Novel Layout
 

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Presenting a readable manuscript


 

Does it matter?

 

In the history of publication, we may find examples of scrappy, ill-typed manuscripts on flimsy, tired paper wrapped in tatty packages, which ended up being published and lauded as great works.  Daphne du Maurier was said to send her editor scrawled, untidy half-legible manuscripts. Thomas Wolfe, too, needed his agent Max Perkins to sort out the jumbled pages of his great American novels. (He wrote standing up, leaning on the top of his fridge. But that’s another story.)  But they were different days, of patient editors and forbearing agents and leisurely publishing.

In these more urgent times, a new writer – with more technological resources - needs to optimise her or his chance of being read carefully by presenting an immaculate, business-like manuscript. To do this, they need to ensure that there is no barrier of poor presentation to blind the sight of the hard-pressed publisher’s or agent’s reader.

It boils down to straightforward ‘dos’ and ‘don’ts’. 
Some of these may seem obvious.




DO THIS:

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Use good-quality white paper. It’s more likely to survive being passed from hand to hand.

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Select a simple, clear typeface in black – no fancy work.

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Submit loose sheets in a card folder – no bindings of any kind, no staples, etc.

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Always use double spacing and only one side of the paper.

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Consistent numbering – top right hand is my favourite.

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Clear margins all round – widest on the right, for comments, etc.

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Use at least 12-point character size. One agent I know prefers 14 point.

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Indent to indicate new paragraphs in continuous text. (No extra line-spaces.)

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New chapters should begin on a new page.

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Only use italics for foreign words.

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Use a new or very clean second-use jiffy-bag to send it. 

bulletIf you want the manuscript returned, include return postage.

DON’T DO THIS:

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Use coloured or fancy papers.

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Bind your manuscript or punch holes in it.

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Type on both sides of the paper.

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Use single-spaced text.

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Use fancy typefaces

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Send away any material of which you don’t have a master copy,


© Wendy Robertson 2003