So, if contests offer so many advantages, why—other than publication—would an unpublished writer ever retire from the contest circuit? Read on for seven signs it might be time to take the writing contest golden parachute.

1. You spend more time on contests than actual writing. How much time does it take to format and polish each contest entry? If, during the course of a week, you spend more time preparing your entries than writing new words or editing your manuscript, ask yourself if this is time well spent.

2. You spend more money on contests than other areas of your writing development. Look back at your writing expenses for the past year (if you aren’t keeping track of your business expenses, you should). How much did you spend on contest entries? $100? $200? More? Consider whether or not those dollars might’ve had more impact if they were spent on classes or conferences.

3. You never move past the synopsis and first three chapters. Your synopsis and those chapters shine like they’ve been scrubbed by Mr. Clean, but the rest of your manuscript is full of dust bunnies and dirty dishes. Do you receive contest feedback only to rework and polish your manuscript AGAIN—sending your storyline and draft into complete upheaval? If you’re currently a one-trick pony, consider spending your time on your next manuscript instead of another contest.

4. You receive inconsistent feedback from first round judges. Does one judge applaud your well-crafted characters while another deems them cardboard? Does one judge think you have a fabulous premise and another that your story isn’t “high concept” enough? If judges’ comments fall into a wild scatterplot and you find each bit of advice more confusing than the last, you might consider cutting off the flow of head-scratching feedback.

5. You final consistently, but receive no requests from the final round judges. If it’s to place your work in front of the right editor or agent, but you’re not receiving requests, look at whether your manuscript is suited to the lines/agencies you’re targeting. But if your work is garnering consistent, helpful feedback, that might be benefit enough!

6. The feedback you receive paralyzes you for days or weeks afterward. Who hasn’t encountered this scenario? Contest results come through email and you open the message immediately, only to have your heart sink into your stomach…or lower. You ask yourself: what did she mean by my pacing was off, characterization was thin, premise was cliché and heroine was TSTL (too stupid to live)? If this type of feedback sends you into a total zombie-like funk, decide if the judges’ comments are worth the Prozac you’ll need later. Remember, not all first round judges are published, have PRO status or have even completed a manuscript themselves. Of course, you should read and consider a judge’s feedback, but don’t assume every judge knows more about writing and crafting a story than you.

7. You have solid critique partners who catch the same issues as contest judges. Do you have two or three writers who read and critique your work on a regular basis? If so, and they’re commenting on the same issues as your first round contest judges, consider utilizing your trusted CPs for free rather than paying to enter a contest.

Do some of these signs sound familiar to you? If so, should you retire from the contest circuit permanently? No, but if you decide to stay in the game, prepare yourself before entering the next contest: limit the amount of time and money you spend, prepare for both negative and positive feedback and understand your goal for each contest entry.

Good luck with with either an early retirement or your future contest-related pursuits!

***

How have writing contests helped your writing career? How have they hurt it?

Be sure to drop by Monday when author Maisey Yates is here to talk about bi-racial romance.

***

Bio:

Kelsey Browning writes contemporary and paranormal romance with a hint of southern sizzle. In her former life, she worked at one of the ten largest universities in the U.S., raising money and teaching students how to land their dream jobs. These days she pursues her dream job of freelance and fiction writing, which provides excellent benefits such as unlimited coffee and an office dress code that permits flip flops.

She’s also a co-founder of Romance University blog where the mission is to empower writers, entertain readers and understand men. Originally from Texas and after four years in the Middle East, she now lives in Southern California with her IT-savvy husband, baseball-obsessed son and seriously spoiled dog. She’s currently at work on the first book in a new paranormal series.

Need help with your conflict? Thinking of writing a screenplay? Addicted to contests? You’ve come to the right place! Join the fun as RU ushers in August with another stellar line-up.

Mon, 8/1 – “Write a HolyCowAwesome Story,” Part II – RU columnist C.J. REDWINE discusses how to raise the stakes and make the conflict matter to the reader. http://cjredwine.blogspot.com/

Wed, 8/3 – “Movies Aren’t Novels” – Some screenplays are adapted from novels, but how do movies and books really differ? MICHAEL HAUGE explains! http://storymastery.com/

Fri, 8/5 – “Cut and Run: Signs It’s Time to Retire From the Contest Circuit” – RU co-founder KELSEY BROWNING talks about seven key signs to watch for. http://www.kelseybrowning.com/

All Romance University lectures are generously provided by our Visiting Professors. RU is a tuition-free zone!

Best regards,
Kelsey Browning, Carrie Spencer, Jennifer Tanner, Becke Martin Davis, Adrienne Giordano, Robin Covington and Tracey Devlyn

With that resume, we decided Kim would be the perfect person to share her thoughts on how contests can help an unpublished writer’s career.

Take it away, Kim!

The publishing world is a challenging one—many new writers feel like they are swimming with sharks.  And it’s easy to feel believe you’re a tadpole in the big sea of talented writers.  But, there are ways to grow as a writer and contests may be just the ticket.  No matter where you are on the continuum—ranging from a complete neophyte to a writer who is on the cusp of being published, contests can play a positive role.  Like a play has three acts, there are three stages where contests can be helpful to your writing career.

Stage One

You’ve been writing for a while, but the only people who have seen your manuscript are your best friend, your golden retriever, and your mother—and they think you’re brilliant. Now, you very well may be, but perhaps there is room in your raw talent for a few subtle improvements.  What you need at this stage is honest feedback from impartial strangers.  Certain RWA chapters, like the Toronto Romance Writers and the Indiana Romance Writers, pride themselves on the detailed feedback they offer writers and that’s the kind of contest that will benefit you most at this stage.  Spend time researching the different contests as most RWA chapters have their feedback form online so you can see how detailed the critique will be.  Ask your writing friends about contests they found helpful.

When you receive feedback, take the time to read through the comments thoroughly, and then put aside the comments for a few days to let any hurt feelings fade.  As a new writer, it isn’t easy to accept criticism.  It can feel like a shark has taken a giant bite out of your confidence.  After a few days have passed, revisit the criticism and try to look at your work with unbiased eyes.  Did all the judges comment that your protagonist felt one-dimensional?  Perhaps you need to spend more time with your heroine, understanding her real motivations? 

Although you should try to be open-minded about the feedback, there are (unfortunately!) a few judges who have axes to grind, so if their criticism seems overly harsh or incorrect, trust your instincts, or ask a friend you trust for honest analysis of the comments.  Believe me, I understand how frustrating it can be when you feel unfairly treated.  On one occasion, my feedback sheets listed mostly eights and nines (ratings ranged from one to nine), but one judge gave me a one in every category and when asked what he/she liked about the book, the response was “nothing.”  I couldn’t take that feedback seriously.  Perhaps he/she had a problem with the content of my novel?  The good news is the lowest score for every entry was dropped.  I ended up winning that particular contest, but I’ll never forget the feeling of looking down at all those ones, wondering where I went wrong.

Contests can help you improve everything from your grammar to your plotting and characters.  Use the feedback as a springboard to hone your craft and keep submitting your work.  You may find a few helping hands (or trunks!) along the way.  A few published writers who judged my contest entries sent me encouraging notes and offers of critiques/introductions to agents.  I will never forget their kindness.  Hopefully, as you learn and grow, your results will skyrocket—and that propels us to the next stage.

 Stage Two

 The feedback you’ve received from contests has taught you many valuable lessons.  You’re aware of your weaknesses and you’ve turned some of them into your strengths.  When you enter contests now, you have a different focus.  Instead of analyzing the depth and breadth of the feedback forms, you are perusing the list of final judges—usually editors and agents—and targeting them.  This is where you need to do your homework to discover which editors and agents like your writing style and genre.  A good way to do this is to write down a list of authors who write in a similar vein/genre as you, and then look up which agents and editors they work with to give you an idea of who might be the best target audience for your work.  Contests involve money, time, effort, and postage, so please be selective about which ones you enter.

Visualize your dream agent and editor reading your work and asking for a partial or a full.  Positive thinking can be a powerful tool. I was fortunate and secured an agent as a result of a contest win, so it can be done!

 Stage Three

This stage can last a blissfully short or an agonizingly long time.  I jokingly call it purgatory.  You’re finaling in most of the contests you enter—in fact, you’ve won several contests, but you’ve yet to find a home for your novels.  This is the time to selectively enter big-name contests like the Golden Heart and the Daphne du Maurier to keep your name recognizable, build an impressive resume, and show editors you’re serious.

At this time, it’s no longer just about contests.  You need to submit to agents and editors, network with published authors who can lend a helping hand, and learn everything you can about the industry.

One day, your well-crafted novel will land on the right editor’s desk and you will get THE CALL.  Until then, keep your bum on your chair, fingers on your keyboard, and heart fully engaged in your story.  Don’t be afraid of taking risks—they will pay off for you, big time.  Wishing you many contest wins and sales!

***

 RU Crew, do you enter contests? Why or why not?

 Thank you, Kim for being here to answer questions.  RU Crew, join us tomorrow when Jeannie Ruesch of Will Design for Chocolate shares her tips on how to become a social media guru. 

 Kim’s Bio: K.J. Howe is a medical, health, and fitness writer who has a passion for international thrillers. She has a Master’s in Writing Popular Fiction from Seton Hill University in Pennsylvania and has the honor of winning three Daphne du Maurier awards for Excellence in Mystery and Suspense. Travel and adventure fuel her imagination. She has raced camels in Jordan, learned how to surf in Hawaii, zip-lined in the Costa Rican jungle, dove with Great White Sharks in South Africa, and co-mingled with elephants in Botswana. Home is Toronto, Canada, but she is often missing in action. www.kjhowe.com

Kelsey: Donnell, would you share a short overview of the Daphne contest with our readers?

Donnell:  Hi, Kelsey, I’m delighted to be here to talk about the Daphne, or more formally known, The Daphne du Maurier Award for Excellence in Mystery/Suspense.   The contest honors legendary suspense author Daphne du Maurier, and KOD uses Dame Daphne’s name with permission of the du Maurier estate with great respect and admiration.   The goal of our contest (published and unpublished) is to further the mystery and romantic suspense genre, particularly that of the Kiss of Death Chapter members and its supporters.

Kelsey: How do you feel the Daphne, or any RWA chapter contest, benefits the contest entrants?

Donnell:   Oh, gosh, how many blog pages can I fill?  The Daphne, as well as most contests in RWA® and multi-genre competitions, help entrants on so many levels.  For aspiring authors who have honed their craft, it enables them to add a final or a win to their resumes;  perhaps to get their work in front of an agent or editor (in the Daphne’s case, both);  and, ideally, to get a request for a partial or a full.

Even if a talented writer doesn’t final or win, they are able to do the math.  They can see that they were darn close, and it’s subjective!  I can’t tell you how many times I’ve had a judge contact me and ask about Entry XX.  It didn’t final, she asks?  Nope, and it’s not because it didn’t deserve to.  It’s because there’s a ton of competition. (By the way, I’m not surprised in the least when I see a non-finaling entry reach publication.)

For aspiring authors starting out, or on their way up, a contest can offer feedback.  It’s a chance to get your work in front of judges, and get a glimpse of what a future editor or agent might say when that entrant finally submits his or her work.  Caution:  I remind any entrant, that judges are just that:  judges.  They are not agents or editors.  The feedback can be invaluable, though, and can set the writer on the right course.  And if a contest has training for its judges, that’s even more helpful.

 Kelsey: We don’t often think of contests benefitting the coordinators and judges. What do those involved behind the scenes gain from being involved with a writing contest?

Donnell:  In my opinion, it’s a superior networking tool.  I have met so many people thanks to the Daphne.  It forces an introvert like me to get involved in a positive way.  When someone coordinates an individual genre for the Daphne, she works with the editors and agents directly.  I get involved, if necessary, but for the most part, I’m the overseer.  Daphne coordinators are professional, competent and talented authors in their own right, and KOD, the Daphne and the entrants out there are lucky to have them.   

 Coordinating the Daphne also allows me to do something I’m passionate about — we’ve all gotten lousy contest advice, and I’m no exception.  When it happened to me, I thought, this is just wrong.  These kinds of people shouldn’t judge contests.  I guess I became a contest coordinator out of self-defense. 

Negative comments such as “Don’t quit your day job,” and/or foolish “out-there” advice can destroy a writer’s dream.  I stress that judges aren’t editors or agents for a reason.  They can’t tell an entrant, “This will never sell.”  The moment somebody makes that claim, someone in the publishing industry will prove them wrong.

In the Daphne, we encourage our judges never to say absolutely not.  We ask them to say to an entrant: I doubt what you’ve written is correct; you might want to check your facts.  Or if a judge is an expert, she might indicate why this information is wrong and cite sources.

I also send our judges comparison grids.   I want them to see how they judged in relation to their counterparts.  Most tell me they’re grateful, and want to see how they did.  As for judges, they are our contests’ lifeblood, and I can’t thank them enough.  This year KOD sent out Daphne magnets to its judges with the KOD skull and lips logo, which read “Daphne Judges have Killer Instincts.”  I think (I hope) they liked them.

Kelsey: What do you feel makes a particular contest prestigious?

Donnell:  The people who run it and their commitment to see it thrive.  Communication on all levels.  Policies and procedures that allow continuity from year to year and ethical conduct and professionalism at all costs. 

Kelsey: What mistakes do you see most in contest entries?

Donnell:  Number one:  a lack of proofreading.  If you’re submitting to a contest and you don’t have a firm grasp on the English language and/or grammar, ask someone to proofread for you.  A pair of fresh eyes on a manuscript is invaluable.   Number two:  entries that contain back story or information dumps that don’t propel the story forward.  Three:   if you’re writing a romance, not getting the hero and heroine together fast enough (in the Daphne’s case 5,000 words.)  I can’t tell you how many entries I see where the hero and heroine simply think about each other and never interact on the page.  Which leads me to a vice versa comment and number four:  entering the incorrect genre…. Say you’re writing a romance and you enter mainstream mystery, you’re not going to do very well.

Whether you enter the Daphne, or any contest out there, I advise every entrant to study the score sheet Armed with this information, it will help you immensely.

Kelsey: How do you suggest entrants make the most of their contest feedback?

Donnell:  Great question.  I suggest entrants compare feedback of that particular entry.  In the case of the Daphne (unpublished) we have four judges, the lowest score dropped.  Take a look at the feedback.  If four judges are saying the same thing, chances are they’re correct.  If only one judge says it, well, then, it’s back to that subjectivity business. 

I also suggest that an entrant, particularly if they get less then favorable scores, digest them, put the entry aside for a while.  Act, don’t react.   When we first see the comments, it hurts.  These entries are our babies, no doubt about it.  But if you can set it aside for a few days, weeks, whatever time you need, and then come back to it, you might see the judge had a good point and you might be able to look at it more objectively. 

Don’t always assume that the highest score offers the best advice.  I can’t tell you how many times my lowest score judge’s advice or comments have helped me the most.

And finally, I advise entrants, if a judge truly made an effort to help you, please thank him or her.  Good judges are solid gold to a contest coordinator, and if a judge feels his efforts are wasted, he’s likely to pass the next time.   These days in electronic, you can easily send a thank you note to your judge and your coordinator can pass it on fairly effortlessly.

Kelsey: What is your biggest challenge as the overall Daphne coordinator?

Donnell:  Judges.  We need so many. 

Kelsey: Who is the unpublished Daphne contest’s greatest success story?

Donnell:   Oh, gosh.  As for the greatest success story, I’m going to plead the fifth because there are so many.  Seriously…there are so many.     

I’ll tell you one story because it happened this year and I believe the circumstances are extraordinary, and I think it does depict how much editors and agents view Daphne finalists.  Barbara Monajem’s entry Vamping the Chameleon received an Honorable Mention from Dorchester’s Christopher Keeslar a few years back.  It’s scheduled for publication in 2010 and will come out as Sunrise in the Garden of Good and Evil. 

I often hear people lament they received “only” an HM.  I’ll wager in Barbara’s case, she’s jumping up and down to have received one.

I’m also pleased to announce that we had two unpublished entrants go on to publish as a result of the 2009 contest:  Angi Platt for See Jane Run Category (series) and Tammy Hoganson who won the Paranormal category for her entry, Underbelly. 

As for success stories, I believe the Daphne, in conjunction with many fine contests out there, have helped several authors reach publication.   It’s always fun to see unpublished Daphne finalists and winners go on to publish and then enter the Daphne Published side of the contest.  They do quite well, too.  It’s also satisfying to see that when these authors do rise to the top, it isn’t a fluke.  In two instances, two published authors have taken The Daphne, (the Daphne du Maurier Award for Excellence in Mystery/Suspense most prestigious award).  Nina Bruhns http://www.ninabruhns.com and author Kylie Brant http://www.kyliebrant.com.  

Whether you’re a best selling author, e-published or self-published, the published side of the Contest levels the playing field and allows you to enter.  I’ve seen talent in all publishing venues do well in the published side of our contest.

Note:  Even though the above people are clearly talented, they should not be labeled the greatest success story.  Like all things in this business, it’s subjective.    

Kelsey: Would you like to share anything else about the Daphne with our readers?

Donnell:  After ten years in operation, both sides of this contest (published and unpublished) are well-oiled machines.  Published authors, if you’ve written a mystery or romantic suspense, consider entering the Daphne to promote your book (current year copyright).  Unpublished authors, the Daphne is an outstanding way to get your work out there.  Even if you don’t win or final, you’ll come away with knowledge that you’re ready, or you’ll have the tools in hand to make it better for the next contest. 

The Daphne du Maurier Award for Excellence in Mystery/Suspense contest starts January 15, 2010.  And it’s now 100 percent electronic.  Check out www.rwamysterysuspense.org. Also, if you’re interested in judging and want to find out our judging requirements, please contact me at bellson@comcast.net. I’d love to talk to you. 

Thanks Romance University for allowing me to share my thoughts on what I think is an outstanding contest.

Donnell, thanks so much for taking the time to talk with us about The Daphne du Maurier Award for Excellence in Mystery/Suspense! RU crew, do you have any questions for Donnell about either this contest or writing contests in general?

Be sure to join us Wednesday when special guest Mike Schwartzmann will be back to talk about overcoming addiction.

Donnell’s bio:

Donnell Ann Bell is published in nonfiction, an award-winning writer and a 2007 Golden Heart® finalist. An avid lover of mystery and romantic suspense, she has served on the Daphne Committee for years and has held the Overall Coordinator position for several.  She is a member of two community blogs http://fivescribes.blogspot.com/ and http://www.nobodywritesitbetter.com/ Her website is:  www.donnellannbell.com.

Welcome to Romance University, Danielle!

Kelsey: Approximately how many writing contests do you judge each year? How many of those contests are focused on the romance genre?

Danielle: I judge about 3-4 contests per year, give or take, all focused on the romance genre. I mainly judge romantic suspense, single title, and contemporary romance categories. I’d love to get into judging more crossover YA though!

Kelsey: What’s your primary motivation in judging contests?

Danielle: I think contests are a wonderful tool for unpublished authors. Contests give authors an opportunity to have their work read by people in the industry and receive constructive criticism so they can go back and revise. I am all for helping an author rework her project so that she has a better chance of getting it published. There is a lot of unrecognized talent in the world and I think it’s very important to nurture it and I love being a part of helping it grow. That’s why I judge contests. And if I happen to find an author to acquire along the way, that doesn’t hurt either!

Kelsey: Tell us a little about your judging process and how you rank the finalists. Do you normally send feedback?

Danielle: When I judge a contest submission, I read it straight through as I would any agent submission that comes across my desk. I take notes whenever something jumps out at me as positive or negative, and when I’m done, I take a look at the score sheet and consider the areas the sheet wants me to rate. Some contests are much more specific than others, asking for 10 different areas to judge on a scale of 1-10. Others are simply ask us to rank the submissions first, second, and third.  I always try to give as much feedback as my time allows, because, as I mentioned earlier, I believe these contests should be used as a constructive tool for aspiring writers.

Kelsey: How do you think contests help or hinder aspiring authors?

Danielle: Again, I think these contests are a great help for authors. But I must clarify that they are only helpful if the author is open to such criticism. Honestly, there usually is a good deal of work to be done. Even published authors have things to be improved after a first draft comes into their editors. So, I think if authors take the comments us judges give objectively and don’t take them personally, it can be incredibly useful.

Kelsey: Would you share some of the mistakes you often see in contest entries?

Danielle: I think some of the most common mistakes are the ones that are the hardest to fix-a story being too familiar and not fresh enough, and the characters falling flat and not being distinct enough within the world of the story. These are more over-arching issues that need to be addressed if an author is going to get published. There needs to be something new and different about the story, whether it be a freshness in the voice that overpowers the familiarity of the plot, a unique and engaging hook, or a surprising (but believable!) plot twist. A reader should also be able to read a line of dialogue, without seeing which character is speaking, and be able to figure out who it is based on the character’s way of speaking or their tone or even their body language. Each character needs to be distinct and one of a kind. I find this is a problem even with published authors, where the characters all just sound the same. Just like real people, everyone has an individual personality. In real life, we have our voices to distinguish us at the very least, but since a reader can’t literally hear the character speaking, they need to be able to recognize him or her through other means.

Also, on a more technical note, there are often grammatical errors in contest submissions. Typos, misspellings, et cetera, that really shouldn’t be there. Just like when writing a college essay, cover letter, or a resume, you don’t want to have minor errors that indicate carelessness or poor attention to detail. As someone who does freelance proofreading, that’s a pet peeve of mine!

Kelsey: What about the positives you see in contest entries?

Danielle: The positives vary more greatly than the mistakes it seems. My favorite positives though are when a writer’s voice is super fresh and engaging, a character is relatable and likeable despite his/her flaws, and when a writer totally surprises me. Another pet peeve of mine is predictability, so when I’m totally taken aback in the best of ways, it’s such a wonderful feeling!

Kelsey: How often do you request partial or full manuscripts? Has this lessened in the tight economy?

Danielle: I’ve only requested two manuscripts total as a result of contests-one partial and one full MS. Unfortunately, they did not turn into acquisitions. The economy definitely plays a part in how many we request. I really need to fall in love with a submission to request it, as that’s generally our policy for acquisitions, as well. If I’m unsure when I read it, then that’s my answer.

Kelsey: If you see real promise in a writer but not enough to ask for more material, how do you convey this message to the entrant?

Danielle: When I’m judging, I always try to be as honest as possible. It’s not helping anyone for me to sugar-coat my opinions (too much ). That goes not only for the weaknesses I see, but for the strengths as well. So, I will flat-out tell an author in my feedback if there is something I love about their story or their writing, or if there’s a certain aspect they should focus more on because it’s so compelling, I’ll share that too.

Thanks to Danielle for her insights! We hope her answers were helpful for our RU readers.

Please be sure to join us on Wednesday when a special guest will be here to give a man’s perspective on the RWA National Conference (and all those women!).

Danielle Poiesz currently works in the editorial department at Pocket Books. She is the editor of Pocket’s Ellora’s Cave anthologies, has completed developmental and line edits on several other titles in the romance/women’s fiction genres, and is a frequent finalist judge for contests for a variety of RWA chapters. Prior to working in editorial, she worked in the sales department at St. Martin’s Press where she learned the ins and outs of the book publishing industry. Danielle graduated cum laude from Boston University in 2006 with a BA in English.

 She also has experience in similar fields, having done script analysis for a film producer and co-founding the Boston University Editorial Society and its literary magazine, The Back Bay Review. In her free time, she devours books of all genres or works on writing her own novel and short stories.

Kelsey: Hi Brooke! We’re delighted to have you join us and talk about Dorchester’s exciting new contest. Can you share with us the number of writers you have registered for the contest currently and also the total number you hope will participate?

Brooke: Thank you.  I am delighted to be here as well.

There are over 70 entries to date.  We expect that this number will grow considerably in the coming months as more and more people learn about the contest and polish their stories for entry.    

One interesting characteristic of this contest-as opposed to traditional writing contests-is that its success is not simply based on the number of entries Dorchester receives.  Its success is also determined by the number of followers each story has.  It’s a different contest model with entries being read and voted on by the public long before the publisher has reviewed them.  The sales potential for the winning novel-due to prepublication grass roots support and viral marketing-is significantly larger than it would be otherwise. 

Kelsey: Does this contest replace the “Title” contest Dorchester has sponsored for the past few years?

Brooke: America’s Best Celler is not a “replacement” for American Title, but we decided to explore alternate markets in 2009 with the hope of tapping into a different universe of writers and readers.  We’re thrilled with our relationship with Romantic Times BOOKreviews Magazine and will continue to develop new marketing campaigns and promotions with them. 

Kelsey: Could you explain the difference between a traditional novel and a “serialized” novel?

Brooke: I am so glad that you asked this question as many people probably don’t realize that many of the most beloved and renowned works of classic literature were, at one time, serial novels. 

When one reads a book today, most likely it was packaged by a publisher in its entirety, from beginning to end, and bound between a front and back cover.  A publisher designs various marketing strategies to promote consumer awareness of both the book and the author, including book reviews, print ads, book signings and selling serial rights.  For anyone unfamiliar with this term, serial rights (in today’s vernacular) are print excerpts of a book prior to publication.   

The serial novel, which traces its roots to Victorian era novelists Charles Dickens, George Elliott and William Makepeace Thackeray, was written and published in installments in popular magazines of the day.  The individual serials were ultimately collected and published as one epic story.  Serials were, for all intents and purposes, the equivalent of today’s television sitcom or soap opera.  Readers became emotionally invested in the stories and the characters, returning week after week to find out what happened next.  A few examples of serials that eventually became classic literature include Charles Dickens’s Great Expectations, A Tale of Two Cities and David Copperfield. 

Kelsey: What prompted Dorchester to team up with Textnovel on this contest?

Brooke: The fundamentals of the publishing industry are continually evolving.  While the traditional model is still healthy, we must continue to grow in order to compete with the emerging media.  A new generation of writers and readers-raised during the internet/cell phone/iPod era-has come of age.  As a direct result of the technologies they were exposed to at very young ages, they accumulate and assimilate information differently than those, like me, born in the early 1970s and before.  It is essential that we-as an industry-adapt to meet their needs rather than dictate to them how stories should be disseminated and shared.  Publishers are being challenged, in a positive way, to creatively explore ways to satisfy the needs of both their core audience as well as the “text generation.” 

Textnovel is using today’s most ubiquitous social networking tools to engage this audience and instill a passion for reading.  The model, as previously acknowledged in my response to your first question, provides unique marketing opportunities that benefit both publishers and authors.  In my opinion, Textnovel is a perfect example of how publishers can marry emerging technologies with traditional storytelling.  People always have and always will love great storytelling.  It’s simply the media that changes.

Kelsey: The rules state each “chapter” should be approximately 500 words. With 20 chapters, that’s approximately 6000 words. Should we assume these should be the first 6000 words of the manuscript?

Brooke: That is correct.  The first 20 chapters/6000 words should be the beginning of the manuscript.   

We felt that a guideline of 20 chapters/6000 words would allow readers ample opportunity to determine their favorite serial(s).  Please note that the 500 words per installment suggestion is also a guideline, not a requirement. 

Entrants should use their best judgment to determine the exact number of words for their story, but we encourage participants to come as close to our estimates as possible to ensure that their stories receive the kind of evaluation they deserve.       

Kelsey: Do you have any suggestions on how to make the most of the 500 words?

Brooke: I spoke to Leah Hultenschmidt, an editor who will be involved in selection of the winning entry, and she said “Pacing will be key.  Entrants want to give readers something that will keep them riveted and end at place that leaves them wanting more.  Maybe it will be a little more than 500 words, maybe a little less.  The readers need to be hooked into the story in an easily digestible chunk-something they could read on their Blackberry while waiting in line at the grocery store.”  

Kelsey: Would you suggest that writers have the entire manuscript completed before they begin submitting chapters?

Brooke: A complete manuscript is not required at this stage.  That said, I strongly encourage entrants to consider where their story is headed because of the due dates.  The ten final entrants will have to submit their full-length manuscript (50,000-75,000 words) to Dorchester by December 31, 2009.  That’s less than six months away….  

Kelsey: When chapters are published, who receives them? And are the chapters accessible only via cell phone? How does one register to receive the serialized chapters?

Brooke:  Anyone who has “subscribed” to a story receives an email or text with a link to the new chapter. They can read each installment/serial either on their cell phone or online.

To subscribe, one has to first join/become a member of Textnovel and then simply click on the phone icon next to the story name for any stories s/he wants to read.

Kelsey: Are there any risks inherent in writers sending out their work this way?

Brooke: No, not at all.  In Textnovel’s FAQs, there is a section specifically devoted to copyright issues:

In the U.S., under the 1976 Copyright Act, a copyright is automatically created when the work is created. A work is “created” when it is fixed in a copy or recorded for the first time (e.g., the instant you lift pen from paper or your word processing software saves to disk). That may be the date you publish it on textnovel, if that is the date you create the story. However, publication is no longer the key to obtaining federal copyright. When a work is prepared over a period of time, the part of the work that is fixed on a particular date constitutes the created work as of that date. This means that if you create your story over time and add chapters as you go, each chapter may have a different copyright date. That doesn’t really matter though; however you do it, you still own the copyright. Keep in mind, however, there may be some benefits to copyright registration. Visit the copyright section of www.uspto.gov for more info.

Kelsey: Does Dorchester currently publish any serialized novels? If so, how do consumers purchase them?

Brooke: This is our second experiment with serial novels.  

In 1999, Dorchester sponsored an e-serial titled Naomi by New York Times bestseller Douglas Clegg.  We disseminated it free via email over the course of a two month period.  In total, there were fourteen installments, and we eventually published the serial in mass market in 2000. 

Kelsey: We know serialized novels have become popular in countries like Japan. What’s the prevailing thought about how they will fare in the United States?

Brooke: The popularity of serial novels in Japan has been astonishing…. While we recognize that Japanese society is considered to be more technologically advanced than most, the actual U.S. population is estimated to be 58% larger than Japan’s.  That, coupled with the increasing popularity of e-books (which can now be read on iPhones, BlackBerries and other PDAs) makes us incredibly optimistic about this form of storytelling.

Please join me again on Wednesday when my friend, Evan, visits RU to discuss a gay man’s perspective on women, sex and straight relationships.