On Writing Romance_ How to Craft a Novel That Sells - Leigh Michaels [138]
TARGETING A PUBLISHER DIRECTLY
It can be a challenge to decide where your book fits among the many categories and types of romances, and among the many publishers. Reading publishers' editorial guidelines can help but won't necessarily provide a clear answer. For instance, there's a distinct difference between a Harlequin Superromance and a Silhouette Special Edition, but their word counts are similar, and some of the descriptions in their editorial guidelines (or tip sheets) make them sound quite a lot alike.
In fact, many tip sheets are purposely written in very general terms. Here are some snippets from the many Harlequin/Silhouette tip sheets:
• "We're looking for energetic writing and well-constructed plots based on
contemporary, credible, appealing characters."
• "Writers can push the boundaries in terms of characterization, plot, and ex-
plicitness."
• "Set in small towns and big cities, on ranches and in the wilderness, from
Texas to Alaska—everywhere people live and love."
• "As wide as the world itself."
• "Submissions should have a very contemporary feel."
• "We are looking for fresh new voices, so the ability to take popular emotional
themes and develop them through innovative, dramatic, and compelling storytelling is an important factor in getting published."
The editors who write these guidelines are trying to differentiate one category from another without defining a formula that would unnecessarily restrict submissions. Unfortunately, the resulting tip sheets are full of general statements of limited use to the writer.
When reading a tip sheet, look for specifics, which in many cases are negative. The line that says its romances take place "from Texas to Alaska" isn't going to be interested in a story set in Polynesia; a line that asks for "highly emotional" work isn't going to buy romantic comedy. If the editors say they're looking for "girl-next-door," your princess need not apply, but if they're looking for "glitzy," a second-grade teacher isn't going to get past the first reader.
Not all publishers offer tip sheets. If a publisher does offer guidelines, you can download them from the publisher's Web site, or send a self-addressed stamped envelope (SASE) to the address given in published books.
Joining a professional organization, such as the Romance Writers of America, will give you access to up-to-date marketing news: notification of new category launches, shifts in what a particular category is looking to buy, and changes in editorial staff.
Researching Potential Publishers
The best way to learn who is publishing specific kinds of romance novels is to read the books that are being published today. Check out the bookshelves, note the publishers, then look at the publishers' Web sites for guidelines and tip sheets, word counts, what to submit, and any recent changes in what the editors are seeking.
As you read a publisher's current titles, look at length, tone, setting, level of sensuality, number of subplots, types of issues faced by the characters, etc. Look, too, for the newer authors. Established authors who have developed a core readership are sometimes allowed more latitude, but the first book by a new author is a good clue to what the publisher is most likely to buy from another new author—you.
Sending your manuscript to a publisher whose books are very different from yours is a waste of time and postage. More importantly, it clearly indicates that you haven't bothered to do your homework and are uninformed about the romance genre.
Broadcasting your submissions—sending query letters to all the lines—is just as useless. Each line is unique; while any particular idea or manuscript might be tweaked in such a way that it would fit more than just one line, it cannot possibly fit ten or fifteen different lines.
Getting a Publisher's Attention: Pitching a Story in Person
There are two main ways to bring your work to