Where were you first published? Do you feel that being published in literary journals is helpful to beginning writers in terms of getting them noticed by agents and publishers?

Robert Anderson:
In the springtime of 1999, the Iowa Review published a story of mine entitled Schism, which would later appear in the collection Ice Age. A year prior to seeing the story in print, I had returned one morning at 5 a.m. to my apartment after working at a restaurant in Tribeca all night. Predictably, I saw that the return envelope that held my jettisoned story had taken up residence in the postbox. So many of my stories had been returned that I had grown used to thinking of the mail slot as an implement of torture, a maddening echo-box, and of the stories themselves as being irrefutable evidence of my own unrequited self-love. The weight of this particular envelope was surprisingly light. Perhaps those crazy collegians at the U of I had made frat hats from the pages of my literary offering, and, in lieu of sending back the story itself, they were politely furnishing me with a Polaroid of the telltale skid mark on the dorm room floor. Inside I found a mimeographed letter of acceptance, an order form soliciting copies of the upcoming issue which my story would appear in at a ten percent markdown, and also a note from an undergrad inquiring as to whether or not I truly wished to be published under the nom de plume of Bartholomew Rhinehart. When the issue came out, I waited by the phone for tidings of congratulations from the Algonquin circle and also the predestined transatlantic call from Bruno Bertelsmann. Yes, having been published in the older, more reputable literary journals is a good credit to approach a literary agent with, and it is also helpful to the agent when he is contacting an editor on your behalf. It constitutes a beginning - actually one in a long series of beginnings. If you are fortunate enough to be published in an established literary review, send out query letters to a number of agents, mentioning your credit - the agents themselves will not contact you no matter how good your writing is. Literary magazines are read mostly by academicians and by the editors of other literary magazines. In your letters to these agents, briefly outline a novel project that you wish to work on and include sample pages (this is assuming, for the sake of argument, that you have not completed a novel at this point). Generally, lit agents cannot and will not market short story collections.

Joanne Skerrett:
I was first published in the Boston Globe. I do believe that agents as well as publishers tend to look more favorably on writers who have already been published in established media, whether it's a newspaper or a literary journal.

Mary Monroe:
I was first published in a "true confession" magazine when I was in my teens.  My lurid story, "I Married A Hairy Old Beast," got rave reviews from the lonely women and desperate housewives who read it.  That story didn't help me much when I tried to get my first book published.  However, I do feel that publishing in literary journals can get you a lot of positive attention from agents and publishers.

Scott Nicholson:
My first fiction sale was a short story to a mass-market anthology, but I had been published in the high school newspaper and some non-fiction magazines before that. I think any kind of writing or publication is beneficial, because you can develop your skills.

Homer Hickam:
My first book-length work, a military history titled Torpedo Junction, was published in 1989 by the Naval Institute Press. I'm proud to say it has never gone out of print. Before this book, I freelanced stories and articles, primarily to small literary and scuba diving magazines. Being published anywhere in nearly any format (except self-publishing) is helpful when trying to attract an agent or a publisher. They are very interested in a writer's track record!

Jean Rabe:
I was first published in a variety of newspapers, as I started my career as a reporter. Through the years I covered education, health, crime and courts (and the occasional plane crash). However, my first fiction publications were role-playing game adventures, followed by my first novel, set in the D&D world. Role-playing game fiction is widely-read, and that fiction served as a springboard to writing short stories in a variety of genres and then fantasy fiction for Tor Books. Personally, I don’t feel that publishing in literary journals is especially helpful to starting writers. I think just getting published in general is important. The better book or story you write, the better chance it will be published, and therefore the better chance it has of being noticed by agents or major publishers.

James M. Ward:
I started writing for TSR in 1974 and contributed to their magazine and product schedule. I was lucky in finding a start up company and worked with them for over 30 years.

Nate Kenyon:
My first publication was in a little literary magazine out of Hartford called Nude Beach, right after college, but my first official pro sale was to the anthology Terminal Frights.  The editor of that anthology introduced me to Ed Gorman, who years later ended up being the connection that led to the sale of my novel Bloodstone to Five Star.  So yes, I'd say it can help, if the journals or magazines are respected and have a decent circulation.  There are so many small publications out there these days that pay nothing or in contributor copies, and I don't think that helps much.  Writers need to use common sense - if they pay well, chances are the magazine is read more widely, and a story has a better chance of being noticed.  Ask more established writers which magazines are the best, and frequent online gathering places like www.backspace.com for good advice.

Clint Kelly:
Mothering Magazine, a natural child birth quarterly. A theme issue was on fathering and since I have four kids, it was indeed a natural. Literary journals are great ways to gain exposure, bylines, and portfolio samples. Learn not to ask how much you’re getting paid, but how much credibility you’re building.

Based on the feedback that you have received from editors and agencies, what do you think is the key to a strong submission?

Robert Anderson:
The key to a strong submission is to write with the correct mixture of creativity and clarity. Editors and agents watch daily as recognizable talent runs away with itself into the nether mists of obfuscation. These harried professionals generally do not turn out to be sixteen-year-old apprentice librarians who are capable of being confused and overawed all at once. When agents or editors, like the general reader, get lost in a passage, they become annoyed and disinterested. Conversely, again like the general reader, they can also become acutely conscious of their wristwatches when reading prose that is cogent but bland. This is why rewriting is so important. Do not send out new-made drafts of your work to agents and editors. Solicit readings from individuals whom you trust. Have your work professionally edited. Work and rework your writing to the point of inevitability.

Joanne Skerrett:
You have to have a clear idea of who your target audience is and then demonstrate that your work will appeal to that audience. It's also a good idea to spend as much time writing query letters as you would the first page of your novel, because you really want to draw the reader in and keep him/her reading.

Mindy Starns Clark:
A clear vision of what you want to do, stated in a compelling, straightforward tone.  Many proposals are either boring or they sound too much like advertising copywriting.  A successful pitch doesn't require a heavy sales job, it just means presenting a super idea in a clear, visionary progression.

Mary Monroe:
A good cover letter can go a long way.  Follow the rules.  In it, give some brief bio information and a synopsis of your proposal.  If a sample of your work is requested, send the strongest piece you have.

Scott Nicholson:
A well-written synopsis with an engaging and simple concept.

Homer Hickam:
If the article is going to a magazine, the key is to study its particular editorial style and content. Never send an article cold. Write a dynamite query letter with a self-addressed stamped envelope. If the submission is a book, don't send it cold, either. Again, write a query letter to the editor or agency that will knock their socks off from the first paragraph! Then be ready to ship your great manuscript (and make sure it's the best work you can do)!

Jean Rabe:
From time to time I wear an editor’s hat, so I can look at writing from both sides. What’s key to a submission? Cleanliness is a major aspect for me. I’ve received submissions in 10-point single-spaced type on onion-skin paper... printed both sides. I’ve received handwritten short stories, submissions printed in bright purple ink (I guess some folks know my favorite color is purple). I put those manuscripts on the top of the pile that look well-presented, on good paper, and that have a great one-page cover letter. It shows me the author cared about his or her work. That doesn’t mean I don’t read the rest of the stuff, but I read the well-presented manuscripts first.

Next, if I notice a lot of typos right away, I set the manuscript aside and go onto the next. My time is short and valuable, and so I use it efficiently by going through the best stuff first, and giving it the most attention. Sloppy writing, bad grammar and the like will pull a quick rejection from me. The story might be great . . . but there are plenty of writers out there who tell a great story and who bother to use a spell checker and grammar checker.

Now, if you want to talk substance: what makes a good submission is a rousing good tale that moves at a reasonable to fast pace and that doesn’t get bogged down with too many details. Make it rich with three-dimensional characters I can care about, and don’t throw so many characters in the mix that you can’t keep everyone apart unless you have a spreadsheet on the side.

James M. Ward:
The basics are vital to getting asked back. Timely submissions, getting your grammer right, staying focused in your writing. It's the simple things that make the great writer.

Nate Kenyon:
The first and most important thing is to be professional.  Treat your writing (and submitting) like a business - your cover letter should be on good paper, free of grammatical and spelling errors.  It has to be written well.  If you can't write a good query letter, chances are you can't write a very good novel.  You should stay away from gimmicks, and simply introduce yourself, describe your work, and then list your publishing credits.  I think too many new writers feel like they have to stand out, and so they try too hard.  Editors and agents are looking for good writing from someone who looks like a pro - act like you've been there before, even if you haven't.

Clint Kelly:
Follow basic formatting. Be clean, professional, and spare with words. They know when you’re shining them on, so be direct, polite, and captivating, never verbose. Ask yourself, “What’s going to grab their attention and make their day?” Then make it.

What is the best outlet for beginning writers seeking editorial services for their manuscripts: writing groups, colleagues, professors, or professional services?

Robert Anderson:
To answer this question, one would almost have to determine what sort of help the beginning reader is looking for. Mechanics, of course, are crucial at any level. All manuscripts should be vetted by learned grammarians (writers tend to lack the pedantic fortitude of grammar experts) experienced in the mysteries of structure, idiom, pacing, sequential reasoning, characterization, and fact-verification. It is most likely that a seminar instructor or a professional editor (and I should, by rights, recluse myself here because I am a freelance editor myself) would have the time and the inclination to give a beginning writer’s book a thorough review. The rarest help is that which a writer receives from someone capable of actually falling in love with and internalizing a writer’s work, as all of us have done with the prose of our favorite writers and indeed with their very personas. Often, a writer will feel threatened and reject intimate criticism, no matter what its merits are. One must have experience with cursorily dismissive and wrongheaded evaluations - this is the most prevalent and damaging of all criticism - before one begins to appreciate the role of the most devoted of editors.

Mindy Starns Clark:
I say, start where it's free, in writing groups.  But use discernment when choosing whose input you will value and whose input you will discard.  As other people's works are being evaluated, pay attention:  Whose comments do you usually agree with? Chances are, that person could be of use to you--and vice versa!

Mary Monroe:
I didn't know any writing groups or professors so I had to rely on my colleagues.  Through my colleagues I discovered professional editorial services.  The experience was very rewarding.  Without it, I would have continued to make the same mistakes over and over again!

Scott Nicholson:
I think finding one or two people who are readers is a good idea. Those readers don't necessarily have to be writers. Writing groups work for some people, but you have to be wary about the advice you accept. Some writers try to turn your story into something they would write.

Homer Hickam:
I believe every writer must have an internal editor that will tell him whether his work is good or not. Be your own most critical critic! Never give yourself the slightest bit of slack. Make it the best possible before allowing anyone to see your work! Writing groups and friends are helpful but it's rare that they give good feedback. They know you and want you to feel good and that colors their comments. Some professional services might be helpful but they can't fix a poor story or poor writing. One tip is if a manuscript keeps getting rejected, there's probably a reason for it. Stop banging your head into a stone wall. Go on to your next work!

Jean Rabe:
I wish I had a writer’s group when I was starting out. So many of my friends are in them and rave about how the other members have helped better their stories. It’s the feedback, and I think good, thoughtful criticism can help a starting writer better than reading how-to books and going to a creative writing course. Would I recommend paying a professional service to go through a manuscript? No. I think there are enough writers’ groups out there... and if there isn’t one, you can form one. Too, writers can hook-up at conventions and through the Internet. As for college professors... uhm, I learned more from listening to writers and editors at science fiction conventions than I did from any high school or college instructor. (I suppose I just never had that many great professors).

James M. Ward:
Friends should be used first. Get the opinions of friends that you respect and then try the professionals.

Nate Kenyon:
I didn't use any of them.  I may be unusual, but I don't find writer's groups to be of much help.  I think they CAN be, if you get really, really lucky, but a lot of them are filled with other writers who are trying to learn the craft too, and many of them may give you bad advice, even if their intentions are good.  But everyone's different, and going through a good creative writing program at a college or a particularly good workshop (like Borderlands Bootcamp for genre writers) could be really helpful.  I think the best thing you can do is to read a lot, in as many different genres as possible, and write, all the time.  You are your own best teacher, and repetition and revision is the key.

One other thing I would point out: be very, very careful about "pro" writing and editing services.  There are a few legitimate ones out there, but many of them are scams meant to separate aspiring writers from their hard earned money.  Think long and hard before you pay someone to edit your work.

Have you found writing courses or discussion groups helpful in getting published and/or establishing connections? What can you suggest?

Mindy Starns-Clark:
Neither - go to writer's conferences!  Most published authors I know succeeded because of writers conferences - either something they learned there or someone they met.  Try to find one that is specific to your genre.

Mary Monroe:
I never took any writing courses, but I am sure that they can be quite helpful.  I didn't get involved with discussion groups until I'd already published several books - but it's never too late.  A good discussion group is a great way to do some serious networking.

Homer Hickam:
Thirty years ago, I was a member of a local writing group (I was in Huntsville, Alabama at the time). It was helpful in that I could hear the other writers reading their work and know I was as good or better than them. This was encouraging. Otherwise, it was more social than helpful. Writing courses are good in that they require you to do your homework which usually means writing something. The secret to being published is to write, write, and then write some more! Paradoxically, it also means to read a lot. You can't be a good writer if you're not a good reader.

Jean Rabe:
Writing courses? Discussion groups? Well... I recommend attending conventions. Lots of conventions... science fiction, fantasy, mystery and horror. It’s a great place to sit in on seminar after seminar after seminar where professional writers and editors expound on the state of the industry and offer their sage advice. Some of my best seminar memories were from small- to mid-sized science fiction conventions in Indiana, Kentucky, and Tennessee. I spent hours listening to George R.R. Martin and Timothy Zahn chat about the art of writing. In more recent years, I’ve listened to Gene Wolfe, Joe Haldeman, Peter Straub, and Stephen R. Donaldson. A few friends and were fortunate enough to bend Joe Haldeman’s ear in the con suite of the World Fantasy Convention for better than an hour. What an opportunity!

When you have an opportunity to listen to some of the best writers in the field, grab it. Often, they’ll chat with you one-on-one if you’ve some serious questions and are polite about it. Sometimes you’ll form friendships that can assist in your publishing efforts.

Too, conventions sometimes offer “pitch sessions,” where you can chat with an editor or publisher about your manuscript. Several of my friends have eventually sold manuscripts or acquired agents through these convention chats.

Nate Kenyon:
Online message boards and groups--yes, absolutely.  I haven't been through a writing program, but I would imagine they would be helpful in that way as well.  Any place where you meet other pro writers--online or in person--are invaluable for making connections and getting your name out there.  Human beings respond better to people they know and like, and this is one way to make a good impression.  That means remaining respectful and not pushing too hard.  You want them to feel good about helping you, when the time comes.

Clint Kelly:
I started with a good correspondence course in how to get published (Institute of Children’s Literature). I was assigned an excellent published author as my mentor, learned to meet deadlines, how to polish my manuscripts, how to trim the dead weight, how to make a story publishable. It’s one of the cheaper ways to knock off the rough edges. There are less expensive ones that are just as good from Writer’s Digest to the Christian Writers Guild.

What sort of writing schedule do you keep?

Robert Anderson:
I find it helpful to compartmentalize what I am doing. I get up between four and five in the morning to proofread, edit, and rewrite the book that I am working on. Self-evidentialisms become startlingly apparent in the early morning light and in the lack thereof, whereas the obvious will not always penetrate the sieve of the later hours. After a couple of hours, I leave the apartment and I go and lose myself amid the magnitude of the St. John the Divine Cathedral here in Upper Manhattan. I return to my apartment for breakfast. While eating, I go over the writing that I have completed on the previous day. Sometimes, I will begin the day’s writing immediately, but more commonly, I will repair to the Strokos Café on 114th Street to read from a small circle of mentor books - there are some novels and works of philosophy that I have read, cover-to-cover, over twenty times. Then I will return to my PC with pertinent notes to complete a full day of work. This is not an unbroken schedule; I have other obligations in life aside from writing. But it is the itinerary that I like most to follow.

Joanne Skerrett:
I have a full schedule outside of writing fiction so I write when I find the time, which may be once a week.

Mindy Starns Clark:
A new book every nine months means I'm writing full time.  I'll usually sequester myself for 2 weeks at the beginning and end of every novel, and in between I work during the day when my kids are in school.

Mary Monroe:
I make up schedules all the time that I don't follow!  However, I write something every single day.  Some days I write just a few sentences.  On other days I write up to a hundred pages.  I do my best writing between four and ten in the morning. 

Scott Nicholson:
I usually write every night and try to write at least two pages.

Homer Hickam:
I write every day. Every day! Usually, at least eight hours a day, but always something, no matter the turmoil around me. I usually do my fresh stuff in the morning, my rewrites in the afternoon.

Jean Rabe:
Writing is my ‘day job.’ I used to work as a newspaper reporter, then later as a game editor and designer, and as a magazine editor. But now I just write. So I approach it as a job, starting work before 7 a.m. and taking a couple of ‘computer breaks’ to keep me fresh. Five days a week. Seven days a week when deadlines are tight. Evenings when necessary.

I think you have to approach writing as a job if you want to be successful at it... even if it’s just something you do in off-hours from work. If you don’t adhere to some sort of a schedule and set some deadlines, you’ll probably never finish that book or short stories.

There are a lot of folks who dream of writing. There are fewer folks who write and write and make the dream come true.

Nate Kenyon:
I try to write something every day.  Because I have a pretty demanding day job and three children and a house that needs renovations, it's tough to keep a rigid daily schedule.  I'm often writing late at night and on the weekends.  A page a day is good, and anything more than that is a bonus.

Do you believe that working in the field is helpful in making connections and getting your own work published? Many writers have day jobs. Should this be related to your field? Is yours?

Robert Anderson:
Writers are dreamers and as such they have unrealistic expectations concerning their work. I agree absolutely that authors should follow the inside track and try to find meaningful employment in publishing houses, on magazines or literary journals, in agencies, and even in institutions of higher learning if the work is in any way related to the craft of writing. A writer should be as near as possible to the fount of public dissemination, and it is important to ascertain the actual mindset of editors and agents by becoming familiar with what their jobs are actually like. Many writers are college professors, and this is always problematic. Most of the professors that I know feel put-upon by the demands of rigorously scheduled departmental meetings, fallacious self-evaluation rituals, and by being constantly petitioned to write student recommendation letters. They find themselves with less and less time to create. On the other hand, they come into contact with people from alternate cultures - always a plus for a novelists - and young minds are never anything less than stimulating.

Joanne Skerrett:
Absolutely. I believe that a lot of good writers do not get published or their books pass under the radar because they don't have the right connections in publishing. If someone has access to people who can get their name and work out there then they should definitely take advantage of that. It's great to be focused on writing every day of your life because it makes you that much better at it. Right now I've quit my job as a journalist and I'm a law student, but I'm writing every day so I think it's still sort of related.

Mary Monroe:
I worked as a secretary in a large company for many years.  I hated every minute of it!  All I wanted to do was get published so I could leave that behind.  My contempt for the corporate world gave me the motivation I needed to really push myself.  I wrote on my lunch hour, my commute bus, nights, and weekends.  Had I worked in the field of writing, I probably would not have worked as hard to get published.  However, I do believe that by working in the field you can make some pretty strong connections.

Scott Nicholson:
I am a newspaper reporter, so I get lots of practice. On the other hand, the simple act of sitting at a keyboard all day can get tiresome, so I try to keep my day job routine separate from my freelance routine. My job is my job, but my writing is my life.

Homer Hickam:
Yes, I believe working in the publishing world is helpful in being published. Networking is a valuable tool! It cannot make you into a good writer, however, and it doesn't guarantee publication. As to day jobs, the answer is a mixed bag. You should always write what you know and if your day job lends itself to your writing, by all means use it! If not, and it's just for the money, work hard at it but set aside those precious hours to write EVERY DAY! My day job when I wrote Torpedo Junction and Rocket Boys was at NASA. TJ was about U-boats during World War II and RB about my memories growing up in West Virginia building rockets. So working for NASA wasn't much help for either, except it was nice to end Rocket Boys relating how I'd gone on to a career with the space agency. Of course, now my day and night jobs are the same: writing.

Jean Rabe:
Working in a related field can get you connections, but it certainly isn’t necessary. A few of my friends who have been successfully published while keeping their day job are attorneys, nurses, computer programmers, etc. Some of my writer-friends prefer to work in a completely unrelated setting. That way they’re “fresh” when they come home to write. They’ve taken jobs at Blockbuster, McDonalds, as night security guards, teaching, and more. Before I started writing full-time, my jobs were always related to writing. I was a newspaper reporter, a news bureau chief, game magazine editor, game designer, etc.

Nate Kenyon:
I'm sure it would be helpful, but my day job is in marketing and communications, not in publishing.

Clint Kelly:
Yes. I work as a communications specialist for Seattle Pacific University. The academic setting is stimulating for a writer. Speakers come through all the time. Expert professors in all areas are immediately at hand. The college library offers a world of research and some of the most helpful librarians around. Generally, though, what’s most important is to live life, to mix it up in the workplace and to stay informed, whatever you do.

What one piece of advice would you give to new writers seeking publication?

Joanne Skerrett:
It sounds like a cliché but if you really believe in your work then don't give up. Restructure your query letter, be flexible with your plot and characters, do whatever you feel is necessary to get your work published.

Mindy Starns Clark:
Make sure you're a good enough writer first.  I spent a lot of years trying to get published when that time would've been better spent perfecting my craft.  Get some objective advice:  Is your work publishable as is?  Then go for it.  Otherwise, take another class, write another practice novel, join another group, read another book.  It will happen eventually, but sometimes patience can save time in the long run.

Mary Monroe:
Learn as much you can about the business.

Scott Nicholson:
Write as much as you can, in as many different fields as possible, and keep submitting your work. Don't take no for an answer.

Homer Hickam:
Go to homerhickam.com and click on the ADVICE TO WRITERS button and get some detailed advice. However, here's a tip: Learn how to tell a story with a beginning, a middle, and an end. Reading in the genre of interest is the best way to learn how to do this.

Jean Rabe:
Read a lot. I believe it makes you a better writer. Go to genre conventions and listen to professional writers and editors, and make friends with others trying to get published. Such friendships can lead to tips about open anthologies, publishers looking for certain sorts of material, and agents accepting new clients. Pick up some of the writing magazines on the shelves. You don’t need subscriptions, as not all the issues will interest you. Just look over the shelves and pick the ones that pertain to your topics and needs. There are some excellent web sites to bookmark, too. Often the writing magazines list various web sites and their topics. Consider joining a writers group.

Nate Kenyon:
Be a professional.  Treat your writing like a business, and your work a product you're trying to sell.  While you're writing, you can be as protective and selfish as you want - but once you've submitted something be ready for constructive criticism.  If you view your work as something akin to a widget from a factory, it's easier to take when an editor or agent has some harsh things to say.

And never, ever give up.  Don't lose faith in yourself.  This is a tough business, but you can make it, if you keep at it.

Clint Kelly:
Think like an editor and give the editor what the editor wants. Good ideas are always in demand.

What should a writer look for in an agency? What is the agency’s role?

Robert Anderson:
Ideally, a writer should look for a partner and helpmate in his agent, and I apologize but this proposition is every bit as wishful and farfetched as the idea of successful wedlock. Be that as it may, the agent should be someone who believes in the writing and genuinely respects and likes the individual reader. Talented, daring writers face stumbling blocks and setbacks often more so than the sturdy craftspeople who write the same stylistically borrowed book over and over again. The ideal agent should be someone who can identify with the struggles of their author, as well as identify with their writing. Also, if in fact fate has blessed you with a successful relationship with your agent, trouble yourself not to overload the golden goose with unreasonable expectation and demands. Even the best of agents build up an intolerance to the egocentricities of the “tortured artist.”

Joanne Skerrett:
I think an agency's chief role is to sell the author's book. But it's important that the agency be willing to recognize an author's talent and potential and direct the author's career accordingly.

Mary Monroe:
A writer seeking a literary agent should look for someone he/she feels comfortable with.  An agent's role is to represent his clients in the best possible way.  An agent should not only be honest (even when there is bad news to report) but the agent could communicate often.  I was with an agent once who didn't call or write to me in over a year.  When I finally called her, I found out that she had retired and closed her agency!

Scott Nicholson:
You should have an agent who is enthusiastic and supportive. The agency is your biggest advocate in dealing with publishers, and unless you're having lunch with editors every day yourself, then you need an ally on the front lines.

Homer Hickam:
Look for an agent that has a successful track record in your genre of choice. The agent's role is to know the publishing industry and to get your manuscript to editors who are looking for books such as yours. Don't expect your agent to be an editor. They rarely have the time. For that matter, don't expect your editor to be an editor these days! Make certain your manuscript is the best you can do before you send it out. I like it when my editor never changes a word in my manuscripts. That means I've done my job.

Jean Rabe:
A good writer needs a good agency, one that will get the writer’s manuscripts to the top of an editor’s stack of to-be-read manuscripts. The agency should be accessible and be willing to answer the writer’s questions (though the writer should ask reasonable questions and not be a pest). The writer should look for an agency with a string of successes. He or she might ask fellow writers for recommendations. It’s not easy getting an agent, and an introduction to one is certainly helpful. Again, I recommend attending conventions that agents frequent. It’s an opportunity to set up face-to-face meetings. It’s also an opportunity to garner names of agents from fellow writers.

Nate Kenyon:
I found LGI through a friend who had recently signed with them, and recommended me.  I'd submitted to a few places cold, and had some interest, but nothing clicked until then.  I think it's possible to land a good agent through the slush pile, but without a deal in hand with a publisher it's more common to use connections made through networking with other writers.  I'd recommend going to good writer's conferences and meeting other writers, editors and agents whenever you can, both in person and online at message boards and in chats.  Be polite and respectful, and don't push your work right away.  It's better to take a low key approach at first, and then follow up later.

I think it's important to find the right fit.  Everyone's different, so you need to decide what kind of agent you need--someone who is more hand's on and helps you edit your work and then keeps you updated as submissions go out, or someone who takes your finished novel and runs with it.  There are smaller, boutique firms, and huge, multi-agent offices, and a lot of them in-between.  What's perfect for one writer might not work for another.

To me, an agent's role is to help sell your work and manage your career.  They need to have both faith in your work, and the right connections in the industry to make the sale.  They need to be your business partner, and handle the legal and financial side of things in terms of contracts, advances and royalties.  They should act as your advisor in these matters.  They don't need to be your friend, but they should look out for your best interests.

What can a writer expect from his first book?

Robert Anderson:
Stupefaction. Disillusionment. Hollow readings. Estrangement from long-term friends. Post nuclear ashtrays and nicotine halitosis. Missives from antagonized webloggers. Bilious dreams. A compulsive desire to put in a job application at Dairy Queen. You have to really love books in order to attempt to write them, but then again how could a person not love books? They are the foremost agency of personal growth, outside of the medium of prayer.

Mary Monroe:
Anything from nothing to an appearance on Oprah.  It depends on so many different things.  My first novel got great reviews but it went nowhere.  It made just a few dollars over the small advance.  I met an author whose first novel made her a very wealthy woman.

Scott Nicholson:
Depending on your advance and positioning by the publisher, you'll likely need to take on as much promotion as possible, including sending out your own press releases and arranging book signings.

Homer Hickam:
Rarely will either recognition or riches come from the first book. Sometimes it happens, but not usually. Work hard, make it the best it can be, promote it with all your energy, then get going on the next book.

Jean Rabe:
What a great question! Whether it is a published or an unpublished book, the writer can expect to feel an amazing sense of accomplishment - to be able to go from an idea to a completed manuscript... well, it’s a wonderful feeling. Now, a published book - an even greater sense of accomplishment, of course! Too, you can expect a challenge. Your first published book is like a proverbial gauntlet being thrown down. You’ve written one. Can you write another? And another? And another? Is there another story inside you? Are you a real writer?

Nate Kenyon:
Every book and every contract is different.  I don't think there's a way to answer that one, other than to say you have to work as hard as you possibly can to help sell and market your novel yourself.  Don't expect the publisher to sell it for you, because the reality is, they just won't do it.  These days a writer has to be a business person too - get out there and do everything you can to make the first book a success.

Clint Kelly:
An education. Take what you do right and what you do wrong and make your second book sing.

How long did it take you to write your first novel?

Robert Anderson:
My first novel Little Fugue (originally titled Now I Know How Many Halls it Takes to Fill the Albert Hole) has been between the hardcovers for over a year, and it is due to be put out in a trade edition. It’s been ridiculed, lionized, misrepresented, dismissed, warehoused, pulped, transported across the state lines for immoral purposes, used to assist hamstrung end tables, compared to Sartre, compared to filth, three-starred in People Magazine, ill-starred at the cash register, and ruthlessly annotated by shears-brandishing schizophrenics in public libraries. In my private mind, I am still rewriting that novel.

Joanne Skerrett:
It took about six months.

Mary Monroe:
Because of my dreaded day job, my time was very limited so I learned how to write fast. I wrote my first novel in less than three months.  I thought that that was a long time until I met a famous author who always spends several years writing one book.

Scott Nicholson:
Six months.

Homer Hickam:
Torpedo Junction (not a novel but a non-fiction military history) took over ten years but that was mostly research. When I stopped researching and started writing, it took about a year and a half. Rocket Boys (not a novel but a memoir) took about two years but that was because I threw the first manuscript away after about six months and started over. These days, my novels take about a year of research and writing.

Jean Rabe:
About four months for the first draft. That was Red Magic, a book set in the D&D world. I had a day job at the time, working 50-60 hours a week. Since it was my first novel, I also had a second draft and a final draft to wrestle with. I take about two months now for the first draft of a book.

Nate Kenyon:
About three months on the first draft, and another three months on revisions.

Clint Kelly:
Eight years of thinking, writing when able, trying it out on others, gaining confidence, and believing in it. Don’t begrudge the time. Rush it and it’ll read that way.

How long did it take before your first novel sold?

Robert Anderson:
I had been writing for twenty-odd years before Ian Kleinert sold Little Fugue to then Ballantine senior editor Dan Smetanka. Ian successfully sold the book to Dan with only a third of the manuscript completed.

Joanne Skerrett:
Once I found an agent, I think it sold within a few weeks.

Mary Monroe:
It took over two years and fifty-five rejection letters to publish my first novel.

Scott Nicholson:
About three years, but it was my fourth novel written. My first novel is still unsold.

Homer Hickam:
I started freelancing articles to a variety of magazines in 1969 and I never received very many rejection slips. This is because I studied my market carefully before submittals. The first publisher I submitted Torpedo Junction to immediately accepted it. Rocket Boys bounced around a few months with various publishers before Frank Weimann took it on. Within a couple of weeks, it was being auctioned to several of the biggest publishers in New York!

Jean Rabe:
Hmmmmmmmm... maybe not a good question for me. I ‘auditioned’ for my book with a writing sample and chapter-by-chapter outline. Because it was a D&D book, it was “work made for hire.” However, it was my third audition for the line. So, I’d say it took two and a half years of trying to land one of the books.

Nate Kenyon:
Eight years.  To be fair, I wasn't submitting it anywhere for about seven of them.  I spent about six months after I finished it trying to land a good agent, and then gave up.  It wasn't until years later that I became determined to try again, and made contact again with Ed Gorman, who sent my work onto Five Star.  A few months later, I had a contract.

What is the process of writing a full-length novel? Are outlines important?

Robert Anderson:
I feel that it is important that a writer proofread, edit, and rewrite in tandem with writing his novel. If possible, make use of the virginal gift of the early morning hours. I do not outline at the outset of the process because it is such a dry activity that it saps one’s enthusiasm for getting on with the work. That said, I outline my prose output daily before I actually write it. Basically, writing a novel involves gaining a series of beachheads, resecuring and restructuring them, and moving backward and forward like a landscapist with an entire Sahara to represent.

Mindy Starns Clark:
Every writer I know is different; don't let anyone tell you there's one formula that works.  What works is what works for YOU.  My technique is to do research, play around with ideas in my head, do a lot of sketches and timelines and charts.  When I feel ready, I'll sit down and type up a loose outline - more like a narrative - that tells the story from beginning to end in about 20 pages.  I print out those pages, put them next to my computer, and use them every day as a reference, to remind me where I am and what's happening.

Mary Monroe:
Outlines are very important.  I never attempt to write a story without an outline.  It helps me decide how many chapters and pages I want the manuscript to be, and how many characters I want in it.

Elaine Cunningham:
Aspiring writers frequently ask about outlines. Do I use them? Are they necessary? How does one go about writing one?

The answer to the first question is yes, always. It's my observation that in writing, as in life, it's important to have plans and goals. If you have no idea where you're going, chances are you're not going to like where you end up.

That said, not every writer uses outlines. I heard Nora Roberts speak on this subject several years back. She started out writing short, traditional romances. Outlines didn't seem necessary, but more to the point, she wasn't sure how to write them. When publishers required them, she'd write the book first, then do an outline from the finished manuscript to send to the publisher. When the publishers figured out what was going on, they said, "Okay, never mind..." I've known other authors who have a general plan in mind, but don't feel the need to write detailed chapter-by-chapter outlines. Your mileage will vary, and in time you'll find the writing method that works best for you. But when you're starting out, outlines can be an important part of the process.

Outlines can take two main forms: narrative, and chapter-by-chapter. It's important to be able to write both, not only for your own purposes, but also as part of a proposal package. Publishers frequently ask for a brief summary of the story (narrative outline), or a writing sample (usually three chapters) plus a chapter-by-chapter outline.

For a excellent example of narrative outlines, see Writing the Blockbuster Novel by Albert Zuckerman. This gives several versions of Ken Follet's novel The Man From St. Petersburg. (This is also a great example of how a story changes and grows during the planning phase.) When doing a narrative outline, focus on the events of the story and the character arcs. Don't go into minute detail or include dialogue. If you're writing the narrative outline for a proposal package, don't attempt to "hook" the publisher with a coy, cliffhanger finish.

Chapter-by-chapter outlines usually run about ten to twenty pages, and they sum up the main action in each scene in a sentence or two. This shows the bare bones of the story. Plot development, character arc, pacing--all these story elements are laid out in a relatively small area. Time and effort at this stage are well spent, for it's a lot easier to correct basic structural flaws at this point. Outlines are about story construction.

If you're not sure how to go about the process, I strongly suggest taking a book you admire and reducing it to a chapter-by-chapter outline. Describe the main action in each scene in one sentence, two at the most. Once you've done this, go back and note the development of plot and subplot, the interaction of plot with character development. Pay close attention to the pacing. There will probably be several "set pieces:" high-impact scenes that move the story forward in powerful ways, or provide an unexpected twist. Notice how the preceding scenes lead up to these moments. The hero's path is never straight or smooth, so note the use of red herrings (if any), dead ends, and setbacks. He's likely to stumble over failings or flaws of his own (one of the primary ways that character development and plot intersect.) Once you've learned all you can from this exercise, repeat it with another book. After two or three of these, you'll have a much better understanding of how structure supports storytelling.

This accomplished, you're ready to write an outline for your own story. Again, the process will be different for each writer, but here's one way to begin.

Motivation is the driving force behind a story, so start with this important question: "What does this character want?" Ask it of the hero, the villain, all the primary and secondary characters. (The answer won't always be straightforward and simple; after all, how many of us can identify a single, defining desire?) Next, ask what stands in the way of achieving this goal or desire. From these basic questions flow characterization and plot.

Outlines serve another important function: They save time and frustration by weeding out unworkable ideas. Not all good ideas become good stories. Ideas are ephemeral things, and like dreams, sometimes they just can't be pinned down in words. If your idea doesn't hold up to the process of story planning, it's unlikely that it could support a novel. There are many reasons why that story premise you found so exciting when it first occurred to you might not end up as a finished manuscript. Perhaps the idea is better suited for a short story. Maybe further research shows that the story premise can't be supported, or isn't as clever as you initially thought. Or perhaps it's just not your story to write. Painful as this realization might be, it's better to know sooner than later.

As valuable a tool as a good outline can be, it should not be regarded as engraved in stone. Characters come to life as you write about them, and sometimes ideas, insights, and even new plot directions will come to you during the writing process. It's good to be open to new possibilities, but keep in mind that each change could alter the overall direction of the story and characters. This might be a good thing, it might not. Writing is all about decisions, and each decision opens up new possibilities--and closes others. If you envision the writing process as a type of decision tree, you're less likely to find yourself with characters who "just won't behave," or stories that run into stone walls or fizzle out altogether.

Scott Nicholson:
I rarely outline, but you need to have a sense of the entire structure in your head. That includes remembering what you've already written so the characters and voice stay consistent.

Homer Hickam:
I usually have at least a vague idea of how the novel will begin and end. Then I start writing. I stop occasionally and do some light outlining but invariably deviate from it. It's a process. After awhile, I'm living the novel. It's always on my mind and the characters are telling me what's happened and what's going to happen. It's like living in a separate universe. I love it.

Jean Rabe:
I always start with an outline. Some of my outlines have totaled 9,000 words, that’s one-tenth of the book I intend to write. I believe the more detailed my outline, the faster the book writes because I know just where I’m going.

Oh, I always change things along the way, sometimes deviating quite a bit from the outline. But the outline helps me weave characters in and out of the story, show me where I need more action, and helps me find plot holes.

I know some writers just sit down and write. I tried that, and it just didn’t work for me. Things moved too slowly, I’d only type about 1,500 to 2,000 words a day, instead of writing twice that much or more with an outline.

So... the process for me is letting an idea percolate, jotting notes, crafting characters, then writing an outline. Once the outline is done, I let it sit a week or two and read books in other genres... police procedurals, biographies, thrillers. Then I pick up the outline and look at it with fresher eyes, find the problems and iron them out, and start writing.

Nate Kenyon:
I don't personally write from an outline - my novels usually start with an idea or image, and I just run with it.  I do take a ton of notes as I go, which helps me keep track of where I want to take things.  These notes can be pretty detailed - sometimes I'll write an entire page or two of a scene that I'll drop in later in the book, and I might write pages of descriptions about characters and their back stories - but I find more specific outlines too confining.  I do know of a lot of other writers (particularly mystery writers) who do use outlines, so I guess it's just a matter of the type of creative person you are, and how you work best.