Okay, I have decided to approach a subject some writers will balk at.  That is the issue of professionalism.  I have my own theories, and here they are, set out in print.

1 - First, no editor owes you a darn thing.  There are too many people wanting to be published out there, and if you are too lazy to learn the correct formats of presentation, or how to write a proper letter, do not be offended if they don't take you seriously.

2 - Try, try, TRY not to take personally if an editor or publisher's letter sounds a little snippy.  Communication via e-mail is especially bad for this, for some reason, but if the letter sounds snippy, find an excuse.  Rushed communication is not the best, and if something sounds snarky, I would bet you ten bucks it wasn't meant to be.

3 - If an editor/publisher says there are some changes needed in your manuscript, DO NOT get defensive right off the bat.  No one wants to ruin your work.  Try to maintain your equilibrium and do not take a tantrum.  Honestly evaluate what the editor is saying, and apply it to your work.  In most cases they will be right.  However, in some cases they will be wrong.  If that is the case, go to Number Four... 

4 - What to do if you honestly think it is wrong?  You have two choices.  If this is a deal-breaker, I would generally say, change it anyway for the sake of getting published, especially if it is your first chance at publication.  Yup, I'm saying sell-out, take the money and run.  However, if you know deep down in your gut that it is the wrong thing to do, see if there is some compromise that can be worked out.  But if the editor is intransigent, and you can't live with the change, then you are going to have to bow out gracefully.  But do it with grace and dignity.  Do not tell him/her to shove it where the sun don't shine.  Just say that it is unfortunate that you cannot come to any mutually acceptable conclusion, and you hope that you can work together in the future.  End of discussion.

5 - And always, always, always, honesty is the best policy.  Once you have an established relationship with a publishing company, if they have done something you don't like, tell them, (diplomatically, of course).  And don't be afraid to ask questions, however, don't pester.  Behave like a professional, not as if it is a hobby.  Because by the time you get published, you will be a professional.

   Don't judge this book by its cover, because the title might throw you off.  It belongs to that ubiquitous genre, the 'Dummy' and 'Idiot's' books.  The title is:

   Note that it says it is not just for any old idiot, but the complete idiot!  However, this is one fabulous book!  I have read my fair share of 'How To' writing and publishing books, but this one is genuinely witty, informative, inspiring, encouraging and in short, invaluable.  I urge you, whether you have been published or not, run, don't walk, to your nearest book store and buy it.

   It offers info from getting ideas, before you have even tapped a single computer key, to how to tell what you are worth to your publisher, and how to keep getting published once you have reached that shimmering mirage in the sand, publication.  It offers information on royalty rates for the different sub-genres in the romance, and has the best common sense advice I have ever heard on how to conduct a civil and civilized relationship with your editor.  Throughout it, it has sprinkled, like fairy dust, tips and hints from other published romance authors.

  In other words, it really truly is a great book.  Buy it!

   Next Writing Tips update:
   Next I will review a much older book that offers, along with some now rather outdated information on why not to use a computer, some gems of info for the author of any type of book. From Plot To Print, by mystery author Lawrence Block, is one of the first writing books I ever read, and I'll tell you next time why it is still a great book for the aspiring author.

   'I'd love to work at home,' people say, invariably with a sigh of envy.  'No distractions, you can show up at your desk whenever you want, no boss breathing down your neck, coffee breaks whenever, and you can wear whatever you want!'

   Well, one out of five ain't bad, I guess.

   First off, yes, it's a wonderful life.  I love it.  But I didn't always.  Once, I was one of those writers who claimed to love having written, but not writing.  Not anymore!  I love writing.  And I love working at home.

   However...

   First, yes, there are so distractions.  Door-to-door salespeople, meter readers, the phone,  friends, family, people honking their freaking horns out on the street so you can't concentr... oh, pardon me.  Uh, where was I?  Oh, yes, distractions.  There are distractions.

   Second, no, you cannot just show up at your desk whenever you want to.  Well, I suppose you could, but not and be a writer, or any kind of home worker.  It takes a lot of discipline to park your butt in front of the computer and start writing.  Or at least I suppose it does.  To tell you the truth, most days, it is where I want to be.

   Third, no boss breathing down your neck?  Puhleeze!  How about bills to pay, editors to please, deadlines looming?  They are all your boss!

   Fourth, coffee breaks whenever you want?  Well, technically yes, but number three still holds true.  Too many coffee breaks equals little output.

   Fifth... well, this one is true.  I could wear nothing at all (although that could hurt when the cat decides to jump up on my lap) and get away with it.  But I dress, usually, as most people do for a casual Friday, except no make-up and no jewellery.  Clothed is certainly less embarrassing when the aforementioned meter readers and door-to-door salesmen show up at the door. 

   So, in short, my writing routine consists of 1) Praying for work.  2) Doing it.

  Is that all?  No, I guess not.  Here, for those who want to read on, is the complete routine, from Idea to The End.

1.  Idea and First draft - First, my editor will buy the idea I have presented to him as a synopsis.  At that point, I flesh the idea out into a chapter-by-chapter outline. *Note -  a lot of writers don't do this, as they feel it stifles their creativity.  I don't feel bound by the outline to the extent that I can't add in sub-plots or change major plot points, so I have found this is the fastest way for me to work.  You may need to handle things differently.  Then I start writing.  I never expect the first draft to be perfect.  I lay the groundwork, set up the scenes, the movement, dialogue... in other words, I build the foundation for the book to rest on.

2.  Second draft - the second draft, so much easier to write now that we have computers, is to fill in the scenery, and get the historical detail correct (or if you are writing a murder mystery, getting the factual detail into place).  I must say, I don't completely re-write ever. (Well, I have once, but that was because I hated the way the whole story had come out.  It was a 30,000 word novelette, and did it hurt starting from scratch! Ouch!)  Instead, I add in stuff that I feel is missing, doing extra research as I need to.

3.  Third draft - I use the third draft to check, improve, re-check and check again, the emotional 'truth' to each scene.  This is intimately related to getting the motivation right for every character.  I am trying something new with my next novel, and that is using detailed character sketches.  I am hoping to cut down on this part of the rewriting process.

4.  Fourth draft - This is the time in my writing to clean house. I tidy up all the loose ends in formatting, spelling, word usage, historical detail, motivation, emotion, and I use it to make the novel come out to the right wordage.  My contracts specify how many words are acceptable, and I shoot for the midrange.  In other words, if it says the novel will be between 65,000 and 75,000 words, I shoot for 70,000.  And then lately they come out to more than 75,000.  Oh, well.

5.  Of course, the last stage is the printing and packaging up of my manuscript for an editor.  I demand of myself absolutely perfect presentation. I use clean paper, a new ink cartridge in my printer, and a fresh, clean envelope.  I include for my editor, even if he has it already, an updated synopsis that reflects any changes I have made to the text, knowing that the cover copy people and the cover painter use it to do their work.

   If you are sending it out to be reviewed by an editor and you do not already have a contract for your book, you need to be even pickier about presentation, because like your mother said, 'First impressions are lasting'.  The editor will take you seriously or not based on a professional looking presentation.  You do not have to have a two thousand dollar computer for this!  An old 486 and a good word-processing program will do this!  And if you buy your computer used, it will probably be even cheaper than a typewriter.  It is important that you realize you should not use special fonts, nor your own special 'look' for a manuscript.  Editors are faced with hundreds of pages of manuscript every day.  What they need is uniformity so they don't have to adjust themselves to every new style.  Use Times Roman font or similar, in 12 point size, and stick to a presentation recommended in any book or article on manuscript preparation.  White paper only, one side of the sheet only, double-spaced, etc.

   The funniest part of the movie Funny Farm for a writer, is the part when the hero's wife sends her manuscript off handwritten on yellow legal pads only to get it back as a typed copy with a contract and an advance cheque!  That DOES NOT HAPPEN!  Really.  It doesn't.  So follow the rules to increase your chances of getting published.