Reading and writing plays can be an interesting way to hone your craft in a genre you may not have considered. Schools have always taught Shakespeare in literature classes because of his development of plot and characters, even inside the specific mechanism of the play, are so phenomenal. These are tools that are necessary no matter what you are writing.

The role of the narrator takes on an interesting shift in a play. In fiction, you choose a first, second, third, or sometimes even omniscient narrator (or a combination) to pull everything together and make clear what is going on. In a play the audience can see the events and action, so the role of narrator falls to the author as the one who silently brings everything together, slipping in hints and background where necessary.

The nature of drama brings to the relationship of writer and receiver to the forefront, allowing you to consider the power of the audience as real human beings experiencing the words you write. Because the words in a play are heard and not read, the visual component is on the action and not on words on a page. This also influences how you write a character. While your characters should be as rich and psychologically real and complex, the audience sometimes won’t have access to their inner thoughts as often as they would reading a first person account in a story. This puts a renewed importance on dialogue, and you’ll want to consider whether long, revealing monologues or shorter, more declarative statements are in order. Words in a play are not just words, they are speech. You’ll want to pay extra attention to tone and repetition, as your audience will be hearing these things out loud instead of reading them. The pace, passion and wit of a play is especially important-the audience’s attention must be held throughout. In his book, The Art and Craft of Playwriting, Jeffrey Hatcher invokes the idea that throughout one’s theatre going life, it is likely that by the time they reach 80 they will want some of that time back. As Hatcher says, “Our job in the theatre is to make that octogenarian regret not one moment he’s spent in the dark.”

While the language is the driving force, as a playwright you’ll need to consider the visual as well. It is important in fiction to set the scene, to describe reality and settings. Playwrights do this too, but the fruits of their effort are present in the set. Consider putting these ideas or descriptions in the stage directions. Instead of describing the scene, you’ll need to populate it with both real items and real emotion.

While the art of theatre is as old as writing, the themes and issues in modern playwriting are as dynamic and diverse as the writers who put them forward. Modern plays such as Tony Kushner’s Angels in America, Suzan-Lori Parks’ Topdog/Underdog, and John Patrick Shanley’s Doubt all connect with audiences by presenting issues both modern and timeless through prose that is both dynamic on stage and transformative on paper.

For more information and advice on playwriting try Hatcher’s book, The Dramatic Writer’s Companion: Tools to Develop Characters, Cause Scenes, and Build Stories, (Chicago Guides to Writing, Editing, and Publishing), by Will Dunne, or The Playwright’s Guidebook: An Insightful Primer on the Art of Dramatic Writing by Stuart Spencer.

Friends and neighbors are crawling out of the woodwork to yell “That’s great!” And the quiet reclusive writer is muttering “Oh, the horror.”

There is a reason writers are pessimistic about the publishing world. And they should be. It isn’t easy. Not even for the best writers. By now you may have already dealt with numerous rejection letters from agents, publishers, literary magazines; and maybe you have burned them in an effigy so the Gods of Comeuppance will hit the editor that rejected you with a mack truck filled with ten thousand copies of Twilight irony.

Believe me. It happens. As an editor of a literary magazine, I always look both ways before crossing the street.

But there must be some way to get published! So many people have done it before you (and so many more will do it after you have shriveled up and given up). So, how do you get published?

People have been asking this mysterious question for a long time, but seldom is the query ever answered. This could possibly be because the author doesn’t want to actually learn the grizzly truth. Sometimes the truth can hurt. Like the fact that good writing won’t make you famous. In fact, amazing writing won’t make you a dime. Not by itself at least. A few other ingredients are needed first.

Since you are reading this I will assume you have already completed your manuscript and are now trying to learn how to make it available to readers. I am also assuming that what you have written is publishable–meaning the manuscript has correct spelling and grammar, proper plot structure, realistic characters and dialogue, correct POV; and is in standard manuscript format (of course). Spelling, grammar, and punctuation standards can change over the years. Make sure you haven’t been left behind like all those authors that still add two spaces after each sentence (see Two spaces after a period: Why you should never, ever do it).

So, lets start with the first two ingredients: Motivation & Professionalism

That’s just the thing about a good ghost story—while it is easy to be scared by a movie or haunted house because it’s a visual medium (see video example below!), it is often much more difficult to be scared by a story. That responsibility rests on the writer. What constitutes a “good” (scary) ghost story? What elements need to be present in order to keep a reader sleeping with the lights on?

The answer depends on what part of the world you call home. While all ghost stories are centered on supernatural elements, some are derived from oral tradition, folklore, legends, myths, and rumors. For example, in Japan, ghost stories were often told to keep citizens awake during village meetings. In the United States, ghost stories are often derived from events unique to American culture like the Civil War, the slave trade, or Puritan society.

The real surge in ghost story fascination started to emerge with the introduction of psychology and the unconscious by Freud and his contemporaries. This era produced some of the most fascinating horror literature. Authors like Henry James, Mary Shelley, Oscar Wilde, Nathaniel Hawthorne, H.P. Lovecraft, Robert Louis Stevenson, Mary E. Wilkins, Edgar Allen Poe, Edith Wharton and Shirley Jackson all flourished around this time.

One thing that all of these authors were able to do was evoke a response from the reader. Arguably, that is the main goal of horror fiction writing. If your reader experiences a physical, emotional, or psychological response to your story, you can chalk it up to a job well done. Most American horror writers focus on the fear of the unknown and the anxieties surrounding the unknown. This often invokes the strongest response. While Edgar Allen Poe was clearly able to do that for me, more contemporary authors like Stephen King are able to produce the same response.

Some additional elements you might want to include in your own ghost story are highly descriptive details, supernatural and demonic elements, all-consuming obsessions, and grotesque characters & settings. Perhaps the best fact of horror fiction & ghost stories is that is it one of the less definable genres of fiction. There is great room for experimentation. The genre now includes LGBT, technology, and even political horror elements.

Regardless of what elements you choose to include or not include in your story, do not be afraid to experiment. The stronger the response you can evoke from your reader, the better your story will be.

So, let’s take a quick look at what you should already know. A traditional story will have an introduction (though, if it suits your story, you may want to start your story in media res, meaning in the middle of the action), a period of action, a climax (where the drama or action of the story reaches its highest point), and a dénouement, or falling action/resolution.

Consider what kind of point of view you want to write your story in—will it be a first person, character narration (and will that character be a reliable narrator, or something more mysterious), less traditional second person narrator, or a more omniscient third person narrator. Sometimes the role of the characters you write will be helpful in determining this. Don’t mix and match your point of view. Can it be done? Yes. Can it be done well? Not likely. Many of the greatest authors have failed miserably in the attempt. But if you wish to walk down that dark road, you will have your work cut out for you.

The characters that inhabit your story are your audience’s guides to the world you have created. Make sure they all have depth and purpose. Of course, you’ll likely have a main character (or a few), but it is always great for a reader to have multiple characters that they look forward to entering a scene. Take a look at the sixteen personality types to learn who your characters are, and most importantly, how they will react to the situations you will put them in. Personalities typically fall within four categories: idealist, rationalist, traditionalist, and hedonist. Under these personality categories there are sixteen personality types, which are as follows: conscientious, sensitive, vigilant, dramatic, aggressive, idiosyncratic, inventive, solitary, leisurely, serious, self-sacrificing, devoted, self-confident, adventurous, mercurial, and exuberant. A great place to learn about personality types is here: http://www.personalitypage.com/high-level.html and http://www.ptypes.com/

A character may make a story interesting, but a plot gives those interesting characters a reason to do the things they do.

The plot will guide your characters through their experiences, gradually giving readers more details. Whether the point of your story is a character study or to highlight a series of events, you can’t let the plot dangle or fall away. One important thing to remember when crafting the plot is what is known as “the suspension of disbelief.” Your audience, having entered into a kind of agreement to accept your story, must allow some dramatic license—but only if it is necessary to the story. Respect this relationship, pay attention to plot holes, and tie up loose ends. If your story is not a linear one, make sure it is still clear. As an author, you are dramatizing reality, but while your story does not need to be a report, it still needs to adhere to the boundaries of what serves the narrative best. Every author has a different writing process, but you might find it helpful to create a storyboard of events to help you see ahead to what is coming. This approach (knowing what is at the end before you get there) might help enrich your story from the start.

The plot also determines the setting (both place and time) of your story, which may or may not play a role of its own. Great descriptive writing of the setting can make a story feel more alive, but don’t get bogged down here if it is not necessary.

All of this information and none of this information are true when writing fiction. That is what makes the form so powerful and creative. You can bend rules, break rules, and wrap rules into little bows. The key is capturing your audience, telling a story, and getting across your message. And you make the decisions that will guide them on their journey.

Go to the next section: How to Improve Your Writing NOW! (COMING SOON!)

So, let’s back up. Writers are some of the most motivated writers, but not very motivated in their industry. Unfortunately, these two go hand-in-hand. If you write the greatest novel ever and then just pass it in an email to your friends and family, then, sure, you can separate the two and never share your genius with the world. But don’t forget about the Gods of Comeuppance…

Get motivated! Don’t expect publishers to blast through your door with million dollar contracts. It isn’t going to happen! So, splurge $50 for a 5-year website domain; blow $25 for an easy website building program; and spend a week of your time building a website, setting up a Facebook & Twitter account, and notifying everyone you know. Too much to ask? Is no more than $100 and a week of your time too much to ask? You probably spend that in one therapy session for all the rejection blows you have/will receive. Do it. Don’t wait. Do it. Get motivated. Enhance your career by using means outside the realm of just writing.

This leads us to professionalism. As you may have already guessed in that creative brain of yours, a website, Facebook, and Twitter account are professional in the sense that it shows publishers that you engage with fans and are proactive in the industry. And if you’re really patient you can make a video for youtube. But that doesn’t mean that they will take you seriously. Not at all, actually. Your website and social media shouldn’t be “fun.” It should be Professional. That’s right! I capitalized the “P”! Explain what your writing history is, your credentials, new stories/novels you are working on, answer questions from fans. You don’t have to be stiff, but you have to present yourself in a way that makes your reader (and possibly publisher) sigh with relief and think “Wow, this person is the real deal.”

I will never forget the first pitch session I ever attended. I wore a suit. No one else did. No one. When I went to give my pitch, to an editor at Penguin, the first thing I noticed was that he also was wearing a suit. In fact, when I went into the pitch room, ALL of the editors were wearing suits! They take their job seriously, and they want you to do the same. The editor at Penguin requested my full manuscript, along with four other major publishing houses, nearly on the spot. Many other authors pitching their manuscripts were not so lucky. Let’s be honest, would you hand over a $10,000 check and invest up to $50,000 on publishing a book by an author that wore jeans, sneakers, and a shirt that said “I like vampires. Now suck it!” Hmmm… let me think…

One of the benefits to writing historical fiction is that there is a quasi-built in market for whichever period of history you are writing about. Do not, however, get too comfortable and let the quality of your writing slip. This benefit can be a double edged sword, as chances are that fans of a particular era will be well-read in that period and therefore may judge you more harshly. Historical fiction is a significant genre, but can become a fairly small club when broken into various time periods. Whichever period you choose to write about/in, there are a few things to keep in mind…

First, it is important to adequately cover both parts of this genre equation: history and fiction. A good balance can be harder to achieve than you may think. Don’t take too many liberties with the history. The question of accuracy is important. After all, you are writing fiction, not a textbook. It is fine to take some liberties if it is vital to the story, but don’t let it become too egregious (i.e., washing machines in revolutionary France). Let the history inform, but not overwhelm, your work.

To this end, choose an area you are interested in, or be prepared to do your research. Well informed readers (and publishers) will often be able to tell if you phone in the facts. Remember, your knowledge and research will weave the background and context for your piece, but it is only half the battle.

Obviously, the other necessity of historical fiction is the fiction! This is where your own voice really shines through. While it is important to keep the history relevant and well informed, readers are also looking for a good story. The story is the heart of the work, and no matter how well informed your writing is, it is the story and characters people are going to remember.

When writing historical fiction, it can be easy to let the plot slip away under the strong undercurrents of historical events. When considering your plot, it should complement the history, working with it to create a seamless balance of lost times and meaning. Think about Charles Frazier’s Cold Mountain, or Michaels Shaara’s The Killer Angels. These books were successful because they created dynamic and relatable characters dealing and reacting to their historical environments.

Successful historical fiction will give readers both a glimpse into a different time and an insight into the rich characters you will populate it with. Achieve the balance of history and fiction, and you will give your audience (and publishers) something to remember.

The setting is important, but whatever city you choose it is important to remember that this location is more than just a backdrop or stage for your characters to glide through. A city in urban fantasy is a character by its own right, with personality and a pulse. Give your characters and readers something they can interact with. Fill it out with grit, rough-hewn seams, raw and ragged edges; steam and smog; pavement, brick, steel, and glass. If you want to make it smooth and light, dingy and grim, colorful and lively, or all of the above, then go for it. No matter what you do, skimping on details is not a good idea. Use all your senses and infuse them with your descriptions. Your cityscape needs touch, taste, sound, sight (visuals). Give your readers a world they can immerse themselves in. Despite the word “fantasy” in this genre’s name, the world you create ought to feel real. The city should also reflect its inhabitants, and the characters, in turn, should be reflections of their home in the way that they talk, walk, dress, and—yes—smell. Both city and characters share a symbiotic relationship: they react to each other, be it in positive, negative, or neutral ways. Characters aside, if you want your city to have fantastical elements in the way it operates (i.e. culture currency, food, slang, fashion), make that clear as soon as possible, especially if they are essential to mapping out this world.

When we talk about urban fantasy, the fantastical characters you come across are usually plucked from the big and wide umbrella category known as the supernatural. There is much to choose from, so it can be a bit overwhelming, but be fearless and dive right in. Supernatural characters include ghosts, spirits, extraterrestrials, and psychic phenomena; God/gods, demi-gods, angels, demons, and fallen angels; fairies, sprites, and elves; shapeshifters, werewolves, vampires, jinn, and and on and on. The earth is rich with infinite, rich sources of folklore, fairy tales, and myths from which to glean your characters. However, do not forget to do your research. Explore and experiment all you like, but you need to know your lore and be mindful of the cultures they stem from. Keep track of the lore and how you use it in your writing. Keen readers will be keeping track, and one discrepancy too many might pull them out of the story and lose a fair bit of faith in your writing.

While fantastical characters in urban fantasy co-exist in some way with the “normies” (non-magical, standard, normal human beings), as I like to call them, it is best to establish levels of awareness sooner than later. In other words, are the normies aware of the fantastical world? Does the fantastical world exist behind some kind of barrier? Is that barrier common knowledge to both parties? Or, does everyone live together and interact with one another in the same world on the same plane? If your normies and non-normies share the same space, then you can have a werewolf who runs a coffee shop and tends to his backyard garden in his spare time. There might be a vampire who teaches night classes at a local university. The possibilities are pretty endless, so have fun! Be creative and daring when shaping your characters. A good idea would be to keep a notebook stuffed with lore, sketches, doodles, illustrations, and character outlines and back-stories. This will help you keep track of details and make them easily accessible while you write. Another suggestion is to give your characters, human or otherwise, flaws so that they may have opportunities to challenge themselves and be challenged. Well-written flawed characters are more interesting to read and add depth to the narrative. They also inspire readers to question how they view themselves and the world.

Should urban fantasy be your genre of choice, please remember this: climb out of that box and run into the wilds beyond. Don’t be afraid to let go and explore. Be inspired by others, yes, but don’t let all uniqueness submit to convention. A downside of this genre is the boilerplate trend—copycat storylines, themes, and characters. Don’t let your work be another link in the fast food chain of fads. Set up shop and be the chef. Take a standard dish and toss in your own combinations of flavors. Challenge yourself. Be bold. Be brave.

The defining part of flash fiction is its length, which is also the element that makes it seem deceptively simple. With less than 1000 words, you don’t have any words to waste. The first trick is to draw the reader in immediately. As soon as they read the first few sentences of a story they are already well into it, so you don’t want to waste time up front. One technique is to begin in media res (in the middle of the story), but be careful not to overuse this. Start out with a bang that never lets up.

The traditional novel elements of deep detail and embellishment are usually abandoned in flash fiction, which is often why writers utilize more experimental techniques. With the chains of traditional narration removed, you can really exercise your creativity. Instead of long descriptions, use your language to move the story along. Sometimes good word choices can create an atmosphere equivalent to a paragraph worth of description.

In flash fiction, language should always be powerful. Avoid too many passive words, which can bog your story down and make it lag. Remember, you don’t have any words to waste. While the idea of using fewer words might strike some as simplistic or bare, embrace the strength of this unadorned style. This is an opportunity to use language that will really stick with readers, and to become a master of what is necessary to tell a story. While you are less likely to lose momentum in flash fiction, keep in mind that the rhythm of your writing will really stand out, so make sure there is a good flow and only be abrupt if it fits your story.

Flash fiction gives you the opportunity to write about issues or circumstances that simply don’t fit into a long form narrative. Not all stories make for successful flash fiction piece, so consider your topic carefully before you decide to take on such a short genre. Maybe you are interested in writing about a fleeting moment of intense emotion or realization, or you want to highlight the stark reality of a particular situation. These are great places to start your piece.

Remember, flash fiction is a sprint, not a marathon. Put power, focus, and clarity into your writing and you can craft a piece of very short fiction that stands on its own.

NOTE: Because definitions may differ, check the word limits of flash fiction anywhere you decide to submit.

Literary critics endlessly argue and theorize about “what the novel is” or “what makes fiction, fiction.” Therefore, there has never been a consensus on what fiction exactly is. One (simple) definition most critics and patrons of literature alike can agree on is that fiction is any writing that is not factual. It can range from the realistic and non-realistic to borderline non-fiction. While the traditional forms of fiction prevail (novels, short stories, plays, poetry, etc.), fiction now even includes film, comic books, graphic novels, computer and video games.

Fiction can be separated into three distinct categories: realistic fiction (while not actually true, the plot, setting, and characters are highly plausible), non-realistic fiction (events could not happen in real life, often involves the supernatural), and semi-fiction (fiction that implements a great deal of non-fiction, often reconstructed biographies).

No matter what type of fiction is your favorite to read or write, there are some core elements that usually appear throughout: plot, setting, character, and theme. These core elements can be fleshed out into an array of other literary techniques you may encounter—conflict and resolution, point of view, character development, symbolism, metaphors, analogies, similes, etc. All of these elements together are what separates fiction from the rest of the literary world.

The literary world as a whole is expanding and as a result, fiction need not be formulaic or boring. Exciting new genres of fiction are emerging and have been for some time—graphic novels, films, video games, fan fiction, blog fiction, propaganda, television series, radio programs, etc. With a broadening definition of fiction comes a slew of exciting reading and viewing opportunities.

Once you find your niche in fiction, it can be hard to crawl out of the comfortable hole you dug for yourself. With so many interesting and different opportunities, break out of your current mold and try something new and different. If you usually are a fan of science fiction, why not try a graphic novel? Do you find yourself gravitating towards poetry? You might consider giving fan fiction a try. You might just find your new favorite genre and author.

A good query letter is truly an asset for selling your novel. For short stories and poetry, it is something completely different. Many authors get confused by the difference, and rightly so! It isn’t spelled out nicely in any one place. Furthermore, you authors have to sift through hundreds of online and print publishers (also known as the “Publisher’s Slush Pile”) to find a match for your work. Then you have to follow differing submission requirements for each!

For these reasons, we are going to break up the two types of query letters. We will start with the novel submission. Below you will find an example of a good one.

John Smith

Writing as Danger Smith

1600 Pennsylvania Ave

Washington, DC 20500

(540) 471-3653

johnsmith@gmail.com

author@dangersmith.co.cc

www.dangersmith.co.cc

August 1, 2011

Agency/Publisher Name

Dear [Mr/Mrs]. [Agent Name],

I read on [advertisement location] that you were interested in [genre]. The [insert novel title] is a completed [insert word count]-word [insert genre with sub-genre if there is one] novel set in [location] and what I believe is a perfect match for your submission requests.

And she buried the body . . .

After an apocalyptic storm ripped through her small town in Kansas, a woman discovers a dead body, and learns someone may know her darkest secret.

Fill in with main character name, followed by a plot description which is no longer than 150 words. Do not give away the ending of the novel in this description. Fill in with main character name, followed by a plot description which is no longer than 150 words. Do not give away the ending of the novel in this description. Fill in with main character name, followed by a plot description which is no longer than 150 words. Do not give away the ending of the novel in this description. Fill in with main character name, followed by a plot description which is no longer than 150 words. Do not give away the ending of the novel in this description. Fill in with main character name, followed by a plot description which is no longer than 150 words. Do not give away the ending of the novel in this description. Fill in with main character name, followed by a plot description which is no longer than 150 words. Do not give away the ending of the novel in this description.

The [insert novel title] is my [which book is this?] novel. I am an [insert profession, then give any other relevant professional information]. Upon request, I would be happy to send my complete manuscript for your evaluation. You can contact me by email. If you prefer, you can also request by snail mail. Please feel free to go to my website at www.dangersmith.co.cc to view writing samples and to learn more about me.

Thank you for your time and consideration, and I look forward to hearing from you soon.

Best,

John Smith

Wow. Let’s all take a moment to applaud John Smith, who has done a stunning job putting this query letter together!

The first section to take note of is the reference information. This includes your name, your pen name if you have one, and ALL your contact information. You can even throw your phone number down if you feel like it. You probably noticed that John Smith has a website. That’s right! And you should too! However, you will need to reference the Website articles (Coming Soon!) for more information on that. Bottom line: You should have one. Period.

Don’t forget to add the date!

Agents/Publishers want to know that you are not sending out a blanket email. They want it personable so they know you took the time to research them and make a focused decision. For these reasons, you always add the agency name or the publishers name before you begin the body of your query.

Many times it is hard to find the agent/editor name who will eventually read your query. Sometimes this is hopeless, but usually not. Many editors can be found buried in the website, on LinkedIn, or even with a quick Google search for merely “editor [insert agency/publisher name]”.

Your first paragraph should be short and concise, and should relay all the key information they will be interested in, to include: where you learned of the solicitation, title, word count, genre, and the setting of your novel.

TIP: When giving your word count, DO NOT give the exact number or words. This is a clear sign that you are an amateur writer. Instead, round to the nearest thousandth.

The main body of the query letter is typically separated into three sections: the tag, the hook, and the summary. Each is to entice your agent/editor to continue reading. Successful businesses use this for marketing expensive products, because no one is going to throw $10,000 your way without being very, and I mean VERY passionate about the product you have to offer.

The tag, in this case, is “And she buried the body…” What?! Who buried a body? Whose body was buried? Do people know about this? Was it done in secret? Did her child kill, and is she now left with the unpleasant task of tidying up? There are so many unanswered questions that are immediately significant to the reader by using a catchy five-word phrase. This will entice your reader to review the hook.

The hook gives a little more information, the main conflict of the novel, but does not give too much detail. If your reader is still interested, and by god they should be, they will now turn their attention to the summary.

TIP: Don’t make your summary a novel, a novella, a novelette, short story, or an abstract. They are all TOO LONG! Keep your summary to 150 words TOPS. Most editors find it annoying when you make them read 500+ words. And in most cases, they won’t. They have been staring at a computer for years, reading submission after submission, their eyes have turned to glass, and they are going to snap at their new intern editor to make themselves feel better RIGHT after reading your over-the-top summary. Best to let the new intern believe the world of writing and publishing is a beautiful thing… at least for a while.

The summary should convey the main conflict of the story again, but include the primary action of the protagonist and antagonist. This is not the time to talk about your genius subplots. Make the summary compelling, use action words, and, most importantly, don’t give away the ending. If the agent/publisher specifically asks for this, then, by all means, give it to them. Otherwise, don’t.

The last paragraph should highlight your credentials, reiterate your contact information, and sparkle with professionalism.

Close out your query letter with “Sincerely” or “I look forward to hearing from you.” Not with “My Fingers Are Crossed” or “Truly Yours” or “With Love” or “Your Partner In Crime.” Be professional!

Lastly, review and edit, review and edit, review and it.

Repeat last step.

Remember, many exceptional books never get published because of a faulty query letter. Though the book itself is very important, you cannot underestimate the power of writing an effective query letter. It is important to grab the attention of the reader and in so doing the publisher will want to read what you have written and possibly consider it for publication.

Short story query letters are a stripped-down version of what a novel query letter should be. So, let’s go to the next section: The Query Letter – Short Story (COMING SOON!)