’ve completed your genealogy research or a family cookbook or your grandmother’s memoir and want to see it in print, professionally bound. The answer for you might be to self-publish your work.

Self-publishing has been around for many years, but now it can be even easier using a Print On Demand (POD) publisher. There are various ways of getting your book published. Here’s a quick checklist of what to look for when shopping for a self-publisher.

*Price: Depending on the services and "extras" you choose, your investment into printing your work can escalate dramatically. Shop carefully. Compare what services are included in your quote. Are you obligated to purchase a minimum number of books? How much of a deposit is required? Do you have to pay for the entire contract before you even see your first book? How quickly can you get additional copies? Is shipping included?

*Quality Control: Some less reputable firms will use a lesser quality paper stock and have wider tolerances for production values. Be sure to see a sample of what you’d like BEFORE you sign a contract. Request references. Contact others who have used the service, just like you would do if you were renovating a bathroom.

*Extras: Most companies will have additional services they want you to buy. Some may be in your best interest; others are a waste of your money. For instance, PODs will sell design services for your book cover, offer editing services, register your copyright, or help you obtain your ISBN and Library of Congress numbers. The latter can be easily done online, directly with the  US Copyright Office (http://lcweb.loc.gov). You may want help with your cover presentation if you are not artistically inclined.

*Preparation: Manuscripts must be digital and properly formatted. POD companies will help you format your work, but may charge an additional fee for this service. Unfortunately, this is one area in which you should NOT skimp. Remember, how the printer receives your work is how it will appear.

*Promotion: Be sure to choose a POD company that has an online store and will list you with both Barnes & Noble’s Web site and Amazon.com. Do some research on Internet marketing. If your book is of a particular niche, you may be able to self-promote your book locally. For instance, if your manuscript is about a medical issue, you can set up book signings with local support groups and hospital outreach programs.

*Recourse: Because PODs print exactly what you give them, they will not cancel orders once your work is being printed; they will not accept returns nor give you a refund.

*Responsibility: PODs will NOT accept nor be responsible for misspelled words, grammatical errors, and overall presentation of the material. Some will let you see a mock-up or galley proof before proceeding to the print stage; others do not. And none will take responsibility for the content of your work, including fact checking, potential copyright infringement, or libelous statements.

*Buyer Beware: As with all consumer products, it is important to carefully shop and compare services being offered. Read the fine print. Know what you are agreeing to pay and what you get for your money. Have someone knowledgeable read the contract, too.

*Research: Invest in a book about self-publishing. You can find these on amazon.com or barnesandnoble.com

Some POD companies you may want to investigate:

http://www.xlibris.com

http://www.iuniverse.com

http://www.booklocker.com

http://www.ebookstand.com

http://www.booksjustbooks.com

Different Types of Publishers:

Commercial Publisher: Also known as mainstream a publisher or traditional publisher. Handles every aspect of printing your manuscript. These publishers are highly selective, and there are no costs to the author, other than the agent contract. Authors do need to be represented by an agent and do maintain the ownership of their work.

Vanity Publisher: Prints books at the author’s expense. The author is responsible to pay the publisher’s profit and overhead costs. These publishers print anything for anyone who can pay their fees. They may offer marketing help, warehousing, editing, or promotion of some sort.

Subsidy Publisher: Shares the cost of printing and binding a book. Subsidy publishers are often selective, and the completed books belong to the publisher, NOT the author. The books remain in the publisher’s possession until they are sold. Authors can collect royalties.

Self-Publishing: The author pays ALL costs of printing and is responsible for marketing, distribution, promotion, etc. The author selects the service he/she requires and can control costs in this way. The books are the property of the author, and the writer keeps all monies from sales of his/her books.

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Why not just send your manuscript directly to publishers? Writers ask us to help them find publishers for their book projects all the time. The business of finding a publisher for your work is a multi-step process. After your manuscript has been completed, edited, and formatted according to indust