Mark asks: This might be a dumb or obvious question, but how do I NOT worry about whether or not what I am writing is irredeemably bad, boring, uninteresting dreck and just write it all? How do I know that anyone is going to want to read it? How do I know someone hasn't written the same thing before me, albeit a million times better? Is there some technique for putting aside these feelings? Because I'd be writing a ton more if I had more confidence that it was worth the effort. I want to be realistic about it, you know. There's a million people on this planet trying to write and publish something. My drive is being hacked at by these feelings, and I'd love for them to go away so I can just burn.

Answered by Deb Smith
author of A Gentle Rain
on 4/29/2008

A young man loved playing violin. He went to a great violin master. The master listened to him play then said, "You may never become a master of the violin." So the young man, devastated, put the violin away and never played again. Years later he met the great master a second time. The master said, "So, let me hear you play now." But the man said: "You told me I might never be a master of the instrument, so I quit playing. Isn't that what you intended?" The old master stared at him sadly. "If you were meant to be a great violinist you would have kept playing no matter what I said." Obviously, the point is this: you have to write because you want to write, because you need to write, because writing is important to your soul. No matter what anyone says about your work, no matter how many times you're rejected, no matter how many great writers you see around you. It isn't about them. It's about YOU. Every writer, no matter how successful, battles self-doubt and endures many cruel rejections, bad reviews, etc. In the end, all that matters is how much the act of writing gives you. That's what you take away from it. If your entire focus is worrying about what people will think of your work (and hardly anyone can predict what the reaction will be to a finished novel)then you'll freeze and never accomplish much. Free your mind. Real writers write. Sometimes they write crap, and sometimes they write what they believe to be beautiful stories only to have other people criticize them. But they don't stop writing. Best wishes and stop worrying. Just write.

Answered by Carolyne Aarsen
author of Finally A Family- June Love Inspired
on 4/29/2008

There isn't an author out there who doesn't have the same feelings. I am working on books number 24 and 25 and each time I start I wonder what I'm doing. I think you just have to forget about NOT thinking that, but just figure, okay, it's boring, but I'm going to get it down. I'm going to work my way through this story. Embrace the insecurity and recognize that EVERY author feels this way. Doesn't matter how many books an author has published, how many awards, how many copies sold. EVERY author feels this way. So okay. Get on with it. Write the boring story. Think of it as gathering clay. You need something to work with, something to shape and mold. Often, as you write the boring, dull, plodding story, as you work with your characters and plot, you will find the gems, the story. The inspiration. And realize that no matter how many times this story has been written, you will have your own take on it, you will bring your own experiences and passion that no one else has.

Answered by Charlotte Maclay
author of Make No Promises
on 4/29/2008

Oh, man, we all need to listen to Deb Smith and Carolyne. If you can't stop writing, no matter what anyone says, then you're a storyteller. Doesn't mean you'll ever sell. But it does mean there's a 'genetic' thingie going on that you shouldn't ignore. Good luck! Charlotte Maclay

Answered by Ann Roth
author of The Pilot's Woman
on 4/30/2008

Mark- I feel your confusion. Your inner editor is giving you a really tough time with all that doubt. I'll pass along a great technique given to me by Elizabeth Downes, a creativity coach: When the doubts get you, say to that little voice, "Thank you sooooo much for sharing. I'm working at something I love to do right now. It brings me fulfillment and purpose. So long." Even if you are dealing with a theme that's been dealt with many times before (and really, there are only a certain number of them), your take is different from any others-simply because we are all unique. If you're enthusiastic about what you're writing, the excitement will shine through. Here's a question for you: so what if you get a rejection? Lord knows, we all have. I have a thick file folder of them. Once you send out your baby, start a new project with the same energy. Before I sold, that's what I did. When I got those rejections, I'd think, my current project is so much stronger. Just wait 'til they read IT. Hang in there and remember that the only sure way to fail is to give up. Ann

nizanth asks: I'm 18 now. I've written stories since I was 10 simply for the sole pleasure of writing. I even joined a writers club at my primary school which had just 2 other members but a very supportive teacher. I am a fantasy/magic type guy. I am currently planning a huge story set to take place over at least 4 books. I have a lot of time on my hands. My question is this: How much planning should you do before you actually start writing a story? Since this is fantasy, quite a lot is needed. This may be a difficult question to answer but please tell me what you can. I don't like having to go back repeatedly editing what you have already written multiple times. It sort of ruins the fluidity of the story.

Answered by Rebecca York
author of Ghost Moon
on 4/24/2008

Since you don't like going back and changing stuff in a manuscript, then my advice is to do as much pre-planning as you can. (I am with you. I think it's a heck of a lot easier to change something major in a 25-page outline than it is to change it in a 400 page manuscript.) But really, each writer has to figure out how he or she works best. Some people just want to sit down and write--with no planning at all. When I write a 70-100,000 word book, I've already written a 15 to 25 page narrative outline. Actually, I like to do as much of the outline as I can. Then I write the first few chapters of the book, to get to know my characters better. Then I go back and fill in episodes in the outline. If you're planning a four-book series, you probably want to write down what's going to happen in each book--to make sure it's all logical and it all works. Although I want to plot out the story in advance, I know that what I've written will never entirely work out the way I thought it would. I will always get better ideas as I get into the story. And I will always come to places where I wrote something in the outline that simply doesn't work when I try to write the scene. I would have trouble planning a four-book series, though. The task would feel daunting to me. The series I write are more loosely constructed. I'm currently writing a werewolf series for Berkley that I didn't know was a series until my editor asked me to write more werewolf books. After several books, I knew I had to expand the concept to keep the stories fresh, so I came up with an alternate universe that runs parallel to ours. (and characters go back and forth between these two worlds.) Life there is very different because many people have psychic powers. I began writing the book, with a lot of background about the world. I knew some event had changed that time line, but I didn't know what the event was until I'd written most of the book. Then I got out my U. S. history books and started looking for something I could use. When I came to the Chicago World's Fair of 1893, I thought, "Ah ha. That's it." I had a guy come to the fair in that time line and set up a tent where he said he could give people psychic powers. It worked, and that completely distrupted society because the people without powers were afraid of the ones who suddenly had them--and the two groups began fighting. This has turned out to be a major element in my werewolf books. But I didn't think of it until late in the game. And I didn't try to "force" it, if you know what I mean. So--back to my original advice. Plan as much as you can, but be prepared to make changes when they will benefit your story. Rebecca

Answered by Geri Krotow
author of A Rendezvous to Remember
on 4/24/2008

Hi Nizanth--my suggestion is to just start writing! I've found that my characters often "set up" the story for me, then I go back and do a lot of research as needed. The research also reveals more scenes and plot structure for me. It's all a process, and if you have the time (which you said you do), enjoy it! Peace, Geri

Naomi Fieber asks: I am writing a novel right now, and I was curious as to whether or not, when one screams, you are supposed to actually put, 'AAAAUUUUGGGGHH', or just, 'She screamed in terror.' I am writing a fiction novel, and was wondering about this. Thanks a lot; I really appreciate it.

Answered by Robin D. Owens
author of Keepers of the Flame
on 4/11/2008

Either or both. ;) It depends on where you are in the story, whether it's an action scene, and whether you've used it before. ;) Personally, I found "Aaaarrrrrgh," better, faster, BUT I, as a reader, think of Aaaarrgh as more irritation and anger. That's it's connotation to ME. If it's really horror, I, as a writer wouldn't even use "scream." I'd use "shriek." Again, it's the connotation. "Scream" is more common to me than "shriek." To me, "shriek" is a harder word with the r and k and the eeee. It's more piercing, rises higher, more shocking. But, as I said, you can do either or both. Now that I've totally befuddled you and added more mess to your question and confusion, I'll step out. GOOD WRITING! Robin

Answered by Jacqueline Diamond
author of May, 2008, The Family Next Door, Harlequin American Romance
on 4/11/2008

I think if I saw "Aaauugghh" written on the page, it would look humorous. Actually, I wouldn't recommend writing "she screamed in terror," either. This comes across as telling rather than showing. Showing means allowing the reader to experience the emotions rather than simply telling her (or him) about them.

An example of showing would be to say, Her throat tightened around a scream. The only sound she heard was the runaway beating of her heart.

Hope this helps!

Rene asks: I got a response back from Charlotte Gusay Literary agent asking me to send my manuscript. I sent the 3 chapers and synopsis and the representative liked it and now wants the entire manuscript. But...I have seen negative things on the internet about Charlotte Gusay. What do you think? I only saw one recent book published under this author for 2007 on her web site. I need some help. It is a young adult / adult arena type book that is fiction. I am looking for an agent to help me shop our book.

Answered by Laura Hayden
author of AMERICA THE BEAUTIFUL
on 4/9/2008

Well, the place to start ANY inquiry concerning a literary agency is Preditors and Editors (http://anotherealm.com/prededitors/) which in this case, says "Charges fee. Not recommended." This should make you strike her off your list because repeat after me, AUTHORS DON'T PAY AGENTS. Agents earn their 15% fee from the advances and royalties received from the sale of your works. If her purported reading fee doesn't stop you cold, go to the agent's website. There, she says she is a signatory of WGA. However, the WGA website (http://www.wga.org/agency/agencylist.asp#top) doesn't show that the agency is a signatory agency with WGA. Draw your own conclusion. Plus, on the agency website itself, there's no list of clients and the most recent book she has featured on the site was published April 2007. Either she doesn't keep up her website (not a good sign) or she has no new client publishing credits. (A bad sign) Ask yourself--why would you want to hire someone like this to represent you? Simply because she's interested?

FabioM asks: I'm having problems with my hero's subplot. There's romantic interest, but it's accomplished right in the beginning of the novel, and survival of the lovers becomes the main plot. Since theyre almost all the time together, my viewpoint character2(the lover) doesnt make sense to appear. So im thinking of putting the antagonist as the viewpoint character2, and someone else as 3rd. will this work? Still, im having a little trouble having a subplot since the main one is so intense(there's no time for main char's subplots). Can i make the subplot the antagonist's subplot or the confidant subplot? or is it a big mistake? Also, making the antagonist as human and likeable as possible, to whom the reader can sympathize with, althought knowing that what he is doing is wrong(and the antagonist himself has the counscience that what he is doing is wrong, but he gradually loses it and becomes obcessed with his wrongdoing porpuse, and eventually he will see it as the only way- he believes himself to be a good person tho) is a good way to create an antagonist? sorry for so many questions! cheers

tasha asks: Which is better in the sense of selling and having the book most read, writing in first or third person.

Answered by JoAnn Ross
author of FREEFALL, a NYT bestselling High Risk romantic suspense
on 4/6/2008

Hi Tasha,

In many ways, that sort of depends on the genre. Mysteries, for instance, are often written in first person, as are many Southern novels (such as Pat Conroy's and Anne Rivers Siddon's), and literary novels, along with probably others that aren't immediately coming to mind.

Unless the book was amazing, in original story idea, structure, and voice, third person would be easier for a new writer to sell to an editor. And third person books garner more sales over all, because the majority of novels are written in third person, so there's already a built-in audience.

But what it really comes down, and what is always most important, is what's right for your story. And your voice -- what sounds the most natural when you write. If you stay true to your story, your characters, and your voice, a good book will find a home.

Hannia asks: I'm 16 years old and i'm writting a book. To start with i was only doing it for fun, but now i'm thinking about maybe having someone take a look at it. Problem is because this wasn't my goal to start with I don't really know anyhting about how to go about being published. Also, my book is part of a series i was thinking about having 4 parts to it. I already have the ideas jotted down so i know what is going on in all of them. But i never really thought about my market segment. Thing is as i'm only 16 i'm not really writting in the manner of having older people enjoy my book, I don't think so anyway. But in my book it has: Lesbians and one is sold into slavery. The scenes i am writing is of course very mild, but I don't think this is allowed to be aimed at teenagers and younger adults?

Answered by Melissa MacNeal
author of Only With a Cowboy--May '08
on 4/4/2008

Hi, Hannia!

I've written some lesbian scenes and some slave stories, but my books are definitely considered adult entertainment...and even so, not all editors and publishers will buy erotica with these elements. It's a pretty good bet editors in the young adult market wouldn't look at your stories.

Have you considered writing your book and the series for your own entertainment--and to prove to yourself that you can actually finish a book? To be considered for publication, you have to have your first book completed, anyway, and we're usually talking about manuscripts that run 300+ pages. Finishing at least your first book would be a good way to know if you have enough story--and it's an excellent way to learn how to write books! Most authors use their first book or two as "education" for becoming a writer, and meanwhile they attend writers conferences and read magazines like Writer's Digestto learn their craft. Knowing correct writing formats, and using correct spelling, grammar, and punctuation--and knowing what makes a good story great enough that an editor will buy it--are important things to learn. Editors won't even look past your first page if your work needs a lot of correction.

Good luck with your writing, Hannia! A lot of writers I know started out at your age!

Shane asks: I am writing a book and I'm only 13, and I was wondering who can I send my manuscript to? I mean I don't know who's out there and I don't really want to pay loads of money to get my script edited. And also Rick Riordan inspired me to do books about Greek Myths and what not and I was wondering if thier has to be a time period? Mine is set in the present time america

Marie Davis asks: I want to write a childrens book that has real buttons in it. How do you submit your book with the above idea in mind? Do you make one by hand and send it or just tell them how you want it "illustrated"?

Darlene asks: Hello, I have a question about character's names. What is appropriate in using the First name, the Sir name, just the last name, and also the profession. Example: Chief Officer Randy Taylor. At times I have seen just the last name (Taylor), then " The Chief" , and then in a more intimate scene, Randy. I would like to know if there is any general rule of thumb, or is it just good english. Darlene

Answered by JoAnn Ross
author of FREEFALL, a NYT bestselling High Risk romantic suspense
on 3/22/2008

Hi Darlene,

Good question! And one I play with a lot in my own books. I can only speak for contemporaries, which is what I write, but in my current High Risk Special Ops series, I tend to use the rank of the person when we first meet them (or as soon as possible), then last name, first name, or nickname depending on whose point of view the scene is written in and how that person thinks of the character. You're right, different names are another tool we can use to reveal varying levels of intimacy.

As for writing rules (even rules of thumb), I've always believed in what Somerset Maugham had to say about them: that there are only three rules in writing the novel; unfortunately no one knows what they are. :)

Hope that helps and good luck with your writing!

Refki asks: I finished a manuscript – a novel – and send it to three different commercial editors for an assessment and a price quote. They all, more or less, quoted the same price and sent back three (free sample) edited pages of the manuscript. Besides in three cases, they all gave suggestions/comments in different sentences of my work, which to me looks more like different styles of writing, rather than real mistakes. Now I’m really confused and still don’t know what kind of editing my work really needs. Is there any source or agency, which is not business/money related, that I could send a page or two for reading and that would let me know how much editing does the manuscript need, to get it to a publishable stage? I’d like to send it to agents in a really good shape.

Answered by Refki
author of N/A
on 3/20/2008

Hi, Refki, congratulations on finishing your manuscript. Before you spend upwards of hundreds of dollars having your manuscript *edited*, have you considered joining a critique group? There are several writing organizations, which I hope you've considered. From your post, and the fact that three different editors made suggestions e.g. three different versions of your work, you're able to see that it's subjective. My advice to you is to join a critique group and always, always return the favor. Good luck.

Answered by Charlotte Maclay
author of Make No Promises
on 3/20/2008

Hi Refki. I'm going to echo Charlotte Hughes' comment and encourage you to find a critique group or perhaps sign up for a writing class at your local community college or university extension. I took my first writing class (several hundred years ago, it seems) in an adult education program. If you're not in an area with easy access to writing organizations or educational programs, try looking for online classes or critique groups. (There's one on AOL.) The point is to link up with other writers who enjoy helping each other. I confess, I once paid a 'freelance editor' to look at my manuscript before I joined Romance Writers of America. She was fine on grammar, which was help I didn't particularly need, but not on the fact the I was telling the 'wrong' story; a story that didn't fit the market. If you have to, send a notice in your community newspaper that you're starting a Writing Group, give the date, time and restaurant where you'll be meeting. You may be surprised how many folks show up. Good luck!

Arlene asks: Is it best to submit work to an agent or a publisher? And if submitting to a publisher, you get accepted, is it best to get an agent before signing a contract to help negotiate the terms?

Answered by Charlotte Hubbard
author of Gabriel's Lady--May '08
on 3/17/2008

Hi, Arlene!

Because the submission process is virtually the same to agents and editors, why not submit to both at the same time? That's how I sold my first books, and how I got my name out to agents, as well. Then, if you get an agent to say yes first, you have a better chance of him/her submitting your work to editors who'll want to buy it. And in today's market, if you get an offer from an editor first, agents will be MUCH more willing to take you on as a client! You'll compress the time this whole process takes by having both sets of publishing pros looking at your projects at the same time.

Good luck! Charlotte Hubbard

Answered by Julie Miller
author of Protective Instincts
on 3/17/2008

A lot of it depends on what publisher you're targeting, Arlene. Some publishers require you to have an agent before you submit your work to them (check publishing guidelines), while others have a standard first sale contract that they won't negotiate on much, whether you're an agent or an author representing yourself. Beyond that, a lot of it has to do with your own personality. If you have good business skills and aren't afraid to ask for things and stand up for yourself in a negotiation, then you may not need an agent at all. I know several authors who represent themselves with no problem at all. Others prefer to focus on the creative relationship they develop with an editor, and let their agent focus on the business/get tough negotiation aspect. Of course, even with an agent, you need to be the one in charge of your own career and what you want, but the agent should take a stand or be as flexible as you want him/her to be.

As to your second question, again it probably depends upon the publisher you're targeting. There are some agents who will step in and handle the negotiation, especially if you've already developed a relationship with him/her via previous submissions, having something under consideration, etc. They're looking to develop a relationship--they probably won't even ask for a percentage on that first book that you submitted and sold, but will want to handle future submissions. Others don't want to be bothered unless it's going to be a substantially large first contract, or if they weren't in on the submission phase. Many agents have contacts and routines they prefer to use, and don't like coming in at the last minute.

For me, it's been a boon to have an agent. Although I sold and handled my first contract without her without any problem. She can help smooth things out if there's a problem, schedule things between publishers, etc., beyond just selling books and reading contracts. Love my agent! I've also had a bad agent (no longer in the business) and discovered that was worse than having no agent. And to be honest, it's probably harder these days to get a good agent than it is to get an editor to look at your work. Read the publisher guidelines carefully, evaluate your own personality and career goals, then decide.

Answered by Charlotte Hughes
author of "What Looks Like Crazy"
on 3/17/2008

This reminds me of the question, "Which came first, the chicken or the egg?" I've heard that the roles of agents and editors have shifted over the years. Agents spend more time helping an author polish his/her work, and editors are spending more and more time thinking about the market, sales figures, promoting the work, and so forth. I would suggest writers check out the Market Update in the RWR and/or read through the Literary Marketplace at the library. The "LMP" lists agents who are willing to work with unpublished authors. The book, "The Writer" -- published once a year, in March, I believe -- lists publishing houses that work with new writers. Pay close attention to what agents and editors are looking for. You do not want to send a sci-fi query or manuscript to a house that is only interested in seeing contemporary or historical romance. Also, make certain you have the correct name and spelling of the agent and editor. In other words, do your homework. Be professional. Some publishers gladly accept queries from unagented authors. If the editor offers a contract, it might be wise to ask if he/she prefers working through an agent. If that's the case, the editor may even offer you the name of one they work with frequently. The agent is more likely to accept an author who has been referred by an editor with whom he/she works on a regular basis. Depending on the publishing house, an agent is sometimes able to get an author more money and better terms. That is not always the case. Some publishing houses, mostly those dealing with category romance, offer a standard contract. There is more room for negotiation on single title releases. Again, my best advice would be to hit the reference section at the library, study the LMP, and "The Writer," and take plenty of notes. Oh, yeah, one last word of advice. No matter what, never, never, never give up!

Karla asks: I was wondering where is a good point to explain a complicated family relationship that isn't obvious to the reader? I didn't want to start off the book with a whole bunch of back story, especially because I want the reader to see the dynamic in the relationship before they find out exactly what it is, but I'm not sure how far into the book is too far to bring it to light. I don't want it to seem like a curve ball or something that came out of no where, but I also don't want to write a bio for each character at the beginning of the book. Any suggestions? (I'm about 1/4 of the way into the story)

Answered by Charlotte Maclay
author of Make No Promises
on 3/6/2008

Karla, oddly enough the answer is to provide that part of the backstory when the reader needs to know the information. It sounds as though you're feeling the need to tell them now at the 1/4 point. I think you can rely on your instincts, but try not to make it a huge long expository that otherwise slows down the story. Good luck!

Answered by Joy Nash
author of Deep Magic
on 3/8/2008

Karla, This is always a tricky situation, as you've realized. Resist the urge to explain all too soon - a bit of mystery and suspense is good. On the other hand, I've read books where I got annoyed that a relevant bit of information was kept secret too long, when it would have enhanced the reader's understanding of the story and character motivations if the author had made things clear more quickly. I think it's best to bring out the backstory in logical pieces, and best if the information relates to the action at hand. Of course, that might not be the case, but you still need to get the backstory out. This is where a critique partner or early reader (even one who isn't a writer) comes in handy. It's often difficult for the author, who obviously knows all already, to know exactly where to place the backstory for best effect. Usually a pair of fresh eyes to the story will pinpoint the solution to your dilemma. Joy Nash

Connie Venturin asks: I am writing an historical romance/adventure in the time of the American War of Independence, and want to use a famous person as part of my story. His role in my book is a relatively short, but very important one. He is not disparaged in any way, and I use historical facts that are well documented regarding his part in the war, so am not writing anything that is not known. I do, however, ‘get into his head’, thus shaping a personality I can really only guess at, given his well known reputation and the facts available. My question is, is there any legal (or otherwise) reason why I should not use him in my book? Looking forward to your response.

Answered by Jacqueline Diamond
author of The Family Next Door, May 2008, Harlequin American Romance
on 3/4/2008

Dear Connie, While I'm not a lawyer, I don't see any problem with using a historical figure, particularly one whose children and grandchildren are no longer living. As you seem to understand, problems can arise with using a living person if there might be any possibility of libel. Although some authors do this -- for example, in a Hollywood party scene, they might mention some real movie stars -- it's tricky. For instance, one famous comedienne never drinks and, based on family tragedies, has campaigned against alcohol abuse, so a casual reference to her drinking at a soiree might be libelous, where another person wouldn't take offense. Further problems can arise with using a real, living person who isn't very famous. In that case, he or she might sue on the grounds of invasion of privacy (celebrities, by the way, have fewer legal protections than ordinary folk against invasion of privacy and against libel). In the case you cite, I would consider it safe enough as long as you haven't lifted large amounts of material from one particular biography (plagiarism issues). Good luck with your book! Best, Jacqueline Diamond

Dawn asks: I was just reading that when constructing a new Chapter that I should drop down 6 to 8 spaces before putting in Chapter 1, Ect. I have my Chapters at the one inch Margin and then the text starts fives spaces from there. Can I ask what you girls do? Should I drop the chapter heading down a few spaces?

Answered by Laura Hayden
author of AMERICA THE BEAUTIFUL
on 3/2/2008

Writers of all gender should start each chapter eight double-spaced lines (not spaces) from the top of the document. Starting seven or nine lines down isn't necessarily a deal-breaker. However, five lines would look significantly different than a standardly formatted mannuscript and when it comes to manuscript formatting, different is not good. You don't want any abnormaility of your formatting to outglare the shining quality of your writing. Hope this helps.

Answered by Toni Blake
author of TEMPT ME TONIGHT
on 3/2/2008

Dawn, generally speaking, a new chapter should start around a third of the way down the page. That's the usual convention, but the main thing is to present a neat, tidy, easy-to-read manuscript : ) Good luck!

Answered by Annette Blair
author of Sex and the Psychic Witch
on 3/2/2008

I always start my new chapter at the eighth double space. I've had three publishers, seven editors, and fifteen published novels, and nobody's complained. But seriously, if you write a good book, they won't. Best of luck with your writing career. Annette Blair GONE WITH THE WITCH May 2008

Answered by Rebecca York
author of BEYOND FEARLESS
on 3/2/2008

I drop the first line of a chapter down several spaces. But I don't have a hard and fast rule about where it falls BECAUSE, if I want to make it clear that there's a space break inside the chapter (as when the scene changes from one pov character to another), and that space break falls at the end of a page in the manuscript, I might move the beginning of the chapter up or down a little so that the space break is apparent. I might also move the top of a chapter up if I've got only one line of text on the last page of a chapter. That way, I don't waste a whole page at the end of a chapter with one line of text. Rebecca

Answered by Diane Gaston
author of The Vanishing Viscountess
on 3/2/2008

Dawn, I think your question is where to put the words "Chapter One." The answer is, drop down "Chapter XXX" one third of the page (or 8 double spaces), then start the text right underneath your words"Chapter XXX". Don't put "Chapter XX" up at the top margin and then drop down the 8 spaces. I hope that is clear!

Answered by Joy Nash
author of Deep Magic
on 3/3/2008

Hi Dawn, There's some leeway on this with different editors/houses. Some are pickier than others. But if you're unpublished, rest assured that no editor is going to throw out your manuscript if your chapter heading is on the wrong line! I place "Chapter XX" on Line 8 of my double spaced page, then skip one line and start the text on Line 10. Between scenes inside a chapter, I leave one line with a "#" in the center. Chapter One might be a little different when you're submitting. In order to fit you name, address, phone, etc. at the top of the page, you can drop the chapter heading down to Line 10 and start the text on Line 12. Hope this helps! Joy Nash

Jessica asks: Im writing a book, and Im in my early teens. I was wondering if I had any chance actually getting my book published. My book is about fantasy/magic, do people at the moment like that kind of genre? And were, when Im done, can I send my manu-script? Im not sure who is out there, that would take my script and read it. And also do you know were I could find diffrent meanings for words. For example another meaning for mad is angry. please help. thanks

Answered by Tracy Montoya
author of Telling Secrets
on 2/28/2008

Jessica, good for you for writing a novel at such a young age! The guy who wrote Eragon wasn't much older than you are when he wrote his book, and now it's a movie! So yes, you can get published. And yes, fantasy books are very popular now, thanks to Harry Potter. There's a book called Writer's Market that's published every year that can give you the names of different editors at various publishing houses and how you should submit to them. Some of them will want you to only submit through a literary agent, and some will allow you to submit on your own. Writer's Market may have literary agents listed as well--it's been awhile since I've looked through it! You may also want to read a book like The Sell Your Novel Took-Kit, which tells you exactly how to put together a proposal package to sell your book. And finally, the reference book you want to look up similar words is a thesaurus. Good luck!

Answered by Annette Blair
author of Sex and the Psychic Witch
on 3/2/2008

You always have the chance of getting a great book with a great plot published, though if you're underage, the contract may be with your parents. I don't know the lagalities. You need to know what kind of publisher publishes the kind of book you're writing and look them up on the Net to check their requirements. You can find different meanings for words in thesaurus.com or urbandictionary.com. There are several places to look online, and there are many reference books out there with slang and pop culture meanings. Best of luck to you in your writing career. Oh, and school comes before writing. Otherwise, you won't be able to handle the business end of a writing career, a challenge to all of us. Annette Blair GONE WITH THE WITCH, May 2008

Rodrick asks: Hi! this is Rodrick and I sent the question a few months ago for How my Motivation should go on and to counter the Muse-Day off. I'd like to thank All the people here who gave their advices, they're the best! And now I've finished the book and my new question is; Should I send my manuscript to One agent first then wait for a reply, then to another agent if I was rejected by the first?, or should I send all at once then wait for the person who'll consider my work first? Please do help and thanks in advance!

Answered by Helen Brenna
author of Peak Performance, 5/1/08
on 2/28/2008

Rodrick, I think sending your work to one agent at a time will make the process much slower than it need be. I'd send to your top, say, 5 or so agents. Once you've heard back from 2-3, send out another batch of five. Always keep something out there. A couple things to consider, though. Some agents only take queries, some take partials, but I'm not sure there are any agents who will take full, unsolicited manuscripts. Follow the agents guidelines for submissions. Also, if you get an agent who offers you representation, courtesy required you call the other agents you've queried and not yet heard back from to give them the chance to read your work. Good luck!

Answered by Carolyne Aarsen
author of The Price of Fame
on 2/28/2008

Writing is a business and there are times you need to put away your writer's persona and put on the business one. If you are selling a bicycle, you don't go individually from potential buyer to potential buyer, hoping one of them will buy it. You put it out there for whoever is interested. I know you'll hear this piece of advice quite frequently, but if you have two agents interested in your work, this is a good thing. Then you get to go from one to the other and ask them what each of them can do for you. Just make sure, though, that you go with an agent who doesn't promise you the moon, but promises that they are excited about your work and will be invested in your career.

Answered by Rebecca York
author of BEYOND FEARLESS
on 2/28/2008

Rodrick, you can send material to more than one agent at a time. But you MUST tell them what you're doing, so they don't think you've sent to them exclusively. Also, most agents don't want a full manuscript. Check to see what if they want a querry letter or a letter and chapters. Also important: You must send an SASE if you want a response from them, because they will not pay the postage. Rebecca

Answered by Ann Roth
author of The Pilot's Woman, March 2008
on 2/28/2008

Rodrick- Different agents have different submission requirements. Check on internet or Writers Market (you can find a copy in any library) for what the agent wants. Be sure also to make sure the agents you target represent what you have written. Then send out queries to several. If you wait to hear back, you'll spend years sending out just this one novel. Multiple submission is best. If an agent asks for an exclusive (meaning they want you to submit only to them for a specified period of time) either give them a maximum of two weeks or tell them you can't grant an exclusive. Doing so won't hurt your changes a bit. Best of luck!

Arlene asks: I have submitted a query letter to 5 different agents and been rejected with the same letter that my work doesn't meet their needs. I know that is just a form letter, but I am writting historical romance and though I know it may be my story that needs improving, I wonder if agents and publishers are looking for books set in only certain periods of time. Mine is a pirate novel set in 17th century England.

Answered by Annette Blair
author of Sex and the Psychic Witch
on 2/26/2008

Arlene, If you're getting form letters, it could mean that they didn't read very far, which could mean that you didn't start in the midst of action. You may have started too soon or with backstory. I haven't written historicals for a few years but the 19th century used to be more popular than the 17th century in 2004 when my last historicaol came out. On the other hand, it would seem as though Pirate stories would be popular, given Pirates of the Carribean. So my suggestion is that you look at your writing and see how it can be improved. Join RWA. Attend chapter meetings, workshops, and conferences or buy a book on writing romance. Best of luck to you. Annette Blair GONE WITH THE WITCH, May 2006

Answered by Phoebe Conn
author of MANGO SUMMER January 2008
on 2/26/2008

Dear Arlene, A writer does not need an agent to sell to many publishers. Who is publishing the type of books you love to read? Check that publisher's web site for information on how to submit to them. Writers often work for years and write more than a dozen books before they make a sale. Did you realize most writers do not sell their first efforts? You'll learn more with each book you write. Take classes, do research, read the best selling authors. Do your best to be professional, and don't quit. That's the only secret there is: never give up.

Darlene DeWitte-Bassett asks: My question is more of a personal nature, I have several pieces that are ready to be submitted to publishers, but I find myself hesitating because I cannot convince myself they are, or every will be "good enough". How does a writer ever gain enough self confidence, or grow thick enough skin to take the next step, and mail off your first works. Darlene

Answered by Rebecca York
author of BEYOND FEARLESS
on 2/23/2008

All of us have to learn how to write and polish a manuscript. I wrote my first novel in a class I was taking at my local community college. I read chapters to the class, got feedback and revised them. Then I revised and edited the whole manuscript. When I was finished, I gave it to several writers I trusted and asked if they thought it was polished enough to send out. Are there people you trust who could read your manuscript and comment? If not, you might look for a freelance editor who could help you. Rebecca

Answered by JoAnn Ross
author of FREEFALL, a NYT bestselling High Risk romantic suspense
on 2/23/2008

Hi Darlene --

You're right, this is a personal type question and everyone's answer will vary. First of all, there are a LOT of books out there on writing. The problem is that many will contradict each other, so, while they can be helpful, the only way to really figure out what works for you is by reading a lot and writing a lot. Every day, to stay in the groove. And, of course, you need to learn the basics of craft: grammar, spelling, manuscript preparation, etc, so a lack of skill doesn't cost you the sale of a great story.

Then, after all that, you can do as Ruth suggests (which actually doesn't work for me -- 26 years after I started, the only person who reads my work before my editor continues to be my husband) or you can just take a deep breath and dive into the water, knowing that rejection is part of this business. I once had an editor for a very small town weekly newspaper in New Mexico tell me she couldn't imagine ever buying anything I wrote. Yet I went on to write for several years for Arizona's largest daily newspaper.

I had twelve rejections on nine completed novels. But after that I've sold somewhere around a hundred. I'm not saying that rejection doesn't sting. It always will and, imo, writers can never become too thick-skinned or they can't be open enough to write characters and stories that touch readers emotions.

Even after those first sales, I've had books rejected. Fortunately, they've gone on to sell to different publishers, but this business is so subjective, it's important to remember that rejection isn't personal. What doesn't appeal to one editor may be exactly what another editor is looking for. One thing I do know for certain is that all those years I was hiding my work away in my piano bench, not once did any editor come to my door and ask to see it. If you choose to write just for yourself and family and the pleasure of writing, that's cool. If you want to be published to a larger audience, and you believe your work's ready, then go for it. And good luck!

Answered by Helen Brenna
author of Peak Performance, 5/1/08
on 2/23/2008

Mailing our writing off is a big step, Darlene. Don't minimize it. Then again, don't let it paralyze you either. You've come so far and worked so hard for exactly this. Just do it, recognizing there is no such thing as a perfect book. Joining critique groups and entering contests can help get a writer ready to submit to editors. Baby steps lead to bigger ones. And your right, a thick skin is important in this business. Even published writers get rejections on proposals, revision letters on contracted work and reviews that aren't exactly what they'd hoped for. We all grow and improve as writers. As long as I've written the best scene or and the best book I can given my abilities at the time, I can sleep soundly at night! Good luck

Answered by Charlotte Hubbard
author of Angel's Embrace
on 2/23/2008

Darlene, next time you go to a bookstore, gaze at all those gazillions of books and tell yourself that every one of those authors had your same crisis of confidence! Every one of us--and many of us have doubts about selling the second, third, etc. books! And then ask yourself how you'd feel if your favorite authors had never overcome that obstacle. Fear of rejection is part of the game, and the only way to overcome it is to go ahead and play! If you have several projects ready to submit, do your market research and prepare a list of publishers/editors who might buy each one. Then, if they get rejected, you allow yourself time to be upset and stick them in an envelope addressed to the next house on your list. If it's systematic, it's easier. If you really want to make a game of it, start a collection of rejection letters. AIM for dozens! Remind yourself that even Stephen King, Nora Roberts, etc. have gotten them and still, from time to time, get a NO on some of their ideas. The sooner you accept that a rejection letter is only another step in the process--NOT a sign that you're a failure as a writer--the sooner you'll pay attention to the advice you receive in them, and the sooner you'll get published. More often than not, getting published is as much about perseverance as it as about talent. Good luck! Charlotte Hubbard

Answered by Annette Blair
author of Sex and the Psychic Witch
on 2/26/2008

Darlene, I held on to my first two manuscripts for a couple of years, so I understand where you're coming from. Once you send them out, you'll know where you stand with the editors or agents you sent them to. Don't assume they're all wrong or all right, but if two tell you the same thing is wrong, make sure you're doing it right. Rejections give you a thick skin. I should know mine is 112 rejections thick. But I'm a National Bestselling author now and if I'd never sent them out, I wouldn't be any kind of author. I found that steaming after a rejection, then hurting, then sleeping on it, usually had me thinking of ways to fix it in the shower the next morning. The very best of luck to you and may you sell on the first try. Annette Blair GONE WITH THE WITCH, May 2006

Dawn Binkley asks: My first novel is done. I am working on my query. My question’s are: If I get the glorious call or letter, requesting my manuscript. Do I send the acknowledgment page with it or does that appear amateur? Should I only send that if they accept my book? Of course I am an amateur. But I don't want to appear that way. So thank you so much for your time and help.

Answered by JoAnn Ross
author of FREEFALL, a NYT bestselling High Risk romantic suspense
on 2/22/2008

Hi Dawn, We're all amateurs at some point, but I understand how you feel. Save the acknowledgment page for when the publisher buys the book. You'll undoubtedly have some suggested revisions, and I usually send mine in with my revised ms. Good luck and congratulations on finishing that novel! It's an accomplishment few people achieve and you should feel really proud of yourself!

Answered by Helen Brenna
author of Peak Performance, 5/1/08
on 2/23/2008

Only send in your manuscript itself. The author pages, including your dedication and acknowledgments, including possibly a bio are sent much later, after you've signed contracts. Your editor will let you know when she needs it.

Answered by Annette Blair
author of Sex and the Psychic Witch
on 2/26/2008

Dawn, if they call requesting your manuscript, that doesn't mean they're buying it. It means they're willing to read it. If they call to say they're buying your manuscript, ask when you should send an acknowledgement/dedication page. It may need revisions and sending the acknowledgement/dedication would work best when you return the revised manuscript. I rarely send mine until the copyedit stage. Annette Blair GONE WITH THE WITCH May 2006

Paul Reeder asks: I am writing my first novel on my PC my goal is to have a 300 page novel when published. I understand the published finished product word count is different for thr PC word count. About how many pages on the PC word count would convert to a 300 page published novel. Thanks.

Answered by JoAnn Ross
author of FREEFALL, a NYT bestselling High Risk romantic suspense
on 2/22/2008

Hi Paul -- Most publishers these days are looking for somewhere between 90,000-100,000 words and go by your computer count, but a rule of thumb I've been following for 25 years is that 25 lines per page will usually work out to about 250 words. My most recent book ended up 375 printed pages (not counting the excerpt for the upcoming book) and I seem to recall turning in about 400 or so manuscript pages. Hope that's some help! And good luck with that novel!!!

Answered by Ann Roth
author of The Pilot's Woman, March 2008
on 2/23/2008

Paul- Different houses count in different ways. Some use the actual ms. wordcount (found under Tools of you computer). Others do it by pages. 300 pages is roughly 75,000 words. 400 pages is roughly 100,000 words. Depending on the publishing house, you'll probably want something between this word count. Best of luck, Ann

Karla asks: I have a character in my story who is bilingual, but the only time he doesn't speak English is when he is speaking to members of his family. When writing a scene that involves him and his family members, should I write the scene in that other language (which happens to be Japanese), or should I write it in English and just include in the story that he's speaking another language?

Answered by P. J. Mellor
author of Make Me Scream
on 2/22/2008

Hi, Karla--

Unless you are planning to sell your book to a Japanese publisher/target Japanese speaking readers, I would steer clear of using Japanese (or any foreign language)dialogue because it's tedious/impossible for most readers to read and will take them out of the story. You can let the reader know the character is speaking Japanese by adding a word of two in italics and/or telling them so in narrative. Bottom line, you want to appeal to the broadest reader base as possible.

I hope I helped. Good luck with your story!

PJ Mellor

Answered by Annette Blair
author of Sex and the Psychic Witch
on 2/22/2008

I think that you should write it in English so that the editor or agent you submit it to can understand your story. I can't imagine that too many readers out there can read Japanese either. And if you believe that his conversations with his family are window dressing and don't matter to the reader, then they shouldn't be there, anyway, because they don't move the story forward. Maybe the reader only needs to know that he's close to his family, in which case he make his communications with his family known to a secondary character. Best of luck with your writing career! Annette Blair

Answered by Rebecca York
author of BEYOND FEARLESS
on 2/22/2008

If you write the scene in Japanese, only a few people will be able to read it. The way I handle this is to say, "Speaking in Japanese, he said . . ." Or you could start off with a Japanese word or phrase. Like "Hello," or "good morning," or whatever he says to his family. Then say he continued in Japanese (and you write it in English.) BTW, that first word, "hello" would be transliterated. In other words, you'd sound it out with English characters. Rebecca

Answered by Sue Swift/Suz deMello
author of SPY GAME, by Sue Swift
on 2/22/2008

Karla, I encounter the same dilemma frequently. In SPY GAME, there's a scene in which two people are speaking in Cantonese. I simply wrote: A deep, soft voice came from behind her, speaking in Cantonese. (after a little internal monologue, I wrote:) ...she replied in the same language. If you want to check that out, SPY GAME is currently available and the conversation I reference is on page 188. In another book, ENGAGED TO THE SHEIK, the hero, a prince, is chatting with his family. I don't specify what language they're speaking until his brother makes a pun in English, but then I note that the conversation continues in Arabic. The conversation is at pages 137-139. In other words, I don't make a big deal about the language thing. If you write the scene in Japanese, you're going to lose most of your readership, unless the book is being sold to a Japanese publishing company and sold in Japan, where quite a large proportion of people are bilingual. You just mention that they're speaking Japanese, and write the scene in English, if you're planning to sell your book to a US, UK or Australian publisher. Hope this helps, and best of luck to you. Sue Swift

Answered by Barbara Huffert
author of Bound Brits Anthology
on 2/22/2008

Is the conversation essential to the story? Are you specifically targeting Japanese-speaking readers? If not then you really need the English translation so everyone knows what's going on.

Answered by Ashley Ladd
author of The Perfect Gift
on 2/22/2008

My advice is to tell the reader they are speaking Japanese otherwise it will get tedious to repeat or you'll lose the reader thoroughly if you don't paraphrase in English. That said, I would pepper in a couple words or very small phrases in Japanese that you do explain to get the flavor and authenticity. Good luck!

Arlene Richard asks: On writing historical romance, is it more acceptible to publishers if you write love scenes where the heroine and hero don't actually make love? Another words, is it better to show sexual tension and not let them go all the way? I ask, because it is in the 17th century and a period of time when a woman was not considered respectible if she engaged in sex without being married.

Answered by Rebecca York
author of BEYOND FEARLESS
on 2/9/2008

Historical romances are not reality. In many of them the h/h do make love. In historical novels (not romances) they are less likely to make love. And there are some sweet romances where the h/h do not make love. Sexual tension is always good! Rebecca

Answered by Annette Blair
author of Sex and the Psychic Witch
on 2/9/2008

Hello Arlene, I wrote nine historicals, before I started writing contemporary comedy, and they all had sex in them, even the Amish historicals. Sometimes books are plotted around the fact that a woman is being shunned or kept in a cottage in the country because of her "fall" from grace, and she manages to find her hero anyway. It really depends on the publisher that you're targeting. Some publishers only want traditional or sweet romances, meaning those where they close the bedroom door, or a virgin doesn't have sex. Some publishers want sex in every story, no matter what, and you have to figure out how to make it work. What kind of historicals do you want to write should probably be the first question. Writing from the heart, rather than for the market, always makes for a better story. If that question is answered then figure out who you want to sell you book to and look at their guidelines. Best of luck with your writing career. Annette

Answered by Ann Roth
author of The Pilot's Woman, March 2008
on 2/10/2008

Arlene- Every publishing house has subgenres under their historical lines, some sexier than others. Check online and other places for guidelines. Good luck!

Answered by Charlotte Hubbard
author of Angel's Embrace
on 2/11/2008

Arlene, I've written historicals that were extremely racy and now I'm writing a squeaky clean series. This matter of a sexy, sultry heroine really has more to do with which audience and publisher you're targeting your story for than the time period you're writing in--and, most of all, it depends upon the sort of woman your heroine is. If she's a "good girl", she'll behave accordingly. If she's more adventurous, her passion will find a way to express itself with the hero, and he'll love and respect her for sharing that part of herself despite society's rules. Once you decide on your characters and your readership, you'll have the best answer to your question!

Answered by Joy Nash
author of Deep Magic
on 2/11/2008

Arelene, You have to write what you feel is best for your story. That will make your book as powerful as possible. When an author writes something she doesn't believe in, it shows. That said, you must also understand your targeted publisher and market, and what your potential readers will expect. Luckily, in the romance genre, there's a wide range of "heat" in the market, so I'm sure your story can find a home whether or not there's a "completed" love scene. Something to keep in mind when you're writing historicals. Even if there's a perception that "most" people acted a certain way in a certain time period, fiction of every genre often deal with the exception to the rule rather than the run of the mill. So your heroine is allowed to skirt the boundaries of accepted behavior of the time, as long as you can give her a strong motivation for her shocking actions. Joy Nash

Pamela Diamond asks: I have written a manuscript and when I was writing it I never gave any thought to the fact that I would want to get it published. I was caught up in the story and when things came to me I put it on paper. When it was done I only then thought that it might be publishable. The problem is that when I was writing it I never followed any guidelines set by a publisher. Now that it is finished I want to get it published and I was wondering if you might have some idea of what I would need to do in order to get someone to read it.

Answered by Ashley Ladd
author of The Perfect Gift
on 2/5/2008

First, I would find a critique partner or group to help you go through it and polish it. They might also be able to help you decide which publishing house and or agent to submit it to. Without knowing more about the story - i.e. the length, the genre, the heat level if a romance, I couldn't tell you which publisher to submit your baby to. Is it similar to other novels you've read? If so, check out those publishers' guidelines to see if your novel fits. Good luck!

Answered by Ann Roth
author of The Pilot's Woman, March 2008
on 2/5/2008

Pamela- How wonderful that you wrote a whole book, just for you. I've done that myself. Now that you're thinking about publication, decide what you've written. A memoir? SciFi? Romance? Figure out the genre. Then research which publishers publish that genre. You can find that info online or in one of the writing references available the library or bookstore. Next you'll want to edit and revise your work until it's a smooth and good as you can make it. Then maybe find a critique partner, someone who knows something about writing and wants to publish their own work. Let the partner read it and listen to their comments. If you agree with the comments, make changes. You might also want to join a writing organization. Do a 'net search to find a chapter in your area. Best of luck!!

Answered by Sue Swift/Suz deMello
author of Spy Game by Sue Swift
on 2/5/2008

If I were in your position, I'd review the writing guidelines out there and find a reputable publisher who wants something like your manuscript. Most of us want to retain the integrity of the writing as well as avoid extra work! Best of luck, Sue Swift/Suz deMello

Darlene asks: I have aporx. 1/3 of my novel compleated. I have a detailed outline for the remainder of the book. My question is how to estimate the total word count for the novel from the outline. I need to be able to include "estimated word count" of the entire novel when pitching to the publisher.

Answered by Jenna McKnight
author of Witch in the House
on 1/27/2008

Darlene, If you're pitching to a publisher, you have to find out what word count they're looking for, determine if you can make that with the ms in question and, if so, then state that as your estimated word count. It doesn't do any good to state your ms will come in at 60K when they're looking for 90K. Refer to publisher guidelines to see what they're looking for; used to be you could get those on their websites, or at conferences. Hope that helps, Jenna McKnight

Answered by Ann Roth
author of The Pilot's Woman, March 2008
on 1/27/2008

Darlene- If you haven't sold a novel in the past, most every editor and agent will require that you finish this one before they look at it. There is a good reason for this. You would not believe the number of folks who never finish their work. Having been burned before, editors and agents think, why spend valuable time reading and considering a work when the writer may never finish it? One you sell a novel or two and get a track record, this changes. Then you can sell with a synopsis and three chapters, or sometimes just a synopsis. Best of luck!

Answered by Joy Nash
author of Deep Magic Jan 08
on 1/27/2008

Darlene, A good way to estimate the finished length of your book is to count the number of scenes you have written, then calculate the average number of pages per scene. Then look at the outline for the rest of the book and estimate how many scenes you have left to write. Take the total number of scenes for the entire book, and multiply by your average number of pages per scene, and you should have a good ballpark estimate of the length of your book. Just make sure it's in line with the length your target publisher is looking for. Remember, manuscripts can always be cut or lengthened. A book that is too short or too long for the publisher's purposes will often get rejected before it gets read. Joy Nash

Caela asks: Which point of view is normally more entertaining for readers, first or third person?

Answered by JoAnn Ross
author of FREEFALL, a High Risk romantic suspense from Signet, coming 2/05
on 1/24/2008

Hi Caela! That's a tricky question, but I've always believed that what works best for the writer works best for the reader. Having said that, some genres -- mystery, Chick Lit, and Southern Fiction, for example -- seem to use more first person POV, but again, it's a writer's decision.

I'm currently working on book #101, and have always preferred writing in third person, because it allows me to show what different characters are thinking, but I enjoy reading both. Also, quite honestly, third person is probably easier to sell to a publisher, all things being equal. Unless, of course, it's a dynamite first person POV book that blows their socks off.

Did I mention it's mostly about what works best for the writer? ;)

Answered by Joy Nash
author of Deep Magic
on 1/25/2008

First- or third-person point of views can be equally entertaining for readers. More genre fiction is third person POV, while first person POV is more common in literary fiction. First person POV also dominates the chick lit genre. Some people think you can get deeper into a character's head with first person, but I think third person can be equally powerful. If you have trouble maintaining deep POV in third person, a good trick is to write a few scenes in first person, then go back and switch the scene to third person. I've heard some readers say that they hate reading first person POV. I've never heard anyone say that they hate reading third person POV! I think you should use whatever POV appeals to you most, and fits your story best. Do you use the POV of multiple characters in your book? It's tricky using first person for one character and third person for others, but it can be done. No hard and fast rules here! Joy Nash Deep Magic (1/08) Immortals: The Awakening (8/07) A USA Today Bestseller coming (10/08) Immortals: The Crossing

Emily asks: The book I am currently writing has a prophecy. I know how it's going to go, but I'm unsure how to introduce it. Should I have it come in a vision, or should the character hear it by mistake? I know I can write whatever I want, I'm just curious as to what seems to be the 'better' way to go.

Answered by Joanna Wayne
author of Point Blank Protector
on 1/23/2008

I think the answer to that depends on the rest of the book and the character in question. I would only use the vision if this is the type of story that lends itself well to that and it would not seem unbelievable to the reader. Also, consider the character. Is he/she the type who might have a vision because of their sixth sense, psychick ability or their level of spirituality? If not, have the character or overhear it, or better yet, have them discover the information in some believable fashion.

Swe Brinin asks: if writing in first person, is it possible to use dialogue, eg. I saw him walking towards me. "You are a liar!" He said gruffly. Is this possible or does it confuse the reader?

Answered by Charlotte Maclay
author of Make No Promises
on 1/21/2008

Swe, that wouldn't confuse the reader. Your first person character is 'hearing' the dialogue. But I think you can write the tag better. Someting like - "You're a liar!" His gruff accusation shot through her like an arrow right to her heart. That will communicate the emotion better than the reader just learning the speaker spoke gruffly. Hope that helps. Charlotte Maclay

Amanda asks: Hello, I know alot of writers research topics that they may not have any interest in prior to the story/book they are currently writing. I have a certain topic that I need to research for the current book I'm writing and I've tried to look up what I need to research and I'm just not finding the answers I'm looking for. This is important, as you can guess, because I want to make the book correct. It's a topic of profession. My question is simply this: Is it okay to contact someone within the specific profession and ask them what I need to know? Thank you for any advice you could give me, you all have been a great help to me in the past.. - Amanda

Answered by JoAnn Ross
author of FREEFALL, a High Risk romantic suspense, on sale February 5th
on 1/21/2008

Hi Amanda. I'm one of those who firmly believes about writing what I want to know about, rather than what I already know because I hope my enthusiasm for the subject shows up on the pages of my books. And absolutely, yes, contact the person. You'll find most will want to help you, if for no other reason, than to get it right. I've contacted FBI agents, fire investigators, cops, bomb experts, journalists, politicians, military people, and most recently, for a book I have coming out in September, a Soviet Air Force officer regarding a very rare Soviet Special Ops automatic rifle I wanted to use in the story. He actually offered to create a rifle (fictional!) for me. I politely declined, but appreciated the offer. :)

Answered by Ann Roth
author of The Pilot's Woman, March 2008
on 1/22/2008

Hi, Amanda- I do this all the time. You call, tell the person who answers the phone that you're a writer and you need info on whatever the subject is. Ask if you can talk to someone (or tour the facilities, etc.) Most people are thrilled to share their expertise. Then if you sell the book you give the person(s) special thanks in the front of the novel and you send them an autographed copy. Have fun and best of luck!

Arlene Richard asks: When an agent advertises that he will see a short synopsis but doesn't indicate how many pages, what would be considered the right amount of pages to submit? My synopsis is four pages long, and I'm not sure if that would be considered short enough.

Answered by Charlotte Maclay
author of Make No Promises
on 1/20/2008

Arlene, I think 5 pages and under is considered a short synopsis. So I'd stick with your 4-pager. Good luck! Charlotte Maclay

Answered by Jacqueline Diamond
author of The Family Next Door, May 2008, Harlequin American Romance
on 1/20/2008

Three to five pages is considered a short synopsis. Be sure you tell the agent how the book ends. Editors and agents are not like buyers in a store, so don't worry about spoiling the surprise.

In writing a synopsis, my tip is to tell it as if you were explaining the story to someone verbally. Don't get caught up in minor details; make it interesting, convey the excitement and the emotions, and give the reader a feel for the flavor of the story. If you're writing in a humorous, casual voice, for example, use that in your synopsis as well.

I've included a lot of writing tips on my website. Feel free to check these out at www.jacquelinediamond.com. Good luck!

Answered by Annette Blair
author of Sex and the Psychic Witch
on 1/20/2008

Hi Arlene, I would certainly consider 4 pages to be a short synopsis. Congratulations on the request and best of luck with your submission. Annette

Answered by Patricia Rosemoor
author of Wolf Moon
on 1/20/2008

Arlene -- Four pages is reasonably short, but you might want to trim the synopsis by a page, if possible. Patricia

Answered by Joy Nash
author of Deep Magic
on 1/21/2008

Arlene, Most agents and editors are insanely busy, so keep it as short as possible--but be sure to introduce your characters, theme, set-up, major plot points, and resolution. If you have 4-5 pages, double spaced, that's about right. More important than the length is to include all the items mentioned above, equally weighted. In other words, don't spend three pages describing the characters, set up and opening scene, and one page on the other 80% of the book. Be sure the ending is included. I've heard agents grumble about how often they receive synopses that are really just long blurbs -- "and you'll just love what happens next!" Joy Nash

Answered by Sue Swift/Suz deMello
author of Spy Game by Sue Swift
on 2/5/2008

4 pages is fine. If the agent wanted a specific number, s/he would have said so. Don't mess up your head worrying about this. Regards, Sue Swift/Suz deMello

Donald McNeely asks: I am in the process of writing my autobiography at the age of 73. Any tips on chronological organization would be greatly appreciated. also what are the chances of ever getting an autobiography published

Answered by Charlotte Maclay
author of Make No Promises
on 1/15/2008

Donald, I think one of the best gifts you can give to your children and grandchildren is your personal history, where you came from and their own history. Unless you're a celebrity, and few of us are, there's not much chance to find a big market for your autobiography. That doesn't make it any less important to those you love. I think what they'd like to know about you are the 'small' things - what is your best memory as a five-year-old, did your siblings pick on you or did you pick on them, what was the favorite story your mother told you. It's the little stuff that will bring you and your history to life for your children and grandchildren. Don't think in terms of publishing your book - though that would be incredible, of course. Think of what you'd like your offspring to know about you,, what you've learned in your seventy-some years and the joys you experienced in your life. Good luck! Charlotte Maclay

Arlene Richard asks: in submitting work to agents, is it ok to submit to more than one agent at a time? The reason I ask is because when I have submitted to them one at a time, it can take four or five months to hear back, and I feel as if it holds up the time I could be submitting to others.

Answered by Annette Blair
author of Sex and the Psychic Witch
on 1/13/2008

Hi Arlene, Find out first if any of the agents you're interested in want exclusives. I ran into that with my dream agent. And because she was my dream agent, I submitted to her first, told her I knew she wanted exclusivity, and I was giving it to her, but I needed an agent and would like to continue looking within a reasonable period of time. As it turned out, I didn't need to keep looking, and we've been working together for years, but I was up front with her about time not being open ended. If they don't say they want an exclusive, I'd send them simultaneously, but don't try to juggle too many balls at once. You're right, you could hit old age if you waited for them separately. In my early years as a writer, I once waited a year for a rejection. That's nuts. That's when I started checking agent requirements, and sending queries in small batches, from a pyramid of favorites I'd made myself, top choices at the top, of course. Best of luck to you. Annette

Answered by Jennah Sharpe
author of Shifting Sideways Book 2: Darkly Loyal
on 1/14/2008

It is absolutely okay to submit to more than one agent at a time. There are one or two that I know of that ask you not to but most expect it. Keep submitting until one of them asks for an exclusive.

Answered by Jacqueline Diamond
author of The Family Next Door, May 2008, Harlequin American Romance
on 1/14/2008

Dear Arlene,

This is a business; you aren't just a writer, but a businesswoman as well. Why should you sit around waiting while your ms. molders at the bottom of a pile on someone's desk? There's no reason to restrict yourself unless an agent you're dying to work with insists upon an exclusive. In that case, I suggest telling him/her that the work is exclusive for one month.

Generally, I'd suggest submitting to half a dozen agents at a time. This leaves you scope to revise if you receive several comments that repeat the same point. Meanwhile, I hope you're entering contests that provide feedback from judges, such as the one offered by the Orange County chapter of Romance Writers of America (www.occrwa.com -- click on contest link).

Even published authors can take a while to find an agent these days. Good luck in your hunt!

Answered by Ann Roth
author of The Pilot's Woman, March 2008
on 1/14/2008

Arlene- Multiple submissions are the only way to go. Otherwise you'll spend years waiting, and that's not fair to you. If an agent contacts you to say s/he is seriously interested, that is the time to tell said agent your work is elsewhere and to let the other agents know what's up. Even when an agent asks for an exclusive (say they want a month to read it, with no other agents involved), I never give it to them. If they want you, they'll move quickly. Then, problem solved. Best of luck! Ann Roth

Answered by Summer Jordan
author of Fantasy Man
on 1/14/2008

I'd query several or submit partials, or whatever you learn from their guidelines that they want. If one asks for a complete manuscript, send it and mention you have queries out to others. If a second one asks for a full ms, reply that you have one out to another publisher but (unless the first asked for an exclusive)advise asker #2 that it's out to someone and do they want to see it anyway? If you grant anyone a complete ms exclusively, give them a time period in which they need to reply. Otherwise, your ms may be out of circulation for an unreasonable length of time. Best Wishes! Summer Jordan ~ Full complex stories…Life, love, conflict, humor and the sensual and erotic moments of two people in love. FANTASY MAN LET ME ENTERTAIN YOU (Wives-R-Us Book 1) BREAKING THE RULES (Wives-R-Us Book 2 ~ now available) www.total-e-bound.com

Answered by Suz deMello/Sue Swift
author of Spy Game, Feb 2008 by Sue Swift
on 1/16/2008

Of course! Submit to as many as you want at any one time.

ann asks: What is the average response time for the Silhouette Nocturne line? The website/submission guidelines don't list it. Thanks!

James McCarthy asks: As a general rule, throughout a novel, what is the best way to to present a character's thoughts, in the first person or the third person? If "Daniel" is a main character, is it better to write "Daniel thought to himself 'I can't believe she just kicked me.'" or to write "Daniel couldn't believe she kicked him." Thanks!

Answered by Diane Gaston
author of The Vanishing Viscountess, Harlequin Historical, Jan 2008
on 1/8/2008

James, In order to give the reader that sense of being "right there" with the character and also to keep the pace from dragging you want to be directly in Daniel's point of view. You want to "show" what he is thinking, not "tell" what he is thinking. Both your examples are "telling." You want to show the action that led to his thought. Show the kicking. e.g. Alice's spike heel dug right in his shin. (then SHOW Daniel's physical reaction)Daniel grabbed his leg. then SHOW his thought) I can't believe she just kicked me. So the sequence goes: Alice's spike heel dug right in his shin. Daniel grabbed his leg. I can't believe she just kicked me. You can reverse Daniel's action and thought: I can't believe she just kicked me. Daniel rubbed his leg. That he is thinking it is implied and the reader knows Daniel is thinking because he was just kicked. If you must "tell" what Daniel is thinking, use "Daniel thought" but put it AFTER the thought to give the illusion that the reader is right there with him in his head: I can't believe she just kicked me, Daniel thought. I think that is weaker than just showing, though. Don't use "thought to himself" because "to himself" is implied. Who else could he "think" to? Those extra, unnecessary words just slow the pace. Most of the time you cannot go wrong by just going directly into a character's thought and not using those "showing" tags. "Show not tell" as much as possible.

Answered by Lyn Cash
author of Who's Your Daddy
on 1/8/2008

There's no set way, IMO. Editors seem to prefer action tags as opposed to dialogue tags, anyway, so I'd use the line as internal monologue set in italics rather than as a dialogue tag of any sort. Example: I can't believe she just kicked me. Much of how you handle this will be your personal style. My only other suggestion is that if you write it thus: Daniel couldn't believe she kicked him...use "had" since it's already happened. In other words: Daniel couldn't believe she'd kicked him. Best! ~ Lyn

Answered by KS Augustin
author of Combat! from Samhain Publishing
on 1/8/2008

Hi James! Oh the second take is definitely more immediate, which is what you should aim for. The first, with "Daniel thought" then "I can't" has the effect of distancing the reader from the prose. Try reading it out aloud and you'll hear the difference.

Answered by Vicki Lewis Thompson
author of Over Hexed
on 1/8/2008

Door Number Two, for sure! It's cleaner, less wordy, more elegant.

Answered by Ashley Ladd
author of The Perfect Gift
on 1/8/2008

I much prefer "Daniel couldn't believe she kicked him". Even better, use internal dialogue. "I can't believe she just kicked me." (italicize it but don't put the "Daniel thought to himself" part. I hope this helps. Good luck. Ashley

Answered by Summer Jordan
author of Breaking the Rules
on 1/9/2008

Using the word "thought" takes the reader out of the story. It depends on whether you're writing the novel in first or third person, but either use the latter or better yet, include some action. Daniel rubbed his shin. I can't believe she just kicked me. Italics show he's thinking this to himself. Best wishes! Summer Total-E-Bound author

Answered by Amy Ruttan
author of MASQUE OF DESIRE from Ellora's Cave
on 1/9/2008

The characters thoughts should be in first person "I can't believe she just kicked me," but instead of using the end quotes which can mistaken for actual dialogue, when you are writing a character's internal thoughts underline the passage or use italics.

Answered by Red Garnier
author of THE SHEEMAN - Loose ID
on 1/9/2008

Hi there! I believe it could be done either way. :) Usually, if I have a lot of dialogue in the scene and want to slow down the pace, I do the third person; "That was totally uncalled for," he gritted. He couldn't believe she'd kicked him. If the POV has a lot of narrative prior to your character's important "thought", maybe you can emphasize that particular thought (to keep it from getting lost in the narrative) by using first person. She was a handful all right. He rubbed the sore spot, scowling. (italicized) I can't believe she kicked me! (break italics) He paced around, determining a course of action . . . Some authors use only the italics to hightlight the character's thoughts, making it understood he or she is thinking to himself, while others finish it with the, "he thought to himself" or a simpler "he thought". I hope this helps! :)

Answered by Sedonia Guillone
author of Barely Undercover (Ellora's Cave)
on 1/9/2008

James - The best way to express the characters thoughts is to show as much as possible without "telling". This makes for a much more colorful and interesting story. Of course, in the example you presented, it's better to say, 'Daniel couldn't believe she just kicked him.' However, you can improve on that as well. For example, Jane (let's call her) has just kicked Daniel. I would write: Daniel stared at her, eyes wide while he rubbed his leg. "I can't believe you just did that," he growled. There will be times when you'll need to just tell the readers something for expediency, but if you're portraying a particularly important moment between two characters, show as much as possible.

Answered by Renee Field
author of Rapture by Cerridwen Press
on 1/9/2008

It depends on what the author is trying to convey. I've used both examples before. In the immediate, I'd tend to write. "Daniel couldn't believe she kicked him." But again, that might also depend on the flow of the novel.

Answered by Erin Aislinn
author of Earthly Possession
on 1/9/2008

Once you establish a character's POV, and I'm assuming you're writing third person narrative, you should never have to write 'he thought to himself' at all. We're already in that character's POV. We know these are his thoughts. He is the only one doing the 'thinking', so restating that 'he thought to himself' only takes us out of the flow of the story. As you revise your story, wherever you find phrases like 'he thought', it's likely that you're 'telling' rather than 'showing'. See how the sentence reads if you omit that phrase. I bet it becomes much more dynamic.

Answered by Rachel Carrington
author of Secrets, Volume 22, Red Sage Publishing
on 1/9/2008

I always use italics for internal dialogue or thoughts, i.e., I can't believe she kicked me. If the scene is in Daniel's point of view, the italics show us that those are his thoughts. I rarely use "Daniel thought to himself", but I will use "Daniel couldn't believe she kicked him", but only if I feel it suits the scene better. Otherwise, I stick with italics for thought processes. Hope this helps! Rachel

Jackie Payson asks: How do I get my book published and make money from it? I wrote a book, but it's only about 10,000 words. It's an adventure/fiction story. I'm not sure how to get an agent or publisher to check it out. Any advice?

Answered by Pam McCutcheon
author of Writing the Fiction Synopsis
on 1/9/2008

A lot of what you're asking is probably already answered in other parts of this blog. You might want to read through it--there's a lot of great information.

Unfortunately, 10,000 words isn't a novel, at least not an adult novel. In fact, it's a rather small novella, or maybe a novelette. Some genres are open to shorter stories of that length, but I'm not familiar with adventure fiction. However, it probably wouldn't come out in book form unless it's a children's story. That length lends itself more to magazine form.

If you want to know who publishes what you write, you can look in the Writer's Market, which is available in most libraries in the reference section. Or search online for publishers in your genre. Most of them will tell you how to submit.

I'll let you in on a secret. How I got published is by reading every book in the library on how to write a book, attending writing classes and conferences, and joining a national writing group in my genre plus writing groups in my local area. Then I joined a critique group and entered contests to get feedback on my writing. That's how I learned what publishers were buying what, how and what to submit to them, what length my work needed to be, and how to improve my work. Since it worked for me, I recommend you try it, too!

s. g. asks: I have finished my book. The scenes are marked. I am having trouble deciding how to group the scenes into chapters. What is the determining factor? I have an idea, but not sure at all.

Answered by Charlotte Maclay
author of Make No Promises
on 1/6/2008

Hi s.g. I think you ought to take a look at your favorite books, see how those authors end their chapters. Often it's a situation that leaves the readers wondering what's going to happen next. You really want them to feel compelled to turn the next page at the end of a chapter, not close the book and go to sleep. Trying to decipher good books you've read makes your own book much better in terms of character, pacing, suspense and anything else you're working on.

Answered by Annette Blair
author of Sex and the Psychic Witch
on 1/7/2008

Congratulations on finishing the first draft of your book. Your scenes should be arranged in a series of actions and reactions, or scenes and sequels. Scene two should be the direct result of a decision made in scene one, and so on. Each chapter should end with a hook or mini cliffhanger--something that makes your reader want to read another chapter, and another. Google Randy Ingermanson's scene and sequel for a detailed explanation. Best of luck. Annette Blair

Answered by Teri Thackston
author of Deadly Climb
on 1/7/2008

I try to end chapters with something that gets the reader to keep turning those pages. Find the scenes that end with a cliff-hanger or a question or a surprise of some sort, and end your chapters there. Look for scenes where someone dies or miraculously survives a dangerous event. When something appears to be at stake, readers want to know what happens next. Entice them and they will keep reading.

Answered by JoAnn Ross
author of FREEFALL, a High Risk romantic suspense, on sale February 5th
on 1/7/2008

Congratulations on finishing your book! That's so cool because so many people begin books but never finish them; you should be hugely proud of your accomplishment!! I never break my book into chapters until I'm finished because I don't want to start setting up artificial cliffhangers, but as others have said, I try to end each chapter on a compelling moment that encourages then reader to turn the page rather than turn off the light. THEN, I'll sometimes start the new chapter with some other character's scene, to keep the reader reading a little longer to find out what happened to that character I left hanging on a cliff. ( It's a writer's trick I picked up from years of soap opera watching. ) Good luck!

Answered by B.J. Daniels
author of Classified Christmas
on 1/7/2008

A rule of thumb that I use: always end each chapter with a cliff hanger. So it makes it easy for me. When I get to a part of the book where something happens (the heroine finds a dead body, someone is grabbed from out of the dark, a character suddenly realizes who the killer is) that's where the chapter breaks. The reader will then have to turn the page and keep reading. At least that's the hope. You get the idea. Hope this helps.

Biddy asks: If the novel has a sequel, Do you have to hide something to connect them?

Answered by Anna Adams
author of
on 1/4/2008

Hey, Biddy!

I don't think you necessarily have to hide something that signifies a sequel's coming, but maybe you introduce a character from the sequel--as a friend or an enemy or a mentor--whatever. Maybe you introduce a scene that establishes the issue the characters in the sequel will face. Maybe you just introduce the building they live in or work in, or the thing that brings those characters to this place?

Having said all that, I'm doing a series for SuperRomance that is set in a small Virginia town. Sometimes, the characters are related to one another. Sometimes, not. The thing that ties the books in the series together is the town, which I could now paint it's so real to me.

So, I guess my answer is--yes, if you want to; no, if you don't. But if you do open a door to the next book, I'd caution against opening it so wide that the reader feels cheated of the answers she's not going to get until she reads it.

Best of luck with your writing.

Answered by Anna Adams
author of The Man from Her Past
on 1/4/2008

Hey, Biddy!

I don't think you necessarily have to hide something that signifies a sequel's coming, but maybe you introduce a character from the sequel--as a friend or an enemy or a mentor--whatever. Maybe you introduce a scene that establishes the issue the characters in the sequel will face. Maybe you just introduce the building they live in or work in, or the thing that brings those characters to this place?

Having said all that, I'm doing a series for SuperRomance that is set in a small Virginia town. Sometimes, the characters are related to one another. Sometimes, not. The thing that ties the books in the series together is the town, which I could now paint it's so real to me.

So, I guess my answer is--yes, if you want to; no, if you don't. But if you do open a door to the next book, I'd caution against opening it so wide that the reader feels cheated of the answers she's not going to get until she reads it.

Best of luck with your writing.

Answered by Natalie Dunbar
author of Vegas Bites Back: The Golden Wolf
on 1/4/2008

Hi Biddy, Per Merriam-Webster a sequel is: a: subsequent development b: the next installment (as of a speech or story); especially : a literary, cinematic, or televised work continuing the course of a story begun in a preceding one I wouldn't say that you have to hide something so much as have additional story that may answer a question raised to readers in the first book and not answered by the end of the book, or possibly something that happens as a result of a situation that occurs in the first book, or a storyline for a character in the first book that was not addressed... Natalie Dunbar

Answered by Phoebe Conn
author of MANGO SUMMER
on 1/4/2008

I've written sequels to several books, other books are part of a series. What connects the stories is the characters, not something had is hidden in the first book and revealed in the next. Readers want books to be complete in themselves. Several books could be written about people attempting to solve a mystery, or reach a goal, but each story needs to leave the reader completely satisfied with the ending, not frustrated and dangling.

Answered by P. J. Mellor
author of Naughty, Naughty
on 1/5/2008

Usually an author just reintroduces a character or characters from the previous book or books. I have also used the same setting. Either or both of these things tie the books together.

Answered by B.J. Daniels
author of Classified Christmas
on 1/5/2008

Boy does this question hit close to home. I am in the middle of my Whitehorse, Montana series for Harlequin Intrigue. At the end of the first book, I leave one small mystery hanging and one big overall mystery that continues through the series. I solve the small mystery in the next book and work toward solving the bigger mystery. But each book stands alone in its mystery/story. Book three solves some but adds some too. So by the sixth book, I answer all but one big one, but I give the characters the means to answer that big one in a future book. Does it work? Well, I've had only one reader complain that she came in in the middle and wondered why she should care about one of the continuing families in the book. So that's not too bad. There is a LOT going on in this series. A lot more than any Intrigues I've ever written. My hope is that readers will get hooked on Whitehorse and the people and keep reading to find out what happens. The problem is that it can be annoying to the person possibly who only picks up one book and wants every loose end tied up neatly. The thing is, with the Whitehorse series there is no way I could tell the scope of this story in one Intrigue. I have five families and their stories and lots of mysteries and even more added along the way. One way of connecting books is an over-arcing mystery. But you still have to solve something else in each book AND work toward solving the big mystery in the series. That's tough. If you don't have an over-arcing mystery then, I'd suggest leaving some small mystery to be solved in the next book. Or some character's life in a place that the reader can't wait to find out what happens to him/her. With the Whitehorse series, I'm sure I've overdone it. But I am having so much fun writing them and so far readers seem to be enjoying them as well. So I say, go with your instincts and what you like to read.

Answered by Jennah Sharpe
author of Shifting Sideways Book 2 : Darkly Loyal
on 1/5/2008

There is usually something that connects the two books, however, I don't hide something in the first to bring it out in the second. New things emerge while writing the sequel that weren't exposed in the first just by happenstance. For me, as a writer, it's always a surprise as much to me as to the reader.

Answered by Ashley Ladd
author of The Perfect Gift
on 1/5/2008

Not necessarily. I've written and am writing sequels. In a couple cases, a co-character gets his or her own story, so there wasn't a mystery or foreshadowing in the first book. In another case, however, something was hidden, something very important, and now the story continues. If you'd like more specific information, please email me at chinara@aol.com Good luck!

Crystal asks: How do you start writing a book? Is there a guide I should purchase?

Answered by Pam McCutcheon
author of Writing the Fiction Synopsis
on 1/1/2008

There are many books out there on how to write a book. Some specialize in characters, some in plot, etc. One of the most comprehensive books is Techniques of the Selling Writer by Dwight Swain. It is dense with information so I recommend reading it in small spurts so you can digest the information before you tackle the next section. Check your local library--they probably have quite a few books on the shelves about writing, then you can purchase the ones you find particularly useful. I also recommend you see if there is a writing class offered in your area, or a writing conference, or if there are any writing organizations. These are also great ways to learn how to write. Good luck!

Mrs. Gayl Lee asks: I have tried and researched; my head is crazy. I am attempting writing a Christian Historical Novel in Word Perfect Format. I have also tried Microsoft Word. I cannot make the chapter change within the header line. I have tried editing--to no avail. I have asked another author; she could not help. How to I get the CHAPTER ONE to Change to CHAPTER TWO and stay in the Header? There is no problem with the chapter change in the body of the page. Thanks so very much. I feel so inadequate, but I have been working on this for months. Thanks again!

Answered by Geri Krotow
author of A Rendezvous to Remember
on 12/31/2007

Hi Gayle, Your chapter does not need to be in the header! Just the title, your last name, and page numbers. You can also put in the publishing house your targetting if you wish. But the only place that needs to have the chapters delineated is in the body of the manuscript itself. I hope this helps! Happy New Year--Keep Writing! Geri Krotow

Answered by JoAnn Ross
author of FREEFALL, a High Risk romantic suspense from Signet, coming 2/05
on 12/31/2007

I started writing in Word Perfect the week it came out, on an old IBM PC, back in 1983; when I switched to Mac five years ago, I had to also switch to Word, but I'm currently writing on my 101st book and have NEVER put a chapter number in a header. In fact, I stopped breaking the books into chapters at all until the final hardcopy edit about ten years ago. (This is a personal choice, but I believe my writing flows better not having to stop and consider where to break the story up until it's completed.)

I always put the title, then a forward slash, then my name on the left side of the header, with the page number in the upper right hand corner. (This is also what my current NAL editor recommends.) Having given cover quotes for other authors, I've read bunches of manuscripts over the years and haven't ever seen one with chapter numbers in the header.

So, my advice is to stop worrying about this; it's certainly nothing to feel inadequate about. Good luck with your story and happy new year!

Answered by Terri Brisbin
author of SURRENDER TO THE HIGHLANDER - February 2008
on 1/1/2008

Gayl --

Happy New Year and best wishes for a happy, healthy and successful 2008!

I think (being a word processing-challenged writer myself) that the only way the header or footer will change or be changed to reflect each chapter is to save each chapter as a separate file and put a new header on each. I don't think there is a way to change the header for every so-many pages in one document.

That being said, I don't think it's necessary to have a different header for each chapter. Usually there's one header with the title, author's name and page number and the chapter numbers/titles if used go on the actual page.

You might want to check with a good book about formatting your manuscript or even check some publisher guidelines to see how they want it done or what info they want in the headers of each page, but generally it's not the chapter numbers. I know that some publishers, like my own-Harlequin-now want the manuscript all in one document so this isn't an issue for me any longer.

Ashley asks: Hello, I am starting my book.I am on page 90, and was wondering if you had any advice for me.The book is a fantasy, and I am not sure how long I should make it.Please email me with any possible advice you can.Thank you.

Answered by Pam McCutcheon
author of W