Institute Childrens Literature

Rx for Writers

Transcripts

"What Editors Really Want" with Beth Troop

Thursday, September 23, l999

MODERATOR is Kristi Holl, Web Editor for the Institute's web site. Kristi is author of more than twenty juvenile novels and has taught writing at the Institute of Children's Literature for l5 years.

Beth is Beth Troop, Assistant Editor at Highlights for Children and Boyds Mills Press. She oversees the logging in and circulating of manuscripts, reviews manuscripts, and edits books. Beth is a published writer herself, and she understands better than most what happens on both sides of the editorial desk.

Names color coded in blue are audience members who had questions.

Interviews are scheduled for Thursday evenings: 8 Eastern, 7 Central, 6 Mountain, and 5 Pacific.

MODERATOR: Good evening, everybody! I'm your moderator for the evening, Kristi Holl. With us tonight we have Beth Troop, a name familiar to many of you as Assistant Editor at Highlights for Children and Boyds Mills Press. Tonight Beth will talk about the review process your manuscripts go through, then give you valuable tips on how to catch that editor's eye! Welcome, Beth!

Beth: Thank you, and hello!

MODERATOR: First, Beth, do you yourself write, in addition to editing?

Beth: Yes, I do. Most of what I write is for magazines, but I'm working on some book ideas when I can.

MODERATOR: Just exactly how do editors BECOME editors?

Beth: I'm not sure that there is a usual "path people take to becoming an editor." Sometimes it's a matter of being in the right place at the right time. Often people can enter publishing as an intern, either during a summer as a college student, or fresh out of college on a special internship program a publisher might offer. I found the Highlights job in a newspaper ad of all places. It was supposed to be temporary for 6 months...13 years later, I'm still here.

MODERATOR: What kind of hours do you work?

Beth: I don't have a common full-time schedule. I used to have a 40-hour work week officially, with extra hours spent for doing some reading at home or editing a book, if I didn't have time during the day or trying to catch up to meet a deadline. Now I work 25 hours a week due to family duties. Sometimes it's a challenge trying to fit in all the work that still needs to be done.

SaraJ: Do you try to juggle a family/children with that work schedule?

Beth: Yes. I can handle it with the reduced hours at work, and I'm thankful that I work for a company that allows me to do that. I'm sure many people here know how tricky it can be to juggle work and children and appointments all the time--plus try to get in some writing time.

MODERATOR: So true! Describe a typical day as an editor (if there is such a thing!)

Beth: Probably the most common part of any editor's job is the reading--reading manuscripts, editing books and magazine stories, fact checking, attending editorial meetings. Most editors would agree that they do those things in a typical day. How they arrange those activities varies with each person. Then there are the less typical activities, such as attending conferences, monitoring author signings, working with rights and permissions. Those types of activities become more specialized with each person. This is the longwinded way of saying that while some activities are similar, no two editors' days are really alike.

MODERATOR: Let's turn now to the manuscript review process at Highlights and Boyds Mills...

Brenker: Once you've received a manuscript that you feel is exactly what you're looking for - what's next? Would you explain the route the manuscript takes before a call is made to the author?

Beth: I'll start with Highlights. If an editor finds a manuscript he feels is just right for the magazine, he will circulate it to several other editors for further comments. If these editors are just as favorable, the editor will recommend it for purchase to the managing editor, at which time a contract is written up and sent to the author. We don't usually call an author regarding the magazine story. They'll know we're interested when they receive the one-page contract.

For Boyds Mills Press it becomes a little more complex, because there is a greater monetary investment to consider. When I see a manuscript that I feel is a good one for us, I send it to other editors for review. The manuscript then goes to our editorial director. He might determine at that point that even though a manuscript has promise, it isn't right for our list, at which time I'll return it. However, if he also agrees that it suits our list, he'll discuss it with the publisher and together they determine how they could market it. We also have to consider how to illustrate the book, because with a picture book that can be particularly important. They factor in costs and payments. If it all still looks feasible, the publisher will call the author and discuss it. Then a contract is created, but this one is 14 pages--much more to read through. That's an abbreviated version of the routing/purchase process.

Ducky: What do you mean by your list?

Beth: Every publisher has what they call a "list," the group of books that they publish each season.

Brenker: Occasionally, I received postcards saying that Highlights needs additional time to consider a manuscript. How much "additional" time is usually taken before a decision is made and the author is notified?

Beth: We try not to let our decisions hold up readers for months at a time. Sometimes it depends on the manuscript. If the topic is a nonfiction piece that needs to be fact checked by an expert, it could depend on how long it takes the expert to get back to the editor. Generally, though, it shouldn't take more than another month or so. Our general policy is to respond to submissions at Highlights in 4-6 weeks. For Boyds Mills press it's 30 days. If your manuscript is ever with us for longer than that, you should feel free to call me.

Chief: Is this "list" a pre-ordained group of manuscripts you plan to examine?

Beth: No, I guess I should make this clearer. The list is made up of manuscripts we've already purchased and have or are planning to publish. Over time, a publisher will establish a feel for the types of books he wants to publish for his publishing house and will seek manuscripts that fit those styles of books. The books you see in the front of a catalog are part of the current list. Those in the back are the "backlist," those that were published in a previous year or season. In adding to the list, a publisher seeks manuscripts that fit a particular style or theme, in planning for future "lists" that are yet to come.

DebO: Are there any obvious "holes" in your list...topics or types of books/articles that you just don't see enough of?

Beth: We have a need for good adventure middle grade and young adult novels and picture books for preschoolers, but not concept or ABC books.

MODERATOR: Who reads the slush pile? How is it handled?

Beth: We have a freelance editor who reads the Highlights "slush pile" of fiction. However, if someone has published with us or if they submit nonfiction, those manuscripts are all read by editors, each of whom have a specialty in a certain area such as science, the arts, biographies. This is because 90 percent of our submissions each week are fiction, and the rest are nonfiction or from previously published Highlights authors. So, we need someone who can focus completely on the fiction. I read the Boyds Mills slush pile.

Willie Willow Tree: So how often does something in the slush pile get published?

Beth: The odds won't sound great, but its about 1-2 percent for the magazine and about .01 percent for books. But, we receive more than 9,000 manuscripts for Highlights, which translates to 90 purchased manuscripts. Actually, I'd put that number more at 2-3 percent, because I know we buy 150-200 manuscripts annually. We get about 6000 book manuscripts a year through the slush pile and might buy 4-6 of those.

MODERATOR: When I receive a form rejection, how likely is it that my manuscript has really been read by an editor?

Beth: Very likely, at least for our company (I'll refer to them as HFC & BMP now to make typing a little easier.) Anyway, we do look at everything. Unfortunately time doesn't allow us to respond personally to everyone. I know that other publishing houses also review all the manuscripts, unless they specifically ask not to receive more for a certain period of time due to a backlog. If you get a form rejection try to remember that it is no reflection on you or your abilities as an author. I know this is hard to do. I've gotten my share of form rejections. But I've finally reached a point of not worrying about it and getting the manuscript back out as soon as possible.

Brenker: How accurate are the checkmarks on a returned manuscript? If a block is checked "Not suitable for our list at this time", can that be interpreted to read "The manuscript was good (publishable), but we already have enough stories right now"?

Beth: It can mean that, but it also might serve as a "catch-all" phrase that editors sometimes use when they can't quite put their finger on why a manuscript doesn't work for them. Sometimes it's easy to spot the problem areas--weak characterization, language that's too mature for the audience, the wrong market...but sometimes it isn't. Because of that lack of time in responding personally to everyone, most editors find it's more efficient to mark this if they can't give a concrete reason and get it back to the author, in order for the author to try it elsewhere.

MODERATOR: If I receive a handwritten note or a letter with my rejection, should I take that as a positive sign?

Beth: Yes. If an editor takes a moment to write a note about the story or the author's style, that usually means that the editor sees promise either in the author's ability in general or in the story. (That's not say that they don't see promise in others that are returned without notes.) An editor will take the time to write a note or letter particularly when he or she feels the author shows potential for submitting suitable material in the future. Editors depend on authors and will take the time to encourage those that come closest to hitting the mark for their publishing house. Sometimes I write notes to authors even if their stories don't work for us. I like to encourage them to send stories to another house that better fits the story's style (if I know of one that best fits it) and hope that the author will continue to think of us with other material.

Dee: Even if an editor doesn't ask for a revision, is it okay to resubmit a story after I've revised it? Are resubmissions a good idea?

Beth: That could depend on what the editor says to you. If you receive a form response and then later revise the story, I don't see a problem in resubmitting. If an editor specifically tells you that the story is better suited elsewhere, though, then it's best not to resubmit to the same publisher. If in doubt, you can query the editor, refreshing his/her memory about the story and see if the editor is interested in seeing a revision.

beta: What's the response time for a rebus these days?

Beth: For us it's usually within 4-6 weeks.

MODERATOR: How long should I wait after submitting a story before I contact the publisher on its status? Is it okay to call or should I write a note? How about e-mail?

Beth: I notice that some publishers are listing specific review periods in directories. If you know a publisher's specific time period within which they promise to respond, such as 30 days for BMP, then wait at least that long before contacting the publisher if you don't hear anything. If you don't know how long a publisher usually takes, then 3 months is a good rule of thumb. Whether to call or write a note is a tough one, because it depends on the publishing house. For a quicker response you could try calling. If you can't get through to the person to whom you need to speak, then send a note with a self-addressed post card inside on which an editor could jot down a quick note about the manuscript's status. You could even write a checklist on the postcard that an editor can quickly mark off and return to you, such as "Still under review" or "We never received." You could try e-mail, but I don't know how different publishers feel about that. Again, that probably depends on the particular publisher.

bernie: How long can the process for book manuscripts take, from contract to signing to publication?

Beth: Some publishers put out books in just a few months, while others can take a few years. For us it usually depends on the art. We might have a picture book with a specific illustrator in mind, but if that illustrator is booked up for a year or so, then the book could be held up. We have a book on our fall list that we purchased about four years ago. The illustrator was so busy that he couldn't get to it for a few years. It was an act of patience on the author's part, but the wait was worth it. A contract could specify the time period within which a book will be published, so the author at least knows that by such and such a time the book will be out. Often a novel can be published in a shorter time than a picture book, because the only art that's needed is the cover. I know this isn't very specific, but I guess the bottom line is that publishing a book often takes lot of patience on the author's part.

SaraJ: Many books on writing query letters say that writers need to study the market and explain in their letter how their book is different or better than what's been published. Is this necessary? It takes a long time to read all the competing books!

Beth: Some subjects have more books available than others, of course, and it could be quite a daunting task to read all of them. But, if your topic is a popular one, it is important that you are very familiar with the competition. If there are so many more books on a subject than what you can read, then you need to ask yourself if your book will add anything more to it. If you have a topic that doesn't have a lot of competition, then it won't be as hard to become familiarize yourself with what has already been published. When querying a publisher, you need to show the publisher that you are very knowledgeable about your subject. The more information you can provide about markets, the more the editor will see that you are serious about your proposed manuscript and you will come across as someone who can produce an accurate and well-informed manuscript.

Seahorse: What happens if the author dies before the book is published? (I'm not being facetious.)

Beth: Unfortunately that has been known to happen. Then it might be up to the author's family or estate to decide whether or not to fulfill the contract.

MODERATOR: Let's move on now, for a while, to some tips on capturing the editor's eye...

buchholz59: What makes that one manuscript stand out from the rest?

Beth: The quality and appearance of the story. If a story is cleanly typed on white paper with few errors, and it is engaging, with a strong plot and well developed characters, then it is likely to catch an editor's eye. For me, the more professional a manuscript looks, the more likely it is to catch my eye and make me think that the author has taken the writing seriously. Manuscripts don't necessarily get lost in a slush pile. They sometimes take a while to get read, but, in spite of large slush pile #s, the less pretentious and the more professionally-appearing manuscripts stand out the most. They win as far as "first impressions" go.

Willie Willow Tree: Is font important to the appearence?

Beth: Preferrably, use a standard font, such as Times or san serif in about 11 or 12 -point type. Most typewriters probably have Times or Courier type, as do standard word processing programs. Of course, the more modern word processing programs have several fonts to choose from, but I'd stay away from most. Fancy script or italics can be hard to read, which could put your manuscript at a disadvantage. All CAPS are also hard to read. If an editor has to work his/her tired eyes too hard to read a manuscript due to the font, then the manuscript has a lesser chance of progressing through the review process.

Mary: Could you talk about what makes a eye-catching title? (MODERATOR NOTE: And a bad title?)

Beth: Let me start with the "bad title," since that's probably easier. If you slap on a title at the last minute or spend little time thinking about the title, chances are it will be bland, either giving away the story entirely or not having much to do with the story, such as "Susie's Blue-Ribbon Rabbit" or "Ten Kids at the River." Neither of these is very enticing. In the first, I already know that Susie will win a blue ribbon, so why read the story? That latter title doesn't make me think that anything exciting will happen. A good title will draw in the reader and promise some surprise or conflict without giving it all away, such as "Caught in the Rapids" (changing the second title to something more exciting). It goes beyond kids at a river and indicates that something suspenseful will happen without giving away the ending. So, the more you can tease the reader with some suspense, action, or surprise without giving things away, the better.

Ravena: What is your view on cover letters?

Beth: They aren't always necessary, and if you do use them, keep them short. Unless a publisher specifically requires a cover letter for submitting fiction, then you probably can just send the manuscript by itself. At least half of the manuscripts we receive don't have cover letters. Use cover letters if you have something specific you need to tell the publisher related to the article or your writing background. A cover letter is helpful for nonfiction, when you want to tell an editor of your background and expertise for writing on a subject. I use this as a general rule of thumb: if what I say in a cover letter won't add to the story or doesn't say anything beyond the obvious that a manuscript and SASE are enclosed, then I don't include one. If you do send one, make sure it is less than one page long and that it's shorter than the manuscript. Sometimes we've gotten cover letters that exceeded the story's word count! But remember, if you don't include a cover letter, make sure your name and address are on the first page of your manuscript. (This is a good idea even if you do include a cover letter.)

Sasquatch: Ms. Troop, when guidelines state that one can either send a complete manuscript or sample chapters, does either of these choices have a better chance? For example, would an editor be more likely to take a look at the sample chapters simply because it's faster at the moment, or the complete manuscript, because it would avoid delays later?

Beth: That depends on the size of the manuscript. For picture books, send the complete manuscript, unless a publisher specifically says to send a query only. If you submit a novel, I'd recommend sending sample chapters first, with a synopsis. An editor will know by those sample chapters whether he or she is interested in seeing the whole thing. If the editor isn't interested, then you haven't used more postage than necessary in sending it to him or her. If you do send sample chapters, I recommend the first 2 or 3. When an author sends chapter 5 or 17 as a sample, it doesn't let the editor see how the story starts. The beginning of a story is so vital, that an editor needs to see the first 2 or 3 chapters to get a feel for whether or not the manuscript is appropriate for that house.

Mary: What points do you look for in the leading paragraph of a story? What catches your eye?

Beth: For a story, dialogue and/or action are good things to start with. Get the reader immediately involved. Or, if you write in first person, the narrator might talk directly to the reader and immediately establish a point of suspense that will make the reader want to read more. For example, this kind of start might hook a reader: "If only I'd known then what I know now about that creepy old barn, none of this would've happened." This will make the reader wonder what happened related to that barn and what it is the narrator should've known. Compare that to a story that starts with description about an old barn down the lane that has stood quietly for several years. By the time the editor reaches the "meat" of the conflict, the interest level may have waned considerably. So, dialogue, action, and/or the hint of the conflict are good things to work into the first paragraph--or the first several paragraphs.

MODERATOR: Let me post a few related questions here about nonfiction...

Seahorse: When sending in a non-fiction piece, do you want a bibliography with it?

Mary: What do you look for in an article for consideration in your magazine?

buchholz59: Would you say that nonfiction would have a better chance at HFC than fiction, since there is such a high volume of submissons for fiction?

Beth: Yes, include a bibliography with nonfiction, sources beyond encyclopedias. What we look for in an article is clear, knowledgeable information that speaks to children, not above or below their levels of comprehension. The important thing here is to know what audience you're writing to, and that will show in the article. Your enthusiasm for the subject should transfer to the audience and the information should be fun to read, not just "informative" and dry. We look for manuscripts that go beyond textbook styles and engage the reader and we look for subjects that we haven't covered many times before and that discuss a topic in a way that hasn't been covered by umpteen magazines or books previously. Your best bet is to query us first with nonfiction. Yes, we do have a high volume of fiction submissions, but that doesn't mean that nonfiction will be easier to sell necessarily. The author must have some expertise in the area and demonstrate definite interest for a subject that children will enjoy. Of course, sometimes nonfiction has advantages in that you can cover such a wide range of unusual topics, and with the ever changing world, the number of range of unusual topics, seems to increase all the time. So, if you can grab on to some not-so-common topics and write about them well, you have a good chance of selling your nonfiction.

GO TO PART 2 OF BETH TROOP'S INTERVIEW NOW

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