So, You Want to Be an Author
You’ve probably spent years of your life hunched over your newest novel, affectionately referring to it as your “baby.” This is the culmination of your life’s work. It’s got it all: an interesting protagonist, a brewing mystery, the perfect romance, and an idyllic setting to ground it all. You’ve eagerly sent it off to all the local publishers who have reputable connections under their belt to launch your dreams of being published. Now you are impatiently waiting for that acceptance letter to hit your inbox.
You finally hear back from those sluggish publishers, and there you see it: rejected. Rejected. And rejected, again. It feels like years of your life have been thrown away like it was a haphazard poem scribbled on a Denny’s napkin, submitted on some drunken whim.
Think Like an Editor
Each year publishers receive thousands of submissions from hopefuls just like you. According to Sophie Playle, a writer for Liminal Pages, publishers receive “between three and ten . . . of thousands” of manuscripts per year. While editors would love to slush through each and every submission for the next best-seller, it just isn’t feasible.
Imagine you’re an editor at one of your local indie publishing houses. A slush pile of submissions stares back at you every day, overflowing your submissions inbox. One of your volunteer readers acquires one manuscript among every fifty; the first page kicks off without much of a bang, and the setting is described in a way that is reminiscent of the pastoral poetry of (way) yester-year. Maybe the volunteer reader has the time to graze the second page. More rolling hills. More “a whole lot of nothing.” The manuscript is tossed into the rejection pile along with eighty to ninety percent of the other submission hopefuls.
Now, imagine you’re an editor for a mid-range publishing house. They’ve got the higher-up connections of your dreams, and a few catchy titles to back them up. Their slush pile is about twice the size, if not more, of the indie publishers’. You pick up a manuscript, eye the lengthy, adjective-laden prose, and off it goes into the rejection pile. You dive into the next submission without a second thought, just waiting for the magic.
Publishers often have volunteer readers perform the preliminary acquisitions process in order to sort through their growing mound of submissions. These readers are typically undergrad or grad students who are engaged with literature in their programs. These readers don’t have time to sift through one hundred pages of every manuscript to wait for the storm to finally brew: if the magic isn’t there from the beginning, forget about it.
Think Like a Reader
According to Michael Shymanski, one of Ooligan’s Acquisitions Managers, think of your first page as the reader’s initial impression, much like “meeting your friend’s spouse for the first time.” First impressions can be insignificant, even disastrous, or they can be absolute magic. If the magic is there, an editor will know it immediately.
It’s no surprise then that pacing is crucial. While you wouldn’t want to jump straight into all the juicy details in the first paragraph, the first impression needs to “hint at an underlying theme,” and demonstrate a “nuance that provides depth to conflict and characters” (Shymanski). You want to give away just enough so that the reader gets a sense of the story’s direction and they can’t wait to continue reading.
Creating the Magic
So how do you create that “magic”? Shymanski suggests that it’s pretty simple: be original. A submission that may need some developmental or copyediting will receive more attention if it’s “beautifully written” and utterly original.
Hammering in on the importance of the first page, Lincoln Michel, author, editor, and Buzzfeed Contributor Extraordinaire, suggests that if your story can’t captivate the editor in the first page, the chances of it capturing a “random reader” are nil. Michel suggests constructing your story backwards if all the action begins on page three hundred.
Don’t be afraid to dive deep into “diversification and experimentation of voice” (Shymanski). Let your characters shine in a new light. Keep your reader craving more. And if the magic is there, maybe that editor will turn the page.
Oh, and please read the publisher’s submission guidelines before you submit your Harry Potter fan fiction to a poetry house.