Contents of
Page:
How to Improve Your Manuscript Submission
What 3 Seas Literary Agency Looks for in a Prospective Client
Writing Tips
How to Improve Your
Manuscript Submission
1) Write a Catchy Query Letter.
Be original!
Tell the agent how you heard about them.
Research. Make sure to address your query to a
specific agent who specializes in your type of
writing.
Briefly describe the plot of your manuscript.
Make sure to include the number of words in your
manuscript. Also include the type of manuscript and
the publisher and line you are targeting, if
applicable.
Bios get your foot in the door. Mention any
published works you may have.
Describe any expertise you have on the subject
you're writing about.
Be brief. A one-page query letter is best.
2) Write a Great Synopsis.
The synopsis for fiction works should include the
beginning, the conflicts, the resolutions and the
ending.
It must be written in the present tense.
A synopsis represents you and your work. Take your
time, make it interesting, read it out loud, and
wherever necessary, improve...improve...improve it,
until you are happy with the final result.
3) BE PATIENT! Agents receive countless queries per
week
The waiting game may be the hardest part for a
writer. Be assured that any legitimate literary
agency you’re querying is doing its best to make
sure your submission will receive a fair and
thorough reading. Remember, however, that an agent's
first responsibility is to already contracted
clients. Their "needs and reads" are top priority
and must be dealt with before any query can be read
and answered.
Once an agent agrees to represent you, patience is
again required as the agent attempts to capture an
editor’s interest in order to make a sale.
What 3 Seas
Literary Agency Looks for in a Prospective Client
A beginning hook
that mesmerizes us and forces us to keep reading.
A fresh voice
with a writing style that fits the tone of the
story.
Interesting new
plots and ideas. If writing for the category
romance market, the overall theme must fit the
publisher's formula. (Note: Tip sheets
are available online or by mail from most romance
publishers.)
Strong dialogue
that will pull the reader into the story.
Dialogue MUST move the story along. If it
isn't essential to the story, delete it.
Well-developed,
strong characters.
A page-turning
story.
A manuscript
minus clichés and purple prose.
Correct pacing.
Scenes that follow a logical sequence.
A well-researched
plot! This is VITAL to every type of
manuscript. When in
doubt...research...research...research. There
is nothing that pulls the reader out of a story
quicker than a statement the reader knows is
incorrect.
An author who is
confident, friendly and enthusiastic about his/her
work and is willing to make editorial changes if
necessary.
And the number
one thing we require is professionalism.
PLEASE READ
OUR SUBMISSION GUIDELINES BEFORE QUERYING US.
(Click here)
Writing Tips
In General:
Header: Your manuscript needs a header on each page.
It should include the title, the author's name and
the page number. (Note: If you wish, the page number
can be inserted at the bottom of the page.)
Make sure your entire book flows smoothly. Avoid
overuse of flashbacks.
A slow-moving beginning turns off agents and
editors. Write a beginning hook to suck in the
reader. Use action rather than narrative.
Make sure the climax isn't resolved too easily. Be
certain to tie up all loose ends that may have
drifted throughout your story.
Double-check for grammatical errors, such as
misspelled or repeated words and sentence structure.
Do not use unusual words more than once in your
entire manuscript. A reader will remember them and
be pulled out of the story if you repeat them.
* * *
Common Manuscript Errors:
Is it compliment or complement? Is it "i" or "e?"
A compliment must be spoken by a human voice.
A dog cannot give a compliment to anyone because it
cannot talk. A dress can complement shoes.
Someone or something (a company, for example) can
give you a gift as compliments from them.
Is it use or used?
We are speaking "past tense" here. Here's a clever
tip to help you remember which form to use:
If it's past tense, use "used."
Correct: We used to dine at that restaurant, but we
don't anymore.
Incorrect: We use to dine at that restaurant, but we
don't anymore.
Improper use of the word -- its. It's is NOT
possessive. It's means: It is. (A contraction)
Never, never is an apostrophe used in its to show
possession.
Correct: Its paw. Its nose. Its leg. Its house.
Incorrect: It's paw. It's nose. It's leg. It's
house. You are saying: It is paw. It is nose. It is
leg. It is house.
* * *
Commas: A compound sentence is made up of two
independent sentences which can stand alone. Each
contains a subject (noun or pronoun) and a predicate
(verb). Use a comma when they are joined by and,
but, or, or nor.
Correct: We (subject) went (predicate) to the store,
and we (subject) bought (predicate) a loaf of bread.
Exception: You do not need a comma if the sentence
is short.
A simple sentence is made up of an independent
clause and a dependent clause. A dependent clause
contains only a verb (no subject) and is dependent
on the independent clause (see above) in the
sentence for the subject. The independent clause
stands alone. (It would make a separate sentence if
used by itself.)
Correct: We (subject) went (predicate) to the store
and bought (predicate) a loaf of bread. (Notice how
the dependent clause depends on the independent
clause for the subject of the sentence.)
Exception: If the author wishes to separate or
accentuate the dependent clause, it is perfectly
fine to add a comma. Also, if you is understood in
what looks like a dependent clause, a comma is
needed.
* * *
Punctuating the word " too" at the end of a
sentence:
Correct: We went to the circus too.
Incorrect: We went to the circus, too.
* * *
Toward is preferred over towards.
* * *
Sentences beginning with if, when, although, before,
after, where, etc., must have a comma at the end of
the clause.
Correct: When we go to Florida, we will go swimming.
Correct: Before we go to the movie, we'll have
dinner somewhere nice.
Correct: If he goes, I'm staying home.
Incorrect: When the time comes I'll probably change
my mind.
* * *
Overuse of the word: that
Read, and then read again, all sentences which
contain the word "that." Many, many times "that" can
be omitted, or the word "which" can be substituted.
Sometimes, however, "that" is necessary and must
remain in the sentence.
That not needed: I'm certain that you understand
everything I'm trying to say.
Better way: I'm certain you understand everything
I'm trying to say.
NOTE: Only by reading the sentence out loud and
concentrating on it, will you be able to delete all
unnecessary usage of the word that. HINT: Use the
"find" for locating all of the times you used "that"
in your manuscript.
* * *
Contractions: Sprinkle contractions throughout your
manuscript in dialogue, inner monologue and
narrative. You will notice how the words flow better
immediately. NOTE: We talk using contractions,
therefore, your characters should too.
Too stiff: "I am going to leave now," she said. "And
when I come back, you had better have all your work
finished. If you do not, then we will not go to the
movie."
Better way: "I'm going to leave now," she said. "And
when I come back, you'd better have all your work
finished. If you don't, we won't go to the movie."
(Sounds natural.)
* * *
Name Dropping: Be sure not to keep repeating a
character's name over and over in a paragraph or
even on a page. When more than one character appears
in a scene, it's sometimes necessary to repeat
names.
Bad: Susan jumped off the sofa and lunged for the
phone. Susan caught it on the second ring. It had to
be Harry calling. Susan couldn't wait to tell him
her exciting news.
Better: Susan jumped off the sofa and lunged for the
phone. She caught it on the second ring. It had to
be Harry calling. She couldn't wait to tell him her
exciting news.
NOTE: The above examples are very basic. Read
different pages of your manuscript and see how many
times you use the character's name. Then substitute
she/he in place of the proper name. You'll be amazed
at how much better it flows.
* * *
Dialogue is Not Conversation:
There is no room for bad dialogue in a good
manuscript. Example:
"Hi, how are you today?"
"I'm fine. How are you?"
"Better today. I was sick yesterday."
"That's too bad. I'm glad you're better.
"I've gotta go now. Bye."
"Bye."
NOTE: The above is conversation, not dialogue.
Dialogue's only purpose is to move the story along.
If it doesn't, and it sounds like conversation,
DELETE IT. Try not to have a character answer a
question directly. It's better to answer a question
with a question or to refer to something else.
* * *
Purple Prose. Being redundant. Incorrect sentence
structure. These are all bad.
Using too many adjectives and adverbs. Strong
writing demands strong nouns and verbs. A verb can
be either active or passive. Always choose "active"
voice whenever possible.
A noun is put to best use when it paints a definite
picture of what you're trying to say.
Example: The black and white spotted (all
adjectives) dog jumped to his seat on the big, red,
noisy (all adjectives) truck.
Better: The Dalmatian jumped to his seat on the fire
truck.
Note how the use of the word, "Dalmatian," paints a
vivid picture in your mind. You know instantly what
the writer is trying to show you.
* * *
Be Professional! Making A Sale Depends On It!
* * *
NOTE: The opinions in this section are those of 3
Seas Literary Agency. Another agent or editor may
disagree with some or all of them.
3 Seas Literary Agency is RWA recognized
3 Seas Literary Agency is a member of AAR
