ime, no matter how worthy of it you think you are. No one in the book business wants to work with a writer who is so caught up in writing that they consider common professionalism something they don’t need to care about. Smart people--agents, editors, publicists who are good at their jobs--will want to work with you if you demonstrate Here’s something I’ve always wondered about--and maybe some of you, and you know who you are, can enlighten me--what’s the deal with bad handwriting? I don’t mean writing that’s not perfectly, anal-retentively neat. I’m talking scribblin’, scrawlin’, needs-a-cryptologist-to-decipher messy. In my job, I work on hard copies of manuscripts and page proofs, on which up to five different people have sometimes written edits (in lots of pretty colors!). Invariably, at least three of those five can’t write a “Q” that looks like a “Q.” Is it simple carelessness? Are they so accustomed to looking at their own script that, to them, it appears legible? Why am I bringing this up, anyway?

Because, to me, it’s about taking care. And about having respect for the person at the receiving end of your work. See, I like to think I do a good job as a production editor. I can help make a book better. But if an editor or an author doesn’t have enough respect for my time to write on a manuscript so that I can read the edits, I won’t request to work with that person again, no matter how good the book might be.

Broaden the principle, and it applies to your interactions with literary agents and book editors. Don’t send them twenty unnecessary e-mails or a book proposal that takes twenty pages to get to the point. In short, don’t waste their time, no matter how worthy of it you think you are. No one in the book business wants to work with a writer who is so caught up in writing that they consider common professionalism something they don’t need to care about. Smart people--agents, editors, publicists who are good at their jobs--will want to work with you if you demonstrate

s and page proofs, on which up to five different people have sometimes written edits (in lots of pretty colors!). Invariably, at least three of those five can’t write a “Q” that looks like a “Q.” Is it simple carelessness? Are they so accustomed to looking at their own script that, to them, it appears legible? Why am I bringing this up, anyway?

Because, to me, it’s about taking care. And about having respect for the person at the receiving end of your work. See, I like to think I do a good job as a production editor. I can help make a book better. But if an editor or an author doesn’t have enough respect for my time to write on a manuscript so that I can read the edits, I won’t request to work with that person again, no matter how good the book might be.

Broaden the principle, and it applies to your interactions with literary agents and book editors. Don’t send them twenty unnecessary e-mails or a book proposal that takes twenty pages to get to the point. In short, don’t waste their time, no matter how worthy of it you think you are. No one in the book business wants to work with a writer who is so caught up in writing that they consider common professionalism something they don’t need to care about. Smart people--agents, editors, publicists who are good at their jobs--will want to work with you if you demonstrate

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