FREQUENTLY ASKED QUESTIONS
1. HOW DOES THIS ALL WORK?
Please read our submission guidelines for details on how to submit your work. If you have any further questions, please contact us at firstname.lastname@example.org.
2. WHY SHOULD I USE YOU GUYS?
Among us, we have twelve traditionally published novels and another seven on the way. We're not just passionate about writing; we really love working with other writers. All of us have worked as freelance editors, journalists, or educators before. We have a solid grasp of the fundamentals and look forward to sharing what we've learned along our paths to publication with you.
3. CAN I PICK MY EDITOR?
Yes, but keep in mind that the best editor for your project is the one who is excited and passionate about your story, and that is not necessarily the one you are pals with online. Also, your preferred editor may not be available due to her own deadlines or workload. If you do not specify someone, the editor most intrigued by your story will do your initial critique.
4. HOW DO I KNOW YOU WON'T STEAL MY AWESOME IDEA?
Because we're nice people! Seriously. We're ethical. We wouldn't do that because we'd be upset if someone did that to us. Plus we all have notebooks full of ideas and the next four to eight books we want to write already plotted somewhat in our heads. If you're still worried, you may prefer working with editors who don't write. We understand.
5. CAN I PAY IN INSTALLMENTS?
For query letters, 10-page critiques and partial critiques, we require payment in full before we send back your submission. For longer works (Big Picture or Line Edit), we require half of the fees paid in advance, and the remaining balance paid before we send back your submission.
6. DO YOU ACCEPT SUBMISSIONS FROM NON-US RESIDENTS?
Yes. Please visit our Editors page to see who is currently accepting worldwide submissions.
7. WHAT TYPES OF MANUSCRIPTS DO YOU ACCEPT?
We are currently only accepting Middle Grade, Young Adult, and New Adult submissions. No adult, non-fiction, poetry, or short-stories.
8. WHY DO I HAVE TO FORMAT MY MANUSCRIPT WITH DOUBLE-SPACING BETWEEN THE LINES?
This is industry standard and how agents/editors will expect you to format your manuscript when you submit it to them.
9. WHY DO I HAVE TO SUB 10 or 50 PAGES BEFORE SIGNING UP FOR A FULL CRITIQUE?
This is for both sides to see if the partnership will be a good fit. We want to work with projects that resonate with us, in genres where we have expertise to share. You want to work with an editor who is going to provide worthwhile feedback in a way that inspires and encourages you. Submitting a partial also allows us to prepare an individualized estimate for the costs of critiquing your entire manuscript, based on the amount of time it takes us to crit your 10-page or 50-page sample.
10. IF YOU ARE UNABLE TO TAKE ME ON AS A CLIENT, IS THAT LIKE A REJECTION?
No, no, a thousand nos! It simply means that the editors' workloads were full or that they didn't click with your particular submission. Each of us can list plenty of books we did not finish that went on to be NYT bestsellers. If we cannot take you on as a client, that in no way means there is something wrong with your story. It just wasn't the right fit for us at this time.
11. HOW LONG WILL IT TAKE YOU TO GIVE ME FEEDBACK?
For query letters or 10-page critiques, we will have feedback within two weeks. Longer critiques (partial, big picture and line edit), we will have feedback within four to six weeks. If, for some reason, your critique is going to take longer than this, your editor will contact you directly.
12. CAN I INTERVIEW ONE/ALL OF YOU FOR MY BLOG?
Please contact us individually through the email addresses on our blogs/web pages if you would like to interview us.
"Jess understands voice, she has a knack for characterization, and she knows how to bring a book to the next level. Without her, my last three books would definitely have been missing something. She rocks!"
"Without Elizabeth, I can 100 per cent say I'd never have got my two-book deal with HarperCollins."
"Paula has a remarkable ability to hone in on weaknesses of plot and characterization, and her insights always dramatically improve my work."