Query (Pitch) vs. Synopsis

In a query, should the synopsis tell the whole story in a short form or should it leave mystery to the story like on the back of the book?

Queries and synopses are different things. A query should never include a synopsis.

A query is a one-page letter that explains what you’ve written, who you are, and why the agent or publisher should consider your work. A query letter will contain a pitch, which is an explanation of your story in 3-8 sentences. It’s like the text you see on the back of a DVD box. It’s designed to pique your interest. A pitch, like the back of a book or DVD, will not spill the beans regarding the ending.

A synopsis is a front-to-back telling of what happens in your story. It’s like sitting down with a 12-year-old and explaining your entire story in about five minutes. You explain who the characters are, what the conflict is, the three acts and, finally, what happens at the end (e.g., the villain dies). So, in a synopsis, you do indeed give away the ending. You would not do so in a pitch, and a pitch is what appears in a query. A publisher will probably ask for a synopsis if your query has grabbed their attention

The Path, a literary magazine

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Self-Publishing: Why It’s Often Treated with Suspicion

 Have you fallen asleep or put a book down because you found it boring? The story wasn’t moving fast enough; the characters seemed flat—not people, just cut-outs; you were left wondering where did this character come from? First, you put it down as poor editing—you’re right. That’s only half of it—it’s really poor writing. The editor was “trying to make a silk purse out of a sow’s ear”, so to speak. That doesn’t happen often. More than likely, it was a self-published book that was not properly edited.

It is not my intention to damn self-publishing. Far from it—it is the only sure way for an author to get a work into print. It is cheap and fast and, with a little work, it can be as good as any work published by “the Big Six”. The operative phase here is “with a little work”. This goes beyond an attractive cover and a nice picture of the author. This means having, usually paying, a professional editor to work over your writing. This editor must look at and beyond grammatical and spelling errors (those should have been caught by the author). This editor will analyze the story arc, character development and make sure everything is brought to a final, believable conclusion. A final note—a spouse, a parent or other relative rarely makes a good final editor. This editor should not be biased by relationship or friendship.

Holiday Gift-giving

Give someone you like or love the gift of a book for one of the delightful holidays between now and the end of January. Go to www.saguarobooks.com and click on the “store” page to see the 17 books plus 1 graphic novel that are on our published books list. There are books in many different kinds of fiction, from fantasy to fictionalized nonfiction, for kids, 'tweens, teens. Give the gift of a book this year. They can be purchased from the website, on Amazon in print or Kindle and Barnes and Noble Nook.

Polish Your Work Before Submitting: Six Revision Tips

1. Listen to your critique group. When I first began to write, I was fortunate to meet some wonderful writers who became fabulous friends. We met regularly to work on our manuscripts. We worked to give constructive feedback to one another and because we listened to each other, our writing got better. We listened when the group told us the funny parts weren’t really all that funny. We listened when the group thought our chapters were too long. We listened when the group couldn’t relate to our characters. Listening to the group’s honest feedback made us dig deeper into our stories, making them stronger and better.
2. Listen to other authors. Most writers know that writing begins with reading, but some writers don’t take that to heart. If you want to write funny picture books, read funny picture books. If you want write a mystery series, read mysteries series. If you want to write children’s poetry, read the children’s poetry that’s being published. But when you read the genre you’re trying to write, don’t just read it as a reader would, read it as a writer would and “listen.” Really listen to the way the author tells the story. Then go to your story and see if yours sounds the same way when you really listen to it. Doing this might help you see how your story is falling short.
3. Listen to writing teachers. If you have the opportunity, take a writing class or go to a writing workshop or conference. Learn everything you can firsthand from experts, but don’t just go and take notes and network. Really listen to what the experts are trying to teach you about writing and then go home and do it in your own writing. If the classes, conferences and workshops are out of your reach, read books about writing or watch a DVD. You can learn plenty if you really listen and apply what is being taught to your own manuscript.
4. Listen to your editor. When you finally get your big break, and an editor wants to work with you, be sure you’re ready to listen. Don’t be defensive. Don’t be argumentative. Listen. Listen to their feedback. They love your story or they wouldn’t be working with you. They want what’s best for you and your story, and good editors always have a vision for what your book can really be. Listen to them and let them guide you. If you do, in the end, your book will be more than you ever imagined it could be.
5. Listen to yourself. Throughout all this listening, as you are learning and taking advice from all of these sources, don’t forget to be true to yourself and your story. You don’t always have to take everyone’s suggestions. If after you listen, you realize someone’s advice is not what’s truly best for your story, stand your ground and stay true to yourself. But remember, standing true in this way, can only be done if you’ve first taken the time to really listen.
6. Listen to reviews. When your book is finally published, lots of people will have lots of things to say about it. Some good. Some maybe not so good. Listen to it all and glean what you can from it. Use it as a learning experience for the new project you’re working on. Maybe the reviews of your present book will teach you things that will make your next book even better.

Revision requires patience and can even be painful at times, but it’s the only way your writing will ever improve. Following these six keys to revision will help you find the path that leads to making your story as wonderful as it can be.

From: Chuck Sambuchino’s Guide to Literary Agents Blog

Book Talk vs. Book Review

A book talk in the broadest terms is what is spoken with the intent to convince someone to read a book. Book talks are traditionally conducted in a classroom setting for students; however, book talks can be performed outside a school setting and with a variety of age groups as well. It is not a book review, a book report, or a book analysis.

The book talker gives the audience a glimpse of the setting, the characters, and/or the major conflict without providing the resolution or denouement. Book talks make listeners care enough about the content of the book to want to read it. A long book talk is usually about five to seven minutes long and a short book talk is generally less than a minute long.

On the other hand, a book review is a form of literary criticism in which a book is analyzed based on content, style, and merit. A book review can be a primary source opinion piece, summary review or scholarly review. Books can be reviewed for printed periodicals, magazines and newspapers, as schoolwork, or for book web sites on the Internet. A book review's length may vary from a single paragraph to a substantial essays. Such a review may evaluate the book on the basis of personal taste. Reviewers may use the occasion of a book review for a display of learning or to promulgate their own ideas on the topic of a fiction or non-fiction work.

There are two approaches to book reviewing:

• Descriptive reviews give the essential information about a book. This is done with description and exposition, by stating the perceived aims and purposes of the author, and by quoting striking passages from the text.
• Critical reviews describe and evaluate the book, in terms of accepted literary and historical standards, and supports this evaluation with evidence from the text. The following pointers are meant to be suggestions for writing a critical review.

Rules of Thumb