# Tuesday, January 01, 2008
Happy New Year!
I hope everyone one had a happy and safe New Year's Eve. Q&Q returns with a new post next Tuesday, so stay tuned. And thanks for making WD a part of your 2008 story.

Brian A. Klems and the WD Staff




Tuesday, January 01, 2008 1:41:40 PM (GMT Standard Time, UTC+00:00)  #  Comments [1] 
# Tuesday, December 18, 2007
Numbering Pages of a Prologue
Q: I’ve written a novel and am now working on the technical aspects. What’s the proper way to number pages of a prologue? If the prologue is five pages long, would that make the first page of Chapter 1 Page 6?
—Gretchen Courtright


A: Most front-matter elements, such as a prologue or preface, don’t get numbered as part of the manuscript. They’re best introduced with a slug: a very short description in the upper-left corner to help organize the book. For a prologue, include the name of the section and the name of your book—e.g., Prologue: My Life as a Tango Dancer. Using a specialized slug for these sections erases the need for page numbers, so you can leave the upper-right corner blank. When you hit your first chapter, start numbering with Page 1.

If you feel uncomfortable leaving off page numbers in the prologue or you really enjoy toying with Roman numerals, feel free to include all the Is, Vs and Xs you want in your front-matter elements. It’s really your call.

Brian A. Klems is the online managing editor of Writer’s Digest magazine.

Have a question for me? Feel free to post it in the comments section below or e-mail me at WritersDig@fwpubs.com with “Q&Q” in the subject line. Come back each Tuesday as I try to give you more insight into the writing life.


Formatting
Tuesday, December 18, 2007 7:29:23 PM (GMT Standard Time, UTC+00:00)  #  Comments [3] 
# Tuesday, December 11, 2007
Should I Get a Lawyer Before Signing with an Agent?

Q: Once an agent wants to take me on as a client and sends me a contract, do I need to have the contract looked at by a contract lawyer before I sign?—Allen Reiling

A: Yes, it would probably be wise to have a lawyer who knows a thing or two about publishing look over the contract. Most contracts vary from agent to agent, and it’s important to know exactly what agreements you make by signing.

If you don’t read the fine print or understand the legal language, months down the road you could find out that you not only gave up the right to profits from international sales but also the naming rights to your firstborn child. Contracts can be tough to follow sometimes, but without an understanding, you could essentially sign away anything.

Another thing you may consider before signing a contract is asking for a reference list of the agent’s other clients. Call and ask the clients about their experiences with the agent. If the agent refuses to give you such names, maybe that’s because he knows his clients will say things like, “He’s a bad manager” or “She mishandled my contract” or “I found him sleeping under his desk during working hours.” And that should be taken into serious consideration.

Brian A. Klems is the online managing editor of Writer’s Digest magazine.

Have a question for me? Feel free to post it in the comments section below or e-mail me at WritersDig@fwpubs.com with “Q&Q” in the subject line. Come back each Tuesday as I try to give you more insight into the writing life.


Business | Legal Questions | Publishing
Tuesday, December 11, 2007 6:41:24 PM (GMT Standard Time, UTC+00:00)  #  Comments [3] 
# Tuesday, December 04, 2007
Contest Guidelines and Formatting
Q: When submitting a story via email for a contest, how should it be formatted? Text format? Single or double spaced? You get the idea.— D. Holcomb

A: Competition submission guidelines—much like all writing guidelines—are determined by whoever is in charge of that particular competition. Because sponsors of the events vary, the submission process and formatting vary as well. It's most important to follow their guidelines.

For example, if Contest A asks you to single space, you single space. If Contest B asks you to double space, you double space. If Contest C asks you to quadruple space and add emoticons to the end of every paragraph, you do it. The law of the land is determined by the competition sponsor.

It's true that some competitions won't specify all the particulars, and you may be left scratching your head. When in doubt, you can follow these general guides when submitting for writing competitions:

•    Double space (except for poetry and scriptwriting)
•    Use a standard font, like Courier, Times New Roman or Arial
•    Be sure your name and contact info is at the top of the submission
•    Cut and paste in body of e-mail. (Don't send as an attachment unless specifically requested)
•    Avoid using smart quotes (the curly quote marks). You can turn off the function in Word.
•    Keep in mind that bold, italics and other formatting often don't come through when pasted into e-mails, so avoid them if possible.

Again, most competitions have their own guidelines and it's key that you follow their requests. But when in doubt, these specs should help answer your basic questions.

Brian A. Klems is the online managing editor of Writer’s Digest magazine.

Have a question for me? Feel free to post it in the comments section below or e-mail me at WritersDig@fwpubs.com with “Q&Q” in the subject line. Come back each Tuesday as I try to give you more insight into the writing life.


Contests | Formatting
Tuesday, December 04, 2007 7:34:06 PM (GMT Standard Time, UTC+00:00)  #  Comments [3] 
# Tuesday, November 27, 2007
Staples or Paper Clips?
Q. When I’m submitting a manuscript to a publisher, should I paper clip or staple the pages? Are the rules the same when submitting to a contest?—D. Fuson

A. In general, publishers want manuscripts paper-clipped, not stapled. It’s more difficult to read through 300 pages harnessed together by staples than it is to take off a paperclip and browse through a manuscript. But be sure to check the publisher’s guidelines, because some may have different preferences. And it’s most important to follow the rules of the potential buyer. If they want it stapled, then staple it. If they want it in a Manila folder with a picture of Zac Efron taped to the front, steal your daughter’s Seventeen magazine and give them what they want.

Similarly, different contests have different rules, so consult the contest guidelines before submitting your work. But when in doubt, go with the paper clips.

Brian A. Klems is the online managing editor of Writer’s Digest magazine.

Have a question for me? Feel free to post it in the comments section below or e-mail me at WritersDig@fwpubs.com with “Q&Q” in the subject line. Come back each Tuesday as I try to give you more insight into the writing life.


Business | Contests | Formatting
Tuesday, November 27, 2007 3:20:16 PM (GMT Standard Time, UTC+00:00)  #  Comments [2] 
# Tuesday, November 20, 2007
How Much Can an Editor Edit My Work?
Q: A publication I write for regularly just changed editors. The new editors are just ripping my work apart, even rewriting the leads and some sections, or sending stories back to me asking for rewrites. Is this OK? Are there limits to how much editors can change my work and still call it mine? Do I have any recourse if I hate their changes? —Shannon

A: As a writer, I know how difficult it can be to accept major changes to your work. But as an editor, I know the importance of reworking a piece so that it fits the style and tone of the magazine. That’s what editors get paid to do.

In working with so many freelancers who have different strengths and writing styles, editors must tighten each piece to fit the overall message of the publication. If your piece doesn’t quite fit, it’s subject to little or massive changes. An editor can edit, rewrite and ask you to rewrite sections—or even the entire piece—if it’s not up to the publication’s editorial standards, or if your work doesn’t meet the requirements set forth in the original assignment.

After all the changes are completed, the editor should give you a copy of his edited version, also known as a galley. You should be given the chance to look it over and point out any problems you have with the revisions. Most editors try to work through your requests, but ultimately the editor has the final say as to which version runs in her magazine.

If you still feel your article is in shambles and you’re uncomfortable running your byline with it, you do have one option: Politely withdraw it from consideration and return any money the publication paid you for your work. This should be a last-case resort, as pulling a piece last-minute will not only hurt the magazine’s production schedule, but also will burn all bridges with that editor.

Brian A. Klems is the online managing editor of Writer’s Digest magazine.

Have a question for me? Feel free to post it in the comments section below or e-mail me at WritersDig@fwpubs.com with “Q&Q” in the subject line. Come back each Tuesday as I try to give you more insight into the writing life.



Ethics | Publishing
Tuesday, November 20, 2007 6:33:06 PM (GMT Standard Time, UTC+00:00)  #  Comments [4] 
# Tuesday, November 13, 2007
When Do I Spell Out Numbers?
Q: Sometimes I see numbers spelled out (nine) and at other times I see them in numeric form (9). Which is correct?—Kevin Tracy

A: Most writers—including me—took on this artistic profession for three reasons: We’re creative, we love to read and, most important, we want to avoid numbers at all costs. Yet somehow, even in writing, numbers have found a way to sneak back into our lives. 

There are several rules of thought on how to handle writing numbers, but the most common is pretty simple. Spell out numbers under 10 (zero through nine), and use the numeric symbols for numbers 10 and up. I bought eight candy bars from the vending machineI average eating 29 candy bars per month.

There are some exceptions to the rule. For example, spell out all numbers that begin a sentence. Forty-seven-thousand contestants were turned down for “American Idol.” Eleven were selected. Of course, there’s an exception to the exception: Don’t spell out calendar years, even at the front end of a sentence. 1997 was the year I met my wife. And, if you don’t feel like writing those long, awkward-looking numbers, just recast the sentence. American Idol turned down 47,000 contestants.  I met my wife in the magical year of 1997.

Also, there are other instances where the under-10/over-10 rule doesn’t apply.  Always use figures for ages of people (“He’s 9 years old”), dates (February 14), monetary amounts ($8), percentages (14 percent) and ratios (2-to-1).

Again, this is a style issue and other sources may suggest different ways of handling numbers. So please, no hate mail. And let’s agree not to talk about numbers for the rest of the day—they make my head hurt.

Brian A. Klems is the online managing editor of Writer’s Digest magazine.

Have a question for me? Feel free to post it in the comments section below or e-mail me at WritersDig@fwpubs.com with “Q&Q” in the subject line. Come back each Tuesday as I try to give you more insight into the writing life.



Formatting | Grammar
Tuesday, November 13, 2007 6:15:30 PM (GMT Standard Time, UTC+00:00)  #  Comments [6] 
# Tuesday, November 06, 2007
One Space or Two Between Words?
Q: My writing course instructor insists that I should go back through my novel manuscript and use only one space after periods. I was taught that you always type two spaces between sentences. Is she wrong or am I just a dinosaur?—Anonymous

A: The two-space rule was instituted during the days of typewriters. Typewriters had only one font, so all the letters were monospaced, or took up the same amount of space. That means that the skinny “l” and wider “w” occupied the same amount of space on paper. To make reading easier, the two-space rule was born to give the eyes a break between sentences.

With the dawn of computers, word processing programs not only began offering an absurd number of fonts, but each font was programmed to space characters proportionally (“l” takes up about a third of the space “w” does). In turn, most computer fonts will automatically give you enough room between sentences with one space. So, as a rule of thumb, use just one space when typing up your manuscript on a computer.

There are a couple of exceptions—the fonts Courier and Monaco are still monospaced—but it’s better to stick with one space and switch fonts to Times New Roman or Arial rather than use two spaces.

Brian A. Klems is the online managing editor of Writer’s Digest magazine.

Have a question for me? Feel free to post it in the comments section below or e-mail me at WritersDig@fwpubs.com with “Q&Q” in the subject line. Come back each Tuesday as I try to give you more insight into the writing life.


Formatting
Tuesday, November 06, 2007 5:45:17 PM (GMT Standard Time, UTC+00:00)  #  Comments [14] 
# Friday, November 02, 2007
An Interview With Novel Journey
Hey Everyone,

The good folks at Novel Journey were nice enough to interview me and share it with their readers. If you get a chance, stop on by:
http://www.noveljourney.blogspot.com

Brian



Friday, November 02, 2007 4:09:55 PM (GMT Standard Time, UTC+00:00)  #  Comments [1] 
# Tuesday, October 30, 2007
Hone vs. Home
Q: My niece is always misusing the word “hone” when she should be using “home.” I know the difference, but have a tough time explaining it to her. Can you explain this rule for us? —Carol M.

A: No problem at all, Carol. This is a mistake people make all the time. Often people misuse the word “hone” by placing it in sentences where it doesn’t belong, but it’s a simple confusion that can be cleared up by understanding its definition.

The verb “hone” means “to sharpen or make more acute,” as in honing a talent. Alfred honed his negotiation skills to buy a new car at a very reasonable price. I hone my abs by doing 100 sit-ups a day.

Generally, people drop it into sentences where they should use “home.” In verb form, “home” (as in “to home in on”) means “to move or be aimed toward a destination or target with great accuracy.” The leftfielder homed in on the fly ball. “Forget about the abs!” I said as I homed in on a mouth-watering candy bar.

As a simple rule of thumb, if you write the sentence and need the phrase “in on” after the verb, it’s most likely “home.” If not, you probably need to use “hone.”

Brian A. Klems is the online managing editor of Writer’s Digest magazine.

Have a question for me? Feel free to post it in the comments section below or e-mail me at WritersDig@fwpubs.com with “Q&Q” in the subject line. Come back each Tuesday as I try to give you more insight into the writing life.


Grammar
Tuesday, October 30, 2007 1:00:25 PM (GMT Standard Time, UTC+00:00)  #  Comments [3] 
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