Following the trend of other agencies, REUTS will be closing our submission window during the holidays (beginning Monday, December 19th) and into the new year. This means you have one week to submit.

Please note: This does not apply to solicited manuscripts (if we requested material through a pitch event/conference)or if you’re an agent. Any unsolicited queries sent during this time will be deleted unread, so please wait until the form reopens before submitting.

A future blog post will be made announcing when the window will reopen. Remember, you can join our Mailing List (via the form at www.REUTS.com) to be the first in the know!

Thank you again to all those who have submitted, or are thinking of submitting. We love our friends, fans and authors, and truly wouldn’t exist without you.

In the meantime, stay busy with J.M. Frey’s sequel to The Untold Tale: The Forgotten Tale. And stay tuned for a catalogue of all our books releasing in 2017!

Love,

The REUTS Team

The post The Submission Window is Closing appeared first on REUTS | Boutique Book Publisher |.

Hello REUTS friends and family! We wanted to make sure everyone was aware of a new, but subtle, change to our submissions page. Unfortunately, we receive so many submissions each day, coupled with the fact that the REUTS team reads and evaluates these differently, it tends to take us a little longer than other publishing houses to respond to a submission. Because of this, we tend to get a lot of friendly nudges requesting status updates. Previously, this was acceptable per our submissions page, but this is where you’ll notice the recent change. We will no longer be responding to submission nudges, unless you’re an agent and/or have a full/partial manuscript with us.

Please keep in mind that we do respond to all submissions, either with a request or a rejection, so you don’t need to worry about your submission being rejected because of a lack of response, or that you’ve missed our response. We’re working through our queue, and will respond to everyone once a decision has been made.

Thank you for your continued patience. We love all of our REUTies <3

The post A (Small) Update to Submissions appeared first on REUTS | Boutique Book Publisher |.

As August comes to an end and September looms, transitions are on the forefront of everyone’s minds. Kids go back to school, leaves start to fall, the scorching heat of summer gives way to pleasantly cool breezes and stormy nights, and another batch of post-its shifts into the overdue pile on my Infamous Wall of Post-it Deadlines. But there’s also something exciting in the wind: REUTS Publications will be open to submissions again!

One more time for the people in the back:

Starting tomorrow, REUTS will once again be open to submissions!

Our brief hiatus from the slush pile is over, and the doors will be flung wide. We’ve been working behind the scenes to create an improved submissions process, and we’re eager to test it out. It’s more automated, more streamlined, and should help dramatically improve the response times. You will have to create an account, but don’t worry, it’s completely FREE. And it absolutely will not be used to spam you unnecessarily. You’ll receive correspondence pertaining to your submission and nothing more. You have our promise on that.

**For those of you still waiting to hear from us, please be patient. We’re working our way through the list and should be in touch shortly. You do not have to resubmit.**

What should you expect from this shiny new system? Well, everything you expected before, just better.

• Wait times for queries (and hopefully full manuscripts) should be significantly shorter
• We will still respond with a personalized response to each and every query (a lack of response does NOT equal “no”)
• We will still accept manuscripts without agent representation (but we’re always happy to see agent submissions as well)
• We’ll give you an insider look at our tastes and thoughts via #REUTSsubs and this weekly blog post series

So, all in all, sounds pretty good, right? We’re excited about it; hopefully you are as well. #REUTSsubs will be kicking off this week, so be sure to watch my twitter feed (@kisawhipkey) if you want to catch those in real time, otherwise, the first compilation post will go live next Monday. But for now, I’ll give you a little preview of what we’re looking for, the official REUTS Publications Manuscript Wishlist, as it were. We’re always open to anything that falls within the YA or NA category, but these are specific requests from our acquisitions panel.

• New twists on paranormal creatures (bonus points for vampires or zombies)
• Dark fantasy in the vein of Uprooted by Naomi Novik or Fire by Kristin Cashore
• Thriller/Suspense (think Gone Girl for a YA audience)
• Intricate, multi-layered narratives a la Inception or The Memory Painter by Gwendolyn Womack
• Science Fiction (space opera or soft sci-fi, specifically)
• Dystopian in the style of Red Queen by Victoria Aveyard or Legend by Marie Lu
• Mythology/Fairy Tale infused fantasy (Preferably not urban fantasy or paranormal romance)
• Gothic fantasy and/or romance (Jane Eyre by Emily Bronte, Dracula by Bram Stoker, and The Phantom of the Opera by Gaston Leroux are personal favorites of the team)
• Historical fiction (any time or place, as long as it’s accurate)
• Contemporary fiction (romance is fine, but not required)
• Paranormal satire in the style of Christopher Moore

Remember, those are specific requests, and they certainly aren’t the only things we look for. So if I didn’t list your genre, but you feel like it could still be a good fit, go ahead and submit! We’d love to see it. After all, our next favorite read might be in a genre I haven’t listed above. All we ask is that it be original, innovative, well-written, and contain emotional resonance. How you achieve those things is entirely up to you.

— Kisa Whipkey
Acquisitions & Editorial Director

The post Adventures in the Slush Pile: 8/31/15 Edition appeared first on REUTS | Boutique Book Publisher |.

Queries. Pitches. Synopses. Three words that strike fear into every author’s heart. And rightfully so — selling your book to an agent or editor depends on your ability to encapsulate your story’s heart into a few simple sentences. For most people, that’s a nearly impossible challenge. But perhaps if we look at why this practice is necessary, it will help you understand how to do it. So, for my first installment in this new series, I’m going to show you what I look for in a query. Keep in mind these are solely my opinions, and other agents or editors may look for something else, but if you plan to follow along with #REUTSsubs this next week, this will give you a glimpse at the thought process behind my decisions.

Let’s start by looking at the three potential ways you go about introducing your work to an agent or editor. They are:

1. The Traditional Query Letter & Synopsis
2. Pitching in Person
3. Elevator Pitches on Social Media

All three serve the same purpose — hooking your audience into asking for more. That’s a phrase I’m sure you’ve all heard thrown around in writing seminars, but what does it actually mean? In essence, it means you break through someone’s focus enough to grab their full, complete attention and get them to react. In other words, it’s a sales tactic.

Now, I know many of you just groaned. Sales is about as far from writing and creativity as you could possibly get. But the truth is, publishing is a business. There are bottom lines to be met, production costs to worry about, returns on investments that have to happen, etc. So when you send in a proposal (which, let’s face it, is what these things really are — sales proposals), what you’re really doing is arguing why we should become your business partner for this venture. And you’d darn well better be convincing. Don’t you think?

So, how do you achieve that? What makes a sales proposal appealing to the potential buyer? How do you turn indifference into “OMG, yes, I must read this”? Well, I look for a couple of key ingredients:

• Interesting concept and premise
• Unique attributes
• Market Potential

That’s it. Every time. Seriously.

Whenever I’m reviewing a pitch/query/etc, I ask myself the same three questions:

“Does this make me excited as a reader?” (This is more of a visceral reaction than a true question. Basically, I’m looking for that internal pique of interest, that “oooooo” factor.)

“What makes it different from everything else in its genre?” (The more specific the better on this front. Diverse cast? Unique twist or angle on the familiar? New setting?)

“What is it similar to/where would I put it on a shelf?” (This is ultimately the most important because it tells me a: where it fits within the REUTS catalog, and b: where it fits in the larger market and who its readership might be.)

All right, now let’s look at how you apply that insight, shall we? Because each type of pitch listed above is a slightly different opportunity to sell your work, and you shouldn’t use the same blanket strategy for each.
 

The Traditional Query Letter & Synopsis

 
First off, a query is not a synopsis and vice versa. They’re two separate entities used to achieve the same goal, but one is the lead singer, and the other is the band. You need both, but they serve completely different roles in the process.

Your query letter should be no more than 2-3 paragraphs, and its sole job is to pique the reader’s interest. It has to fit that criteria I listed above. It needs to give just enough information for me to tell whether or not it could be a fit for REUTS. So focus only on the most important aspects — the conflict and stakes that drive your story, sprinkled with a little info on the world/character and just a hint of what makes your manuscript different from the rest. Give me the heart of the tale; I don’t care about the rest yet.

Other things I need to know are genre, target audience, and comp titles (comparable books that might bear similarity to yours). Genre tells me where it fits in the bookstore and who it might appeal to, target audience tells me who I’m going to get to read it, and comp titles give me an instant snapshot of what to expect in terms of feel/tone/theme/style, etc. (One caveat on choosing comp titles: aim for ones that aren’t genre heavy-hitters, but that are prominent enough I’m likely to have heard of them. Also, the more unique the mash-up, the quicker I’ll be able to pin-point my expectations as reader.)

And that’s it. Two paragraphs should easily be enough room to capture all of that, once you isolate the key things an agent/editor looks for. Your final paragraph should be about you, what you bring to the table in terms of experience, etc. Honestly though, most of the time, we kind of skim that info. Doesn’t mean you shouldn’t give it to us, just that more weight is placed on the content of the story than your particular pedigree.

IF you’ve achieved your goal and hooked my interest, I’ll dive right into the sample pages (because a great pitch does not always mean great execution), and if those pass the quality test, I’ll check out the synopsis. A synopsis is a glorified outline. It tells me the highlights of your story in 1-3 pages. It should capture the emotions, the main conflicts, some of the character motivations, and the entire narrative arc. The details of your world, sub-plots, supporting cast, etc, aren’t as important; the structure of your overall story is.

Manage to hold my interest through all of that, and guess what? You’ve just earned a full manuscript request. (I’m pretty sure this is the process most agents/editors go through, but some of the particulars may vary a little.)
 

Pitching in Person

 
Ah, now, this is a whole different game — one part speed dating, one part American Idol audition, all rolled into a giant ball of anxiety for everyone involved. But it’s a very viable option if you have the chance. Out of 55 total pitches I heard at the Willamette Writers Conference, I requested samples (and even some fulls!) of 48 manuscripts. The idea behind this is much the same as the process above, except you only have 10 minutes, if you’re lucky, and have to talk to an actual person. Terrifying stuff, for sure.

So what’s the key in this scenario? Be a human. Don’t stiffly recite your memorized query letter while you stare at the table. Engage with us! Take that query you wrote above and hone it even more. In a 10 minute pitch session, your pitch should take up no more than 2-3 minutes, max. Literally give us the bare bones, the core of your story, and then let us come to you. Think of it like baiting a wild animal; you don’t give away the whole dinner up front, you toss out some crumbs and lure us into the trap. In other, less poetic words, give us time to ask questions.

A face-to-face pitch session should feel more like a conversation, and every agent/editor will hone in on something different. So leave yourself room to answer questions. If you don’t and you babble through all 10 minutes, you might end up not getting a request. Because that tidbit in the middle that you glossed over was the one thing that agent/editor was looking for, and you didn’t give them time to find that out.

Your mission in an in-person pitch is simply to get that business card (See? American Idol golden ticket, right?) and a request to see more. That’s it. You’re not going to be signed on the spot, and you’re not going to give us your entire book on a silver platter. It’s simply the first step to a longer conversation.
 

Elevator Pitches on Social Media

 
Have you guessed the reason behind this order yet? It’s because they get progressively shorter and shorter. Much like pitching in person, an elevator pitch on social media should comprise the basics of your story. It should only contain the hook, the thing that is most likely to get people to stop and say “ooo, that sounds good.” You have 140 characters, so every letter has to count. Which is why you really only want two things (aside from genre/audience): the stakes/conflict, and what makes your story different. Again, you’re not trying to cram your whole book into 140 characters; that’s madness. You’re only trying to get us to want more. Which is why including that unique-factor is crucial.

To win this round, all you have to do is get a favorite from one of the stalking agents/editors, which then results in a submission of what? The first type of pitch: a traditional query letter and synopsis. It all comes back around to create a massive circle.

So there you have it, a breakdown of both why pitching is necessary and my particular thought process for evaluating them. Over the course of this next week, I’ll be starting #Pubsubs on Twitter, giving you a chance to see this in action, and periodically, I’ll add articles that may or may not be helpful to those navigating the query trenches to this blog series (along with the weekly Tweet compilations, of course). If you have any suggestions for topics you’d like me to cover, feel free to leave them in the comments below.

Until next week, happy pitching!

— Kisa Whipkey
Acquisitions & Editorial Director

The post Adventures in the Slush Pile: 8/17/15 Edition appeared first on REUTS | Boutique Book Publisher |.

Welcome to the newest addition to the REUTS blog!

As you well know, the staff of REUTS Publications believes in transparency, and there’s nothing we enjoy more than finding new and creative ways to offer authors insight/advice on navigating the murky depths of the publishing industry. We’re certainly not the only ones with this philosophy, though, and I would be remiss if I didn’t give credit where it was due. See, what I’m about to unveil was inspired by the acts of fellow industry professionals at the Ruben Literary Agency, Inklings Literary Agency, Red Sofa Literary, and many others, all of whom are responsible for creating the Twitter hashtags #tenqueries, #500queries, etc.

Recently, I asked authors how they felt about those very hashtags and the possibility of seeing one from REUTS. The answer was an overwhelming and resounding, “YES, do it!” Because, as you may have noted above, the people who usually participate in these kinds of activities are agents, not presses. But agents and editors (especially small press editors) don’t always look for the same things, and it was abundantly clear that some of you out there are curious to see how we differ.

Therefore, I’m launching #REUTSsubs and following in my predecessors’ footsteps. As I browse the slush pile looking for gems waiting to be snatched up, I’ll tweet my thoughts/verdicts. The point of these, while hopefully entertaining, is to offer authors insight into the way an acquisitions editor makes their decision. The queries will remain anonymous; I’ll only list the category, genre, and my overall opinion. Sounds just like the others, doesn’t it? That’s the idea. However, there is an added component that I haven’t seen the others do yet.

Once a week, I will take all those tweets and compile them here on the blog. Twitter captures a snapshot of the decision process — the ultimate verdict — but it doesn’t allow for a lot of explanation as to the thought behind that verdict. Personally, I believe that’s the portion that will be most helpful to the authors battling it out in the query trenches. From personal reasons, to catalog clashes, to components that could have been done differently, there are a plethora of reasons as to why something might be rejected. And fitting that into Twitter’s limit is nigh impossible. So, to that end, the weekly blog summary will allow for additional commentary that can’t be squished into 140 characters while also providing a handy location to catch them all.

Also, REUTS does their acquisitions by panel, meaning that no one person has the final say. So it would be deceptive to say that the verdict you see from me on Twitter is the ultimate verdict on a submission. Sometimes (frequently, actually), we end up with split decisions, resulting in more discussion and eventually a majority ruling. To reflect that process more accurately, I’ll be adding commentary from the other acquisitions members to the blog posts as well. You may also see them pop up on the hashtag every once in a while. Though, for the most part, I’ll be the one curating it all. (Don’t groan too loudly; I might hear you. )

So, that’s it. Keep an eye on #REUTSsubs in the next few weeks if you’re interested in my humble opinions, and look for the first summary edition of “Adventures in the Slush Pile” to go live on Monday, 8/17/15. (Why not next Monday? I’ll be attending the Willamette Writers Conference in Portland, OR for most of this week, so I’ll be accepting pitches in person, as opposed to wading through the slush pile.) See you then!

— Kisa Whipkey
Acquisitions & Editorial Director

The post Adventures in the Slush Pile appeared first on REUTS | Boutique Book Publisher |.

As some of you may or may not know, the REUTS blog is tended by many of our staff, which is why we usually stick to the royal “we,” writing on topics from the stance of a company rather than an individual. Today, I’m breaking that mold. Hi! **waves** I’m Kisa Whipkey. Most of you will know me as the Editorial Director, but what you may not know is that I was the company’s first hire. Which means I’ve had the privilege of seeing REUTS Publications grow from the seed of inception to the spry young sapling we all know and love.

Founder and Creative Director Ashley Ruggirello will say that the tree metaphor wasn’t her intention when she selected our name, but I think it’s the perfect metaphor for our little company. Born of inspiration and watered with love, REUTS Publications has seen a lot of growth over just these few years, continuing to evolve and branch and bloom. And the time has come for it to happen again. Which brings us to the point of today’s post.

In an effort to streamline and improve the experience authors can expect when working with us, we’re restructuring our acquisitions department. My job as Editorial Director has undergone some slight modifications, merging with that of the Acquisitions Director and resulting in my new title: Acquisitions & Editorial Director. No, I’m not superwoman (though some of you may try to claim otherwise), but this post also isn’t about me. As part of my new position, I’ll be working with Ashley and the third member of our acquisitions panel, Marketing Director Summer Wier, to address one of the problem areas in our process — submission response times.

To do that, we have to temporarily close our doors to new submissions. This is important, so pay attention:

Between July 1st and September 1st, 2015 REUTS Publications will be closed to unsolicited submissions.

Our submission form will disappear from our website while we work behind the scenes to implement a new submission process. Details on this shiny new system will be revealed later. For now, here’s what you need to know:

• Wait times for queries (and hopefully full manuscripts) will be significantly shorter
• We will still respond with a personalized response to each and every query (A lack of response does NOT equal “no”)
• We will still accept manuscripts without agent representation

We’re all very excited about this new system and look forward to unveiling it in a few months. But don’t worry, there will still be ways to catch our eye during our submission hiatus. Several of us will be attending various Twitter Pitch Parties over the next few months, and I will be attending the Willamette Writers Conference here in Portland OR for face-to-face pitch sessions. And of course, we are always open to agented submissions.

So that’s it! Thank you for your patience as we go through our latest evolution. We wouldn’t be able to do this without all of you, and your support means everything to us. Here’s to bigger and better things in the coming months. And remember, you still have a few more days to sneak your query in before the window of opportunity closes.

The post Excuse Our Dust; We’re Evolving appeared first on REUTS | Boutique Book Publisher |.

As Editorial Director for REUTS Publications, I’ve been privy to first-hand knowledge of publishing’s “mysterious” acquisitions process.  And over the past two years, I’ve witnessed innumerable querying blunders that hurt the author’s chances, rather than helping them. I’m not the first to offer up this kind of advice-oriented post, but armed with personal insight and pet-peeves, I thought I’d add my own thoughts into the mix.

So, with only a modicum of tongue-in-cheek snark (okay, make that a lot of snark), I give you:

What Not to Do When Querying

(aka How to Piss Off an Acquisitions Editor)
by Kisa Whipkey

There are plenty of posts out there that explain what you’re supposed to do when querying, the steps that are supposed to lead to that coveted moment where someone offers you representation. There are also posts that tell you what to avoid. But I don’t know that I’ve seen anyone really say the following, in all its blunt glory. Because the truth of the matter is this: there are definitely things you can do as a writer to increase your chances of a book deal, but there are also plenty of ways to blow it. (Also, it should be noted that this information applies to agents as well, not just acquisitions editors.)

So let’s break down some of the worst publishing faux pas you can make, yes?

DO:

Submit to publishing houses and agencies that interest you.

DON’T:

Submit to them blindly, and then ask a bunch of questions about how they operate. That’s something that needs to come first and is a dangerous game to play. Vet the places you’re planning to query before you hand them your work. Not after. That wastes everyone’s time, and there’s nothing agents and editors hate more than wasting time. We have precious little of it as it is. Be courteous and ask your questions up front, please. Most of us are more than willing to answer.

DO:

Query agents and small presses.

DON’T:

Query them both simultaneously, and definitely, definitely don’t use a small press as leverage for attaining an agent’s interest.

This one’s two-fold, so let’s start with the first half: don’t query agents and editors simultaneously. Small presses are fantastic. So are agents. But they lead to two completely different publication paths. And there’s nothing we despise more than falling in love with something, only to discover that the author wasn’t serious about working with us after all. It breaks our literary-loving hearts. So please, know where each publication path leads and which one is right for both you and your project.

Which brings us to the second half. This is a serious faux pas, and one I hope none of you ever commit. Never ever use a small press for the sole intent of gaining interest from an agent. Leveraging an offer of publication from a small press to get an agent’s representation (or even a bigger publisher) is like dangling a wedding proposal from someone you pretended to like in front of the mate you really want. It’s mean, and cruel, and makes you a horrible person. It’s also a sure-fire way to end up on a publishing house’s Black List. Yes, we have those. And publishing is a small world; we talk. So be careful which bridges you burn. Treat all parties involved with respect and professionalism. If you want an agent, don’t query small press editors. If you receive an offer from somewhere else, tell us. There’s a perceived divide in publishing, the us vs them mentality, but we’re all just people. And we all just want a little consideration. Is that too much to ask?

DO:

Research the various agents and editors you’re querying. Find out what they like, personalize your query, follow their submission guidelines, and all that other stuff you’ve seen touted a million times. It’s good advice. We appreciate that.

DON’T:

Spam your submission to everyone at the agency/publishing house. And definitely don’t resubmit the same query, after receiving a rejection, to someone else within the company. Publishing houses are like families. We all know everyone else, and we know what they like. So if we see a submission cross our desk that isn’t a fit for us, but would be for one of our colleagues, we’ll tell you. Better yet, we’ll tell them. (Or, alternatively, acquisitions can be a team effort, as it is at REUTS, and everyone who has a say has already read your work prior to the decision being issued.) Talking about books is one of the reasons we got into publishing, so you can bet our water cooler conversations revolve around that too. If you receive a rejection, accept it gracefully and move on.

DO:

Keep track of your submissions and the response times associated with each.

DON’T:

Incessantly hound an agent or editor for a decision. Wait until the listed response time has passed and then politely — key word there: politely — nudge for a response. Submission in-boxes are the first to brim over with a plethora of time-consuming tasks. And as I said above, editors and agents are incredibly busy people. Reading actually falls low on our priority scale, as our days are usually spent dealing with the various tasks associated with producing the projects we’ve already signed. So reading the new queries that rain down like, well, rain, is a luxury we don’t have on a daily basis.

We know you’re excited for your work, and that you can’t wait for that glorious day when someone from our side of the fence is equally excited for it, but constantly yapping at our heels like a chihuahua does nothing but annoy us. We don’t appreciate being backed into corners, and if you push too hard, guess what the answer is: NO. That’s not the relationship you want to have with your potential publishing allies, is it? You want someone to appreciate those words you slaved over, to savor the story you carefully crafted, and to join you in screaming its brilliance from the rooftops. Rushing a decision allows for none of those things. The most you’ll get is a half-assed read-through and a reluctant yes. Patience really is a virtue here, people. As much as it sucks, it will benefit you in the long run.

DO:

Follow agents, editors, and publishing houses on social media and interact with them. Forming networking connections is a fabulous way to form relationships that further your career. But be careful. There’s a fine line between creating useful contacts and this . . .

DON’T:

Abuse the accessibility social media gives you. We’re there because we genuinely want to meet the authors behind our next favorite read. We want to support the writing community and foster a kinship that bridges the gap between publisher and author. And we want friends who like what we like. We’re human. It happens.

We’re not there so you can harass our every waking moment with status requests, update requirements, or attempts to pressure us into taking your work by leveraging the opinions of others who have read it. That’s not the best impression to make, so just don’t do it, okay? There are a lot of factors that go into an acquisitions decision, but endorsements from random Twitter buddies isn’t one of them. Now, maybe if your random Twitter buddy is Stephen King or JK Rowling, that might be different. But still, save that for the query letter, or better yet, get them to blurb your book after it’s signed.

DO:

Create an online persona, platform, and all that good stuff.

DON’T:

Parade things you don’t want the world to see. One of the biggest factors in an acquisitions decision is actually whether or not the team involved would want to work with the author. So, in that sense, submitting a query is on par with a job interview. And guess what? We do our research. We may love your talent, falling all over your manuscript with gushing adoration, but if we discover that you’re the world’s biggest Prima Donna on social media, guess what? Your appeal just went down. Don’t get me wrong, opinions are great. Everyone has them, along with a certain piece of anatomy that usually accompanies that phrase. But think about how your opinions may be perceived by someone on the outside.

Shaming other authors, railing against other publishers, responding horribly to a rejection, and whining like an attention-starved kitten are not appealing things in a potential partner. Would you date someone who checked those boxes? Probably not. So can you blame us if we don’t want to work with that person either? Publishing is a long-term relationship, taking months or years to come to fruition, and you can be darn sure we’re not going to want to work with someone who will make that time an ulcer-inducing, grey-hair creating pain-fest. You could have the most brilliant masterpiece, but if you yourself are a piece of work online, I’m pretty sure you can guess what the verdict will be. So the moral here is this: think about your online persona. Craft one that will be appealing to both your audience and your potential publisher. And generally try to avoid things that would fall under the heading “authors behaving badly.”

The take-away from this candid look at the publishing process is simple, really. It all comes down to common courtesy. Editors and agents are people. As in human. As in we have lives and obligations and families too. And just like you want us to shower you with glowing praise and go to the ends of the earth to champion your project, we want you to understand that your manuscript is not God’s gift to publishing. We may think it’s brilliant, it may be among our favorite reads of all time, but it’s definitely not the only one we’re working on. Show respect of that fact, handle your interactions with poise and professionalism, and you’ll manage to avoid every single one of the querying faux pas I just listed. Sound like a plan?

Kisa is full of fantastic knowledge spanning from editorial to martial arts routines (and how to write fight scenes as realistic as possible). Her blog is chock-full of awesome, and you can follow her on Twitter (@KisaWhipkey) for instant gratification.

The post What Not to do When Querying appeared first on REUTS | Boutique Book Publisher |.

 

And of every living thing of all flesh, you shall bring two of every kind into the ark, to keep them alive with you;
they shall be male and female.
{Genesis 6:19}

Another week! Another press release! Most are familiar with the Biblical account of Noah’s Ark: large boat, pairs of animals, too much water to handle. It’s a well-known tale, that just needed a bit of an upgrade. Cue stage right: at REUTS we’re very thrilled to introduce our newest author—Jessa Russo! She’s known for her stories DIVIDE and the Ever Series (#1 and #2), as well as being the co-creator of PitchMas (@PitchMas). Her story, ARK OF DREAMS, will appeal to fans of the dystopian heavy-hitters such as The Hunger Games and Divergent, but it also works to combine elements from Matched, The Giver, and The Island (the movie).

“In a brilliant dystopian story, fashioned loosely from the well-known Biblical account, Ark of Dreams depicts the world-altering chain of events resulting from a modern-day flood. When the government unveils a massive steel ark, only a few chosen for specific genetic traits are allowed on board. Selections are paired off, two-by-two, and forced to cohabitate for a single purpose—re-population. Russo’s clear and captivating prose weaves intricacies of mystery, conspiracy, lust, and worst of all—lies.”

View the full press release!

You can find Jessa all over the place, so that just means you should send congratulations all around! There’s Twitter (@JessaRusso), Facebook, Goodreads and her website!

 About Jessa

Jessa Russo believes in fairytales, ghosts, and Jake Ryan. She insists mimosas were created for Sundays, and that’s not up for discussion. She’s obsessed with the great city of New Orleans—where she’s collected too many beads to count, eventually married her sweetheart, and visited graveyards they don’t include on maps.

She’s loud, painfully honest, and passionate about living life to the fullest, because she’s seen how abruptly it can be taken away.

What began as a desire for reading and writing young adult paranormal has bled into stories of all kinds. From fantasy to pre-dystopian to erotic contemporary, Jessa’s stories always include romance, though she’s given up on pigeonholing her work into a category or genre box.
Jessa was born and raised in Southern California, and remains there to this day with her husband (a classic car fanatic), their daughter (a Tim Burton superfan), and a Great Dane who thinks he’s the same size as his Chihuahua sister.

The post #PressReleaseThursday: Enter into the NA dystopian ARK OF DREAMS by Jessa Russo appeared first on REUTS | Boutique Book Publisher |.

With every rejection we send, we like to leave the relationship open ended, allowing authors to reach out and ask the all-important question: why was my submission not accepted? Every author runs into this question, likely multiple times throughout the course of their publishing career. Of course we can’t divulge all the specifics, but we can give a broad explanation specific to your manuscript. We want to try and help our fellow author in any way possible, even if REUTS wasn’t the best fit for their particular story. On the heels of what’s quickly becoming the REUTS Full Transparency Series, which includes, “Hey, what’s taking so long?” The Delays of Publishing and What Not to do When Querying, I’d like to dive into a bit of the factors—or, in this case facets—of why a manuscript might be rejected.

[Side note: Also applicable is our Why Rejection Sucks, From Both Sides blog post]

Below you’ll find the five major facets that play a part in deciding whether to request a full-manuscript/offer a contract or reject a submission.

The Multiple Facets of Rejection

Writing Quality

Let’s face it: there are a lot of people out there pursuing their dreams of becoming a published author. A lot. Statistically speaking, that means we see both fantastic, amazing, I’m-so-jealous-of-this-writing writing, and then we see underdeveloped, needs-a-bit-more-experience writing. And, in the big, wide world of authors and publishing, most of the time the writing isn’t as spectacular as we’d like it to be when considering a submission. Since we’re immediately given some insight into your writing style via the query letter (and then samples, if they’re requested), your writing quality is almost like the first hurdle to overcome. It’s the first impression, just like a book cover in a bookstore. It’s something that can instantly determine our decision.

Now, speaking from a REUTS’s perspective, Editing Quality is different than Writing Quality. As we state on our website, we’re always looking for the diamonds in the rough (rough . . . rough . . . rough . . . Aladdin, anyone?) and try our best to read in between the lines, for the story beneath the words. That means if your weak points are spelling, grammar, punctuation, etc . . . we won’t immediately write-off your story (pun definitely intended). That’s exactly why we have an editing team—to edit (and trust me, they get hungry when you don’t have any editorial work to feed them). So the difference really is in the quality of the writing, the way you structure words into sentences, sentences into paragraphs, and this then leads me into my next point . . .

Story Building

Continuing from my point above, Story Building is something we try to determine from a synopsis and the sample pages we request. Sometimes the writing can be picture perfect, beautiful, the words flowing like velvet across the screen, but if the story doesn’t manage to suck us in right at the start, or continue to hold our interest, then we have a problem. Sure, with only a ten page (as requested by REUTS) manuscript sample, we’re not always able to determine if the story building matches up to the standards we’re looking for, which is why we’re more lenient on this point and will likely request a full-manuscript. But if you’re unsuccessful in, at the very least, grabbing our attention at the start of your manuscript, there is a slim chance we’ll request to read more. Just like your writing quality, the first few paragraphs of your story are meant to take an iron-gripped hold of us and never let go. It’s the ZING—BANG—POW of your story, and instead if I’m worked into a yawn, that doesn’t bode well for response.

Submission Formatting/Errors

This happens every so often, when an author (for whatever reason) doesn’t follow our submission guidelines. Either we get something addressed to another publication or agent, something outside of the genres we publish or completely negating the required fields of our form, any submission formatting/errors are cause for an almost immediate rejection. This just comes down to time (or lack thereof) of our acquisitions team members. We get so many submission that do follow our guidelines, we don’t have time to check up on the ones that don’t. Most submission guidelines are there for a reason, and to not follow them is not only disrespectful to the people you’re querying, but gives us a very bad first impression–of your attention to detail, of your interest in our company, of you. And we hate to say that because we want to be the cheering section for all authors pursing their dreams, but sometimes we have to draw a line in the sand.

Conflict of Interest

This one is simple and easy to determine from a query alone; if we currently have a title in our collection (either published or in production) too similar to something you’re pitching, we’re almost always going to send a rejection. Exception: if a submission can be coupled together with a title in a similar genre, with a similar feel (but not too similar, there is a difference) we may consider it. For example, if we have a meta-fantasy book in our collection about how story characters come to life (a la Off Book, by Jessica Dall), we’ll be more attracted to stories where book characters are aware of their existence, or a story where the line between a book world and the real world blur (a la Inkheart by Cornelia Funke or The Never Ending Story by Michael Ende).

Author Personality/Online Representation

We hate to say it but it wouldn’t be full transparency without addressing how authors maintain their online persona. At a boutique pub like REUTS, our team is 110% hands-on during the production of a book–that means dealing with the author on a daily basis. Since we have such a tight-knit team, and we consider ourselves (team members and authors) a family, that means searching for the right personalities to seamlessly fold into the bunch. Unfortunately, if via your submission or your social media accounts (e.g. Twitter) we see behavior that’s concerning, difficult to work with, or just downright offensive, it does weigh into our decision. And yes, this means we do check you out when you submit (otherwise known as online stalking). Authors should consider their submission to any publication or literary agency as if it’s a job interview, and there are quite a few things you don’t do when applying for a job:

• Bad mouth any connection to the individual or the company in plain view.
• Post questionable/offensive/any word that ends in -ist messages.
• Brag and or harass (either other authors or the people you’re submitting to)

It’s a bit of selfishness and a bit of a preemptive strike; we want to work with authors with good personalities, a positive outlook and who will make the long . . . tedious . . . and always stressful journey toward publication just a little more enjoyable. Our team tries to go beyond the publisher-author relationship, and many times we develop deep friendships with our authors. Trust me, the way you present yourself in any situation makes a huge impact on us publishing folk.

If you have any questions about this article, or have a question/topic for another article that might fit nicely with our REUTS Full Transparency Series (there, I dubbed it as such. It is so), let us know in the comments! Any member of the REUTS team is accessible, so don’t hesitate to let us know what you’re thinking.

And if you want to follow my spastic, usually incoherent ramblings, check me out on Twitter @amRuggs! I tweet a lot about gifs, memes, and booze, sometimes all in one.

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Hello! We’re glad you found us. As you may have noticed, our website (www.reuts.com) has been inexplicably whisked away by the internet demons. But fear not, we’ve donned our armor and weapons and are avidly hunting those pesky critters down. We expect to have things up and running again shortly, but in the meantime, many of you may be wondering who we are and, more importantly, how to submit to us. (Isn’t it lovely how fate always seems to stack against you? It never fails: biggest Twitter pitch event of the year = massive server failure and website outage. Fantastic, right?)

So, to help alleviate some of your questions, here’s a little about us:

REUTS Publications was founded in 2012 with a mission — to provide authors with a hybrid approach to publishing that pairs the control and author input of self-publishing with the expertise available via traditional. We are a small, independent press, comprised of talented, experienced individuals who are passionate about books and the people who write them.

Since our inception, we have steadily grown, publishing top-quality titles for even higher quality authors. Some of those talented individuals include Drew Hayes, Valentina Cano, Priya Kanaparti, and Anoosha Lalani. We consider ourselves a boutique press, meaning we value quality over quantity, and we’re not afraid to put in the time and dedication it takes to bring a beautifully-crafted book to market. We believe in transparency in our publishing process and are more than happy to answer any questions you may have. You can contact us directly via hello (at) reuts (dot) com, or reach out to any of our authors for more information. Many of our staff (and authors) are active on social media, and I promise we don’t bite.

If you received a favorite during #Pitchmas, #SFFpit, or #Pitmad, and are simply looking for more information on our submission process, here you go:

 Submission Guidelines

REUTS welcomes all full-length novels written for the Young Adult and New Adult audiences. We are interested in diversifying our collection with genres across the spectrum, from authors in every corner of the globe. This includes any age, ethnicity, gender, location, sexual orientation, ability, and class.

We consider a full-length novel to be over 50,000 words, and won’t consider any manuscripts with word counts below that. There is no maximum word count; however, we tend to follow the traditional guidelines for genre length (for example, fantasy novels are typically longer than romance, etc . . .).

We also will not publish anthologies, short stories, middle grade, poetry, non-fiction or erotic titles. If your novel falls outside of our requirements, we simply won’t be able to publish it, regardless of the number of awards or praise it has garnered. So please ensure your novel fits our stated interests before querying.

How to submit? Please use our submission email: submissions (at) reuts (dot) com to query REUTS, and please make sure your ten page attachment is in either .DOC or .PDF format, with standard formatting (12pt, Times New Roman, double spaced, or similar). We want to see a query and a synopsis, as well as the first ten pages of your manuscript, so please make sure you include all the components. As a handy cheat sheet, here are our acquisitions editors and their wish lists, so you can query the appropriate person:

Ashley Ruggirello — Creative Director: PN, PNR, PA, HOR

Kisa Whipkey — Editorial Director: DF, UF, EF, PNR, HR, SF

Summer Wier — Martketing Director: SF, M, HISTF, R

Jessica McQuay — Acquisitions Director: PN, PNR, FA, EF, DF, DS

Can we query multiple manuscripts? Yes, but please understand that our read and response time for each does not change. Each query will be treated individually.

Can we query simultaneous submissions? You mean, can you send us a manuscript you’ve already sent to other publishers or agents? Yes, but please be sure to let us know as soon as possible if your manuscript is no longer available for representation. We also urge you to query either publishers OR agents, not both at the same time. This is a common courtesy to both parties involved.

Do you really read our submissions? Yes, we really do. Once we’ve finished evaluating the submission, we make sure to write a personal response with either a positive or not-so-positive verdict. Please note that a manuscript has to go through multiple hands and multiple rounds, which increases the read and response time on our end. If you make it past the first round, it has to be read and reviewed by a new set of eyes, which means the longer you wait, the higher up in the process it has traveled.

We welcome friendly “nudges” inquiring whether or not we have read and reviewed your story, especially if you have been waiting longer than nine months. Although, if you haven’t heard from us and are wondering if we’ve read your submission yet, the answer is “probably not.” Sending us a nudge does take more time out of our day (time we could be using to read your submission), so please be considerate when emailing.

Why haven’t we heard from you? If you read the response above, we are slow. But we don’t mean to be. It’s a by-product of our review process. Each submission must pass through a preliminary review before it is given to all five of our department directors, who then have to read, respond, and vote. A decision is only final once everyone on the panel has weighed in, which, understandably, takes some time. We appreciate your patience as we move through our submissions, though, and will strive to do so at an appropriate (and realistic) speed.

Why can’t you tell me now? If you push for a decision immediately, the answer will be a rejection. Patience is key when querying publishing houses, and our directors (who make the final decision) have full-time responsibilities in other disciplines of the company and cannot always dedicate time to your manuscript immediately. We apologize for this inconvenience and understand that some of you may not have the ability/time to wait for us. If you decide to pursue publication elsewhere, please just send us an email with “WITHDRAWN:” and your manuscript title in the subject, and we will remove your query from the system.

TL;DR Too Long; Didn’t Read? We’re looking for 50,000+ word novels in all YA/NA genres. We will try to get back to you within three months, seven months maximum. We respond to all submissions, so if you haven’t heard from us, we likely haven’t gotten to yours yet. Feel free to nudge us for an update at any time, but past nine months would be more effective. Please check our Frequently Asked Questions page if you still have questions, or send an inquiry email. Thank you for reading!

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