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!

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.

In June 2008's issue we talked about the query letter and its components. Now let's look at the business aspects of your query and focus on marketability.

Every day agents and editors receive countless queries and unsolicited manuscripts. As they sift through the backlog, they are looking for one thing and one thing only: work that will sell. Publishing is an industry, and if the editor can't get a clear idea of what kind of work you are submitting, he or she can't tell if it is marketable. It's your job as the author to present this information up front in your query letter.

Visualize your work as a commodity. Suppose you approach a store and tell Mr. Jones, the owner, you have a brilliant new gadget that would sell well in his store—but you hem and haw and never quite make it clear to Mr. Jones what your product is or who might buy it. There's a long line of salesmen waiting outside to pitch their products, so the owner dismisses you, irritated that you have wasted his time.

Editors and agents are also pressed for time and looking to weed out work that they can't sell. One of their first criteria is genre, so it's important to make this clear right away. This is a 100,000-word historical fiction romance. Make sure you target your historical romance to an agent or editor who actually represents this genre.

Address the following when composing your query letter:

Fiction or nonfiction
It may seem obvious but clearly state what you're submitting.

Genre
Identify your genre right away. Horror, science fiction, romance, Western, chick lit, children's lit—if you don't know what genre your work is, keep reading.

Audience
Who will be buying this book? Women ages 25-40? Single fathers? Beginning readers? This is where you determine your target audience. Be specific and avoid sweeping generalizations like "This book will appeal to everyone who breathes oxygen!"

What makes my book different?
You don't want to approach an agent with a query that says, "I have written something just like Margaret Atwood's The Handmaid's Tale." Your book might appeal to the same readers who would purchase Atwood's book, but it must be unique in some way. Compare your book to a similar title that has sold well if you can, but don't expect to sell a Harry Potter knockoff unless you've found a truly original angle.

Marketing
Publishers have their own marketing departments, but you should do some brainstorming of your own. It's impressive to note that you're an expert in your field and have some valuable contacts who may help with visibility. Or you have an idea for a Valentine's Day tie-in and have some verbal agreements for book signings. Show the agent or editor that you've been thinking of your work as a commodity, and they will too.

If you're having trouble determining your work's genre, you'll need to start with some research. First, find other authors and books that are similar to yours. Then, either do a Google search or go to the largest chain bookstore in your area and hunt down those titles. If your book would fit in with the others on the shelf, you've found your genre. Check the back of the book too, as the genre is usually identified there.       

An editor will notice if you've done your research, and this lends you credibility and professionalism. This begins with targeting the agent or editor who is most likely to read your query. Read trade journals to narrow the field, and do your best to find the most current editor and the correct spelling of his or her name. If the editor does not publish horror, do not send horror. If you're not sure of the agent's gender, do not make assumptions. (Address your letter to the agent's full name to avoid any embarrassment.) And, above all, give the agent or editor exactly what he or she needs to make a decision. This alone will set your query apart from the others.

So, I’m sitting here wondering why the query I sent out last week has yet to be answered. It took several months to compose that query, and another four weeks to track down a suitable agency to send it to. You could say that I have quite a lot invested in this query, and now I need answers as to why I’m being ignored.

Could it be something to do with the post office? I suppose it’s possible the neighborhood letter carrier ran into a shambling group of zombies. When he discovered he had only a banana and a toothpick with which to defend himself, my poor query probably fell to the wayside and became covered with banana goo. It’s also possible that a flock of great horned owls swooped down and mistook my query for nesting material—good taste on their part. Even supposing that the letter carrier avoided zombies, owls, and envelope-eating voodoo doctors, my query couldn’t have made it to the agency’s door, or I would have heard something by now.

Unlike the literary agency I queried, my writing group was lightning quick in responding to my complaint. They’re asking why it took so long to complete a single query and wondering why I only managed to send it to one agency. Are they negative or what? They don’t know what I’ve been facing this past year! For one thing, I had a disastrous accident on my scooter last December. Then my frontal lobotomy didn’t go quite as planned, and things started slipping my already slippery mind. Spent several unproductive months watching the Food Network and buying Hulk Hogan Ultimate Grills from the Home Shopping Network. Oh, and let’s not forget my tragic loss in the national 52-Card Pickup tournament in Vegas.

It’s been a rough year, but I hope to get more writing done, not to mention a few more queries submitted in the months ahead. It would be really cool to sell a story or two. If so, I could pay for a few of those Ultimate Grills sitting in my garage...if any literary agents are reading this, maybe we could work out a deal?

Not all writers make it a habit of going to writers’ conferences, but they are a part of many writers’ professional lives. These conferences are a meeting ground for agents, editors, writing instructors, and fellow scribes who gather to share knowledge and expertise, make contacts, and meet specific goals, whether it’s a writer pitching a novel or an agent scoring a best-seller.

Although you can find day workshops that are more affordable, these conferences are often not cheap. They range from 200 to 500 dollars and up, so it’s important to choose wisely. Here are some tips to help you get the most for your money.

What to look for:

First, you’ll want to locate conferences that fit your particular needs. Some focus on children’s writing, while others are for romance or mystery writers. Narrow down the field to those that pertain to your genre. The Internet is full of information on various conferences. Try www.writing.shawguides.com for a fairly comprehensive list.

As with all investments, a little research can go a long way. Request for all the information offered and go over it carefully. Do some checking with fellow writers or critique groups for their opinions, and research the guest speaker(s).

Take a good look at the opportunities available. Are there workshops, networking opportunities, well-known lecturers? If all you’re offered is a chance to hear an obscure author read her work, you won’t get much out of the experience.

Make note of the specifics, such as the travel requirements, lodging choices, and facilities. You may want to stick closer to home, or choose a mountain retreat over urban classrooms. Is there lodging available, or are you responsible for making hotel arrangements separately?

Double-check for hidden costs, and tally all possible expenses. If you’re organized and ask well in advance, you may be able to apply for a scholarship (or partial scholarship) to help defray the cost. The same goes for volunteering at the conference. You’ll have to ask for these options, as they probably won’t be advertised. You may also choose to attend with a friend. If you each take different seminars and workshops and then share notes, you’ll get more for your money.

What to do:

Clarify your conference goals before the actual event. Are you hoping to meet an agent, hone your writing skills, schmooze with other writers, learn new trends, and/or promote your work? Plan your time accordingly. If networking is your objective, skip the guest lecture and attend the less formal cocktail party instead. Or sign up for that "new media" seminar if you’re interested in learning new trends.

Wear comfortable shoes and dress appropriately. "Business casual" is a safe bet, although there are usually opportunities for more formal dress during dinners, etc. Be sure you’re remembered for your professional and engaging personality, not your plunging neckline or glow-in-the-dark cowboy boots.

Keep an eye on the time. If you’ve made appointments to speak with editors or agents, don’t be late. Stick to your allotted time out of courtesy both to the editor or agent and to your fellow writers.

Bring a light shoulder bag or briefcase stocked with your business cards, a notebook, extra pens...and for the free handouts. When you receive a business card, make a note on the back to remind you who you talked to and what it was about. It’s best to keep your hands free, so check other luggage and your coat in advance.

Position yourself carefully—asking questions from the front of the room will get you noticed, while the back row is a good place if you plan to slip out early.

Be prepared to do some work—networking can be exhausting, and this is not the time to sit back and be a passive observer. Everyone at this conference shares a common interest, so don’t let insecurity keep you from meeting new people and learning from them. The energy of these events can be very inspirational.

After the conference, send "nice to meet you" notes to agents or editors you spoke to, and be sure to mention where you met and (briefly) what you talked about.

Pitching your work:

Feel free to bring copies of your query, synopsis, or a few sample chapters or other writing samples. But leave that 500-page manuscript at home. Some conferences have time set aside specifically for pitching your work, so be prepared in advance and take advantage of this time. Make sure your pitch is polished (practice giving it to the mirror, your friends, your parrot), exciting, and BRIEF. There’s no need to compulsively tell everything about the story and the reason it was written. Agents and editors are trained to spot a good opportunity on very little information, and you want to avoid that glazed look in their eyes if you go on and on.

Do not aggressively corner agents and editors and subject them to a verbal pitch during dinner or in the restroom. You’ll only aggravate them or scare them away. And be careful what you say. Editors and agents often run in the same circles, and if you’ve been ranting about other writers or editors, you will be remembered—but not in the way you’d like.

Above all, have some fun…and happy networking!

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.

http://www.writersrelief.com/
Author’s Submission Service Since 1994

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 industry standards, the next step is to launch it properly into the world. Our advice--find a reputable agent first. Agents are the interim contact you need to connect your work to a publisher.

Keep in mind that agents do not want to deal with short works such as poetry and short stories. Agents work on commission, and there is no way to support themselves from sales of poetry and short fiction. The majority of larger publishing houses no longer accept unagented submissions. It may seem a waste of time to query a large number of agents before querying publishers. However, this is a time-consuming, but very necessary, part of the submission process for book manuscripts.

If you want to get a good read, you'll need an agent. Agents know what editors want. They spend much of their time cultivating relationships with acquisition editors. These are the folks who present books to their publishers for consideration. Networking with editors is an important part of an agent's job. Editors are happy to receive good manuscripts from agents. It saves them time. 

Good agents will help negotiate a decent contract for you. This is their area of expertise. Publishers are interested in making money and taking care of their needs. Your agent will function as your advocate and make certain you receive a fair deal. If you don't know about subsidiary rights and escalators, make sure an agent is on your side. Your agent will know which clauses are boilerplate and which may hurt your career. (Some people believe an attorney can replace an agent. Unless your attorney specializes in book contracts, find a good agent.) Because agents work on commission, they are interested in getting you the best deal. Agents will monitor your royalty statements and help ensure that you receive prompt and proper payment. Most agents are paid 15% commission. A reputable agent should also provide you with copies of all rejection letters. 

Do not begin querying agents until your book is complete. Unless you're famous, agents won't even read your query unless the book is ready to go. Nonfiction proposals are sometimes the exception to this rule. However, you'll need to prove you can write the book, not just pitch it. 

There are many people who advertise themselves as agents. Generally, they are NOT. Legitimate agents do not drum up business. There are literally tens of thousands of writers approaching a limited number of agents. They've got more work than they can handle. Your query packet must be perfect and represent you as a professional. Writer's Relief (http://www.writersrelief.com/) can help guide you when making submissions to agents. It's a difficult and time-consuming process, but there is no way around it. Get some professional help. Finding an agent need not be a daunting task.

If an agent requests money from you, run for the hills. Some expenses such as postage and copying costs are to be expected. However, over the years, unscrupulous people posing as literary agents have scammed would-be authors out of lots of money. Sometimes these scams are disguised as "editorial help." Stay away. An agent should not insist that you have your manuscript doctored before agreeing to represent you. 

Your agent should act in partnership with you throughout the publishing process. A good agent offering good advice is a wonderful asset. There is no better way to build your writing career.

Writer’s Relief, Inc.
http://www.writersrelief.com/
Author’s Submission Service Since 1994

Since 1994, here's what we've learned about helping writers place their work with agents and publishers. Writers HATE the job of writing a synopsis. For you, it might be right up there with death and public speaking in terms of the fear factor. If you're having trouble and are procrastinating about writing your synopsis, you're in very good company. 

Follow these insider's tips to make it easier. If all else fails, write a mini synopsis (short paragraph) that hooks the reader. Use this paragraph in your query letter. It is better to include this mini synopsis and get your manuscript mailed to an agent rather than suffering over it, wasting precious time  trying to create the perfect synopsis. We cannot stress this enough--JUST DO IT! 

Write your synopsis in the same format as your manuscript. If you're not sure of the industry standard, Writer's Relief can help you by providing format pages. Double-space your synopsis. Use one-inch margins all around. Do NOT right justify your text. Use left justification only. Put a header on every page. Use Times New Roman or Arial font. Do not use Courier font. 

Begin by describing your story in 25 words or less. You must capture the agent's or editor's attention. If you succeed in creating this "hook," you'll be farther ahead than most people submitting their work. Editors and agents read hundreds of submissions every day. Don't get cutesy, but keep the reader awake. Don't be boring!

Include a COMPLETE summary of your story from beginning to end, written in present tense. Focus on major plot points or turning points. Omit secondary characters, subplots, and minor events. Don't go into too much detail. 

Focus your synopsis by telling what the book is about, not how things happen. Keep focused on your primary characters and major events. As is always the case-show, don't tell. 

Do not ask empty questions in your synopsis. They will not fool the agent into asking for the remaining pages of your manuscript. 

Include the setting, main characters, and the all-important CONFLICT. Identify conflict between characters. Include motivation. Then, show the resolution of this conflict. 

Finally, TELL YOUR ENDING. Wrap up your story. We know you want to tease your reader and keep ’em guessing, but DON'T. 

Proofread your synopsis. Make sure grammar, punctuation, and spelling are perfect.Test your synopsis on a qualified friend or relative. Would they be interested in reading the entire book based on your synopsis? If not, ask how you can make it more interesting. Ultimately, use your own gut to determine what works.

Writer’s Relief, Inc.
http://www.writersrelief.com/
Author’s Submission Service Since 1994