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Your first reaction to any request for revisions is apt to be negative—What's wrong with the editor that she can't see my story for the jewel it is?—but if you take a bit of time, and if you've given yourself some distance from the story, you may see that she's right and what you actually put on the page isn't quite the polished diamond you believed.
If an editor requests revisions from you, figure out a feasible timetable, tell the editor when she can expect to see the revised manuscript—and then stick to the deadline. Don't delay; get the book back to the editor as soon as you reasonably can, before she can move on to another job or forget that she asked.
BEING A PROFESSIONAL WRITER
The professional writer isn't necessarily someone who's quit a day job to write full time. The difference between hobbyists who write stories in their spare time and authors who have put themselves in the marketplace is an attitude of professionalism.
Most rules for dealing with editors and publishers are a matter of common sense and courtesy. Before you send off a letter, consider how you would react if someone had sent the same letter to you. Treat the editor with the same respect you'd like to receive.
From the first query letter, you should strive to present yourself as a professional who is knowledgeable about the field, respectful of the editor's time, serious about writing, reasonable to deal with, and intelligent.
If you work with an editor through several projects, a friendship may develop, but it's important to remember that your working relationship must be kept separate from your friendship. Though your editor may sometimes act as your advocate with his superiors, his first duty has to be to his employer—who is not only in the business of publishing books, but of producing a product that will make money.
Your editor is your partner, not your opponent. A wise author remembers that while author and editor may not always agree, their goal is always the same: to produce the best possible book for the readers' enjoyment.
Meeting Deadlines
Part of this cooperative arrangement includes doing your work on time. It's your job to keep to your contract by meeting the deadline, and failing to do so because you didn't feel like working is not only unprofessional, it can be deadly to a career.
Deadlines are set through discussion between the writer and the editor and are spelled out in the contract. When you're negotiating deadlines, don't automatically agree to the editor's suggestion. Be reasonable with yourself, be realistic about what you can accomplish, and build in some extra time for emergencies. With luck, you won't need the safety margin, and turning work in early builds your professional relationship with your editor.
If circumstances like personal illness are going to prevent you from meeting a deadline, inform the editor as early as possible—when publication schedules can still be juggled. If you try to cover up the failing by making excuses or sending in substandard or unfinished work, you'll build yourself a reputation as unreliable, if not worse. Writers who can't be relied on to produce aren't asked to do the special projects that are very important career-builders.
Even before you're published, you can do a lot to build a professional attitude toward meeting deadlines. You can set your own due dates, or answer to a fellow writer or critique partner. And when you pitch a story to an editor and she says she'd like to read it, you'll be far ahead of the game if you tell her she'll have it in two weeks and you can follow through on it.
The Can-Do Attitude
An I-can-do-that attitude will take you a long way. Be willing to listen to the editor's ideas, cooperate whenever possible with his requests, and if cooperation
is impossible or if you disagree with the editor's suggestion, give logical reasons for your refusal.
Even when you find it necessary to disagree, you can do so without being disagreeable. The successful author does not ever flatly refuse to make changes or revisions. If you disagree with an editor's requests, respectfully present your case, detail your reasons, and offer an alternate solution.
Growing and Stretching
It's impossible to stay at a certain level of competence as a writer. You either stretch, grow, and improve, or you slide downhill. Unless you are willing to learn with every new manuscript, you may find that publication is no guarantee of continued success. Remember, you are only as good as your latest story.
The Writer's Life
Writing a romance is fun, challenging, aggravating, and satisfying—sometimes all in the same moment. Your characters can thrill you, frighten you, amaze you, and make you want to tear your hair out. Your story will be exciting and frustrating in turns, and some days you'll just want to turn your back on your work and never pick it up again.
But in the end, writers write—while amateurs talk and think and dream about writing.
The query letter starts with a polite greeting and immediately gives the main information about the book—story type, targeted line, word count—and the fact that it has placed in a contest, which immediately gives more credibility to the author.
Then the letter segues into a quick synopsis of the story, including the main turning points of the plot and how those affect the main characters, along with a hint of the story's tone (mending toilets for a living, Flynn's motivation to sidetrack the romance). Note that the story's ending and what brings it about are included.
The quick finish specifies that the manuscript is complete and can be mailed on request. The author's name and contact information are clear.
This cover letter immediately gives the main information about the book—story type, targeted line, word count—and reminds the editor of a previous meeting with enough detail that she's likely to remember the writer.
The letter then gives a thumbnail sketch of the book (handy in case the letter and synopsis are separated) and mentions the fact that the manuscript has placed in a contest, which immediately gives more credibility to the author.
The quick finish specifies that the manuscript is complete and can be mailed on request. The author's name and contact information are clear.
The synopsis opens with the heroine's short-term problem and immediately introduces the main characters. It includes the main events of the plot, telling about the episodes in a lighthearted way that mimics the overall tone of the story. It shares the changes of heart experienced by the heroine, and explains why her attitude changes. It also includes the hero's view of events and his reasons for confusion and delay, and goes into some detail about the ending and what brings it about.
The cover page includes crucial data about the manuscript and about the author, including full contact information. Having the date the manuscript was submitted assists the publisher in making a timely respon.se.