Proper Manuscript Format

Composing a cover letter

Sun, 11 Oct 2009 13:05:19 -0600

A reader writes to ask:

I am going to FEDEX my short fiction story to [a certain American] magazine, who were the only gracious ones to send me a response to my e-mail query (out of hundreds of e-mail queries sent). Before i do that, i need to enclose a cover letter with it. Would you have a sample i could use?

That's a bit outside the scope of this blog, but since it does have to do with the image of yourself as a professional writer that you present to an editor, I'll judge it a fair question for consideration here. A cover letter should almost always be short, simple, and to the point. What it contains will be different depending on the circumstances of your submission. If you were sending a query or an article cold, you would briefly describe the work, explain what qualifies you to write it, and recap your previous credits (if any). For a fiction query or submission, you really only need the recap of your credits. More cover letter hints can be found with a Google search, and good summing-up can be had in the About.com article "Cover Letter Advice." Your situation is a little different, though, in that you're submitting a story after receiving a positive response to a query. In this case, your cover letter need only thank the editor for responding to your query and point out that the full manuscript in question is enclosed. Here's the text of a cover letter I've used in similar situations:

Thanks for your interest in The Accidental Terrorist, my memoir about my experiences as a Mormon missionary. Enclosed is the full manuscript for your consideration. I'm always available to talk or answer questions, and I look forward to hearing back from you.

Brief, polite, and to the point. I also want to address your plan to send your story via FedEx: Don't. The only situation in which you would do that are if 1) they've asked you to get the story to them by a certain date, and 2) FedEx or another express delivery service is the only way to get it there on time. (Possibly also if you're submitting from overseas, but probably not even then.) In most circumstances, your submission will not be anywhere near urgent enough to the market to justify either the expense to you or the need for someone at the publisher's office to receive and sign for the envelope. Just use normal snail mail, and try not to put any annoying burden on the receiver.

Word counts for proposal submissions

Thu, 20 Aug 2009 10:57:25 -0600

A reader writes to ask:

I am submitting a short story collection, but the publisher requests just the first 50 pages. How do I handle this in terms of what I would write for word count? Do I include the number of words in first 50 pages? The entire manuscript? You mentioned including a list of where stories had been published. What should this list look like? A simple 1, 2, 3? Should I title the page?

In your cover letter—and this goes for novels as well as collections—you should mention the word count for the full manuscript. That's the information your editor needs in order to understand the size of the book you're proposing. There is no need to give a word count for the 50-page excerpt. I'm not aware of a hard-and-fast rule for how to list the publication history for your stories, so use your best judgment. I would simply include a page headed "Publication History" at the end of the sample pages. (You can indicate in your cover letter that such a list will follow the excerpt.) It would be fine to single-space within entries on this page, and numbering them is not required. To get even fancier, you could use hanging indents for each item in the list. For instance, I did it like this for my chapbook, An Alternate History of the 21st Century:

Publication History "From Our Point of View We Had Moved to the Left" originally appeared in The Magazine of Fantasy & Science Fiction, February 1993. "Kevin-17" originally appeared in The Magazine of Fantasy & Science Fiction, February 1995. "Observations from the City of Angels" originally appeared online at Salon.com, 16 July 2003, under the title "Love in the Age of Spyware." "Strong Medicine" originally appeared online at Salon.com, 10 November 2003. "Objective Impermeability in a Closed System" and "Not of This Fold" appear here for the first time.

That's not to say this is the only way to do it, but I'm sure it would be an acceptable method.

Labeling scenes within a chapter

Mon, 17 Aug 2009 19:55:36 -0600

A reader writes to ask:

My question is in regards to formatting a prologue. My story is a fantasy/sci-fi tale that has two separate events that occur to two separate groups that lay the foundation for the actual “chapter 1” of my tale. In my manuscript, I want them to be the prologue/precursor to my story, but I am unsure as to what the correct formatting rule would be (if there is one) in connecting the two. Do I just add an extra space and start the new scene or do I need to add a new heading of some sort.

There is no rule about headers for new scenes in fiction. The standard thing to do in your scenario would be to just skip a line and start the new scene—we call this a "scene break" or a "line break"—but really you can do whatever you want. You could label the two scenes "1." and "2." within the prologue if you wanted, or you could treat each like a separate prologue and call them "Prologue A" and "Prologue B." You don't even need to call the prologue a prologue if you don't want to. You could simply label it "Earlier" or "1987" or "February" or "Bob Jones." Or you could give it no label at all. If you go to the bookstore or your own bookshelf and start flipping through novels at random, I'm sure you'll see all those methods, and more. The point is, it's your book and you can call your chapters and scenes what you like, if you like. Whatever you think works best for your story.

Uncorrecting the ellipsis character

Thu, 13 Aug 2009 16:56:29 -0600

A reader writes to ask:

I've been writing in Microsoft Works, which I believe is similar but not identical to Word. When I type an ellipse by typing three periods in succession, the program automatically compresses them together, rendering the ellipse almost illegible. Instead, I've been choosing an ellipse from the "insert special character" option, but it still looks squashed to me. Is there any way to turn off the compression, or is the special character acceptable?

The special character is probably acceptable, but I hate the way it looks at least as much as you do. Let's see if we can't help you disable that annoying feature. Assuming that Microsoft Works works similarly to Word, there's a feature called "AutoCorrect" that's enabled by default. Besides converting three periods to a single squished ellipsis character, AutoCorrect is automatically configured to make a lot of other corrections to your typing, all of which you can choose to turn off individually. To get to the AutoCorrect console in Word 2007, click the big MS Word logo button in the upper left corner. Click the Word Options button at the bottom of the menu, then Proofing in the sidebar, then the AutoCorrect Options button. (In older versions of Word, simply choose AutoCorrect Options from the Tools menu.) On the AutoCorrect tab in the dialog window that comes up, look under the Replace text as you type section. You'll see a lot of useful auto-corrections listed, not to mention some not-so-useful ones. If you highlight the list item containing the ellipsis correction, which should be about three or four lines down, you can click Delete to make that annoying replacement stop happening. And now that squished ellipsis will never darken your tab stop again! (By the way, on the AutoFormat tab, you can also turn off the option to change straight quotes to curly quotes, which is another automatic correction that drives me crazy. But I'm old-school that way.)

Ending your manuscript

Wed, 12 Aug 2009 12:01:18 -0600

A reader writes to ask:

Please-does anyone out there know how to end a manuscript for a short story or novel?

Do you skip a line and write -END- (margin left)
or THE END (Centered)
or...

I've seen both methods you mention, and in addition I know writers who always end their manuscripts with "###" or "-30-" centered. The simple fact, though, is that you don't have to do anything explicit to indicate the end of a manuscript. The fact that there are no more words or pages after a certain point should indicate the ending all on its own. If you are truly afraid that someone reading your manuscript will reach the end and think there are pages missing, then either of the methods you cite would be fine. There's no standard method, so let your personal preference guide you. But if someone reaching the end of your story doesn't realize they've reached the end, then you probably have a big problem with the story itself, not with the presentation of your manuscript.

Positioning chapter headers on the page

Tue, 14 Jul 2009 08:35:27 -0600

A reader writes to ask:

I have a children's fiction novel. Once the second chapter starts, do I type the chapter at the top of the next page or 1/3 of the way down, like mid-way the page?

Start the second chapter (and every subsequent chapter) on a new page on the same line where you started the first chapter. I start about halfway down the page, but how much blank space you leave above the chapter heading isn't as important as being consistent about it throughout the manuscript. For an example of novel formatting, see my sample partial novel manuscript.

Confusing book design with manuscript formatting

Sun, 12 Jul 2009 05:23:55 -0600

A reader writes to ask:

I came upon your blog when asking a question about short story indentation at ask.com. I don't know if you'll ever read this, but if you do and can spare some time, I'd appreciate a response. I was just about ready to submit an anthology of short stories to the printer. I am self-publishing some of my stories. Anyway, for some reason, this afternoon I looked at four short story anthologies in my personal library. In three of them, all of the stories begin without any indentation. In the fourth, there is an indentation, but the first letter of each story is formatted in an oversized capital letter. I have begun each of my stories with a standard paragraph indentation, just as I note you indicate short stories should be formatted. But now seeing the formatting of the anthologies in my possession, I wonder if I should re-do the formatting of the first paragraph of each story.

You seem to be confusing book design with manuscript formatting. Let me try to explain the difference. Manuscript formatting is what you do to prepare your book or story for submission to an editor. The editor's job is to decide whether or not to accept the manuscript for publication, and then to offer suggestions on improving the manuscript. He or she will likely make a lot of notes directly on the manuscript itself. That's why, when submitting a manuscript to an editor, you should do the things I suggest in my manuscript formatting guidelines, such as using a big, readable font, double-spacing, indenting paragraphs half an inch, and so on. Once you and the editor have together hammered that manuscript into acceptable shape, the next stage is book design. This is the process by which your manuscript gets converted into the format in which it will be printed and bound. A lot of arcane knowledge and skill goes into proper book design, but at the very least a few basic things will happen. Your manuscript will be changed to a font more appropriate to a finished book. The text will be single-spaced instead of double-spaced. Your book will be given page numbers that appear in different positions on the left and right-hand pages. Paragraph indentations will likely be made smaller. The book designer will also decide what kind of fancy formatting to use at the beginning of each chapter (or, in the case of a collection, at the beginning of each story), and will apply that formatting consistently throughout the book. All this is in the interest of making your book attractive and easily read by a reader as opposed to an editor. Though there are still rules and guidelines to follow, there is more latitude in book design than in manuscript formatting. When you pull a book down off your shelf to see how it is laid out, you are looking at book design, not at manuscript formatting. That's what happens in traditional publishing, anyway. When you self-publish, you are essentially cutting out the middleman—the editor. You are not submitting a manuscript for anyone's consideration. You are paying someone to publish your book, and that means going directly to the book-design stage. The big question to ask here is whether someone at the publishing company will do the book design for you, or if you have to do it yourself. If the company will do it for you, you may be able to offer some suggestions or preferences but you won't have to worry about questions like whether or not to indent or use initials or drop caps at the beginnings of chapters. But if the company requires you to submit print-ready copy yourself, then you do have to make those choices, and, in fact, you may have a lot of work ahead of you. Word-processing programs like Microsoft Word can be used to create complex book layouts, but that can be tricky unless you're an expert user. Desktop-publishing programs like QuarkXPress or Adobe FrameMaker are more powerful but are also more complicated to learn to use. In any event, find out from your publishing company how involved you will need to be in the book-design process before you start worrying about how your chapter headings are going to look.

How line height relates to word count

Mon, 11 May 2009 11:40:57 -0600

A reader writes to ask:

I read somewhere that if you format properly you should get 25 lines per page, but I consistantly get 24. So when I use Word to give me a word count on 141 pages, I get 28k, but when I do it the way I think publishers want a word count for novels, which is by multiplying the number of pages times 250, I get 35k. That's a big difference. I followed all of your rules, so I don't understand what I'm doing wrong.

Indulge me a moment, please, while I review a couple of standard typographical measures. The smallest unit in typography is called the point, which measures exactly 1/72 of an inch. Twelve points equals 1 pica. Therefore, we have 72 points per inch, and 6 picas per inch. A standard typewriter uses 12-point type, which is a measure of the height of the metal block on which each individual letter is cast. This also equals the height of a each line of printed type the typewriter produces, meaning that a typewritten line is 12 points high, or 1 pica, or 1/6 of an inch. Single-spaced, this means you can fit six lines of type per inch. Double-spaced, you get three lines per inch. Working from this basis, we see that the essential definition of a 12-point font is one that prints in a line exactly 1 pica high. You would think that a word processor would follow that definition and default to a line height of exactly 1/6 of an inch for a 12-point font, but MS Word doesn't. For whatever reason, its default line height is slightly more than that—about 0.185" as opposed to the expected 0.167". That was a long digression, but that's the explanation for why you're getting fewer lines per pages than what you expect. You can fix this, but first let me point out that, as long as you're close to the standard, your exact line height doesn't really matter. No one is going to count your number of lines per page to make sure you have exactly 25 or 26 or whatever other number you might have heard is appropriate. No editor has the time or inclination to do that. As long as it looks good at a glance, you're fine. What seems to concern you more, though, is the discrepancy between your estimated word count and the exact count that MS Word gives you. The first thing you need to understand is that your estimated word count will always be higher than the exact word count. An estimated word count is designed to give an editor an idea of how many pages a published book will run, which depends more on the number of lines in your manuscript than on the number of words. (A dialogue-heavy page with a lot of short, choppy paragraphs, for instance, will likely have a lot fewer words on it than a page with a couple of long, dense paragraphs of exposition. But both pages have the same number of lines, and therefore take up approximately the same amount of space in a published book.) The next thing to understand is that your estimated word count should be based on the average number of words on one of your pages, which is not necessarily 250. There are complicated formulas you can use to derive your own average word count per page, but I think a good rule of thumb is to call it 10 words for every line. (That's for a Courier font. If you use a proportional font, your number will be higher.) Therefore, for a 24-line page, use 240 for your estimate per page instead of 250. That will shrink your word count by a good amount. It will still be higher than the true count, but you shouldn't worry about that. In fact, before I continue to explain how to reset your line height in Word, I want to emphasize how unproductive it is to get bogged down in these kinds of details. Your first and most important job is to write the best book you can. Your second most important job is to present that book in the form of an attractive, uncluttered, professional-looking manuscript. As long as that manuscript looks reasonably close to the expected standard format, you'll be fine. That said, here's how to set your lines in Word to exactly the proper height. If you're using MS Word 2007 or a more recent version—the version with the tool ribbons at the top instead of pull-down menus—then go to the Page Layout ribbon. In the group of tools labeled Paragraph, click the little diagonal arrow icon in the lower-right corner to pop up the Paragraph dialog box. In the Indents and Spacing tab, find the Line spacing drop-down list. Choose the "Exactly" option from the list. Under the At label, set the value to "24 pt." Click OK to exit. (The process in older versions of Word will be similar, though not exactly the same.) What this does is set your lines to display one every 24 points, or 2 picas. This effectively gives you a double-spaced manuscript with exactly 3 lines to the inch. This way, you should get at least one more line per page than you've been getting. But like I say, that's probably not a level of detail you need or ought to be worrying about.

Some fine points of underlining

Sun, 10 May 2009 11:10:23 -0600

A reader writes to ask:

I scoured your blog as well as the Internet, and am still having problems with underlining for italics. I am definitely using underlining but am fuzzy on the following:

Do I use "underline words only" like this or do I include the spaces like this?
Do I include punctuation like this: This is a sentence.
Do I include quotes like this: "Buon giorno!"

As I've discussed before, you should always use underlining in your manuscripts to indicate words and phrases that are to be set in italics in the final printed version of your work. In trying to follow that advice, you've uncovered some interesting questions about the finer points of underlining. The only hard and fast rule I have to offer is that, when underlining more than one consecutive word, you should be sure to underline the spaces between the words as well. Underlining the words only and not the spaces looks too choppy and distracting to the eye. In other words, you should do it like this. As for your second and third questions, I'm not aware of any definite standard. It seems to me to make sense to include the punctuation when underlining complete sentences, but no one is going to penalize you for not including the period or the quotation marks. In those cases, just do what seems to make the most sense to you. My only advice would be to be consistent in whichever method you employ.

Update: Paul Witcover, author of Everland and Other Stories and an experienced copy editor, offers the following advice: "Punctuation following an underscore is also underscored." Thanks, Paul!

When to use a separate title page

Sat, 09 May 2009 17:38:25 -0600

A reader writes to ask:

At the recent meeting of our local writers group we got involved in a discussion about formatting. Several of us were having problems with the header/footer and page numbering aspect of our word processing program. My problem was setting the page for “different first page” and how to begin the numbering with page 2. Our president showed us how she set it, but the way she did it, the page numbering started on the second page but numbered it page 1. Her point was that the very first page of a manuscript was simply a “cover page” and as such should not be considered part of the numbering process. She did not have anything on her “cover page” except for name and address, word count, title and by-line. I, on the other hand, use your format—the first page includes name, address, word count, title etc., with the story starting a third of the way down the page. Our president said that was something that would get a manuscript kicked back from an agent/editor very quickly. This is the first time I have heard of such a thing, and I’m wondering if there have been any changes in required format that I don’t know about?

You raise a couple of different issues here. The first is the question of whether or not to give your manuscript a separate title page. I suspect the confusion between you and your group president stems from the fact that novels and short stories employ slightly different formats. You may be trying to format a novel like you would a short story. A book-length manuscript, whether for a non-fiction work or a novel, should have a separate title page. The title page will have your name and address in the upper-left corner, the title and your byline centered in the middle of the page, and an approximate word count centered at the bottom of the page. The text then starts on the second page of the manuscript, and that page should be numbered 1. You can study a portion of a sample novel manuscript here. A manuscript for a short story or article should not have a separate title page. It should be formatted similarly to what you find here. I would always recommend using a separate title page when submitting a novel, but I have talked to successful writers who routinely submit their novels in short story format. I doubt a manuscript would be rejected for that reason, but you should play it safe and go with standard novel format. Now, to the second issue you raise. How do you prevent a page number from appearing on the title page of your manuscript? And, in the case of a novel manuscript, how do you adjust the numbering so that the second page of the manuscript gets numbered 1? Before we get started, if you need instruction in creating page headers in the first place, see my earlier entry "Automatic page numbers in Word." Up to speed? Let's continue. If you're using MS Word 2007 or a more recent version—the version with the tool ribbons at the top instead of pull-down menus—then go to the Page Layout ribbon. In the group of tools labeled Page Setup, click the little diagonal arrow icon in the lower-right corner to pop up the Page Setup dialog box. Click the Layout tab, then check the box labeled Different first page. Click OK to close the dialog. This will cause your page header to not appear on the first page of the manuscript. For a short story manuscript, you're done. The header will not appear on the first page, and the second page will be numbered 2. If it's a novel manuscript, though, you need to go through one more step to make the second page numbered 1. Set your cursor on the title page of the manuscript. Select the Insert ribbon. In the group of tools labeled Header & Footer, click Page Number. Choose Format page numbers from the menu that appears. A Page Number Format dialog box will pop up. In the Page numbering section, click the radio button labeled Start at. Set the number in the adjacent box to 0. Click OK to close the dialog. This will set the title page's number to zero, causing the second page of your manuscript to show up as 1. You should find similar options in other word processors.

Copyrighting your work

Tue, 24 Mar 2009 15:54:44 -0600

A reader writes to ask:

At the end of your podcasts, you include the important fact that your podcasts have a Creative Commons license on them, and I'd like to ask how I can be sure my own work has that protection. I've uploaded some of the preliminary drafts of chapters of my unfinished book onto a website in PDF form, and I did put a copyright statement at the bottom essentially stating "it's my work, don't steal it," but I don't know if I need to receive any official documentation of a Creative Commons license, or if there's a more secure way to make my work available for anyone who wants to read it.

I want to preface this (slightly off-topic) discussion by stating that I am not an expert in copyright. Bearing that in mind, the first thing you should understand it that your work is copyrighted automatically by virtue of the fact that you wrote it. You don't need to include an actual copyright statement on your work to make that true (though you can, of course). If you anticipate ever litigating over unauthorized uses of your work, you might consider registering your copyright. (Learn more about American copyright registration from the U.S. Copyright Office at copyright.gov.) The only reason you would need a Creative Commons license is if you want to be able to make your work available for others to repost, reuse and/or remix for free. With Creative Commons, you can customize the license under which you release your work, choosing which rights you want to reserve and which you want to give away. Cory Doctorow and other high-profile writers routinely release their books online under such licenses, and for some of them it seems to be working out very well indeed. (For more info on Creative Commons and how to license your work, please see creativecommons.org.) That said, when you post your work online, you always run the risk of someone using it for unauthorized purposes, Creative Commons license or no. Ironically, the safer way to ensure that no one reuses your work is probably to publish it on paper, since it's much easier to reproduce electronic documents than hard copy. To close on a note more related to manuscript formatting and submitting, please remember that it is rarely necessary to include a copyright notice on your submissions. All reputable editors and publishers understand that your work is implicitly copyrighted, and the risk of their stealing your work and publishing it without attribution and recompense is, in practical terms, nil.

Story collection format

Fri, 20 Mar 2009 12:24:35 -0600

In followup to the post Proper novella format, a reader writes to ask:

What do you do if you are using a novella as part of a short story collection?

If you're including a novella in a collection, then format it essentially like you would a short story. This, however, begs the question of proper format for a story collection. Different authors do collections in a couple of different ways. The quick-and-dirty way would be to just print out all your stories in normal short story format, then slap a title page (complete with total estimated word count) and a contents page on top of the stack and call it a day. I'm sure plenty of collections have been sold this way (which includes the bonus of allowing the editor to shuffle stories around to her heart's content). But you might better treat your collection similarly to a novel manuscript. Give it a title page, and thereafter start each story on its own page with the title centered halfway down the page. Adjust the page numbering so that it continues sequentially through the whole manuscript, and does not start over again at 1 for each story. This, especially for a newer writer, will make your collection look more like an intentional book and less like a slapdash pile of stories. Either way, treat any novella you include in the collection the same as any other story, with chapter headings centered after a skipped line rather than starting on a new page. Also, don't forget to include, up front or at the end, a list of where each story was previously published. If a story was not previously published, indicate that too. An exception might be if the bulk of the stories in the collection are previously unpublished, in which case you will probably want to refer to your submission in your cover letter as a collection of original (not unpublished) stories.

Indicating literal thoughts

Thu, 19 Mar 2009 16:28:25 -0600

A reader writes to ask:

How should I differentiate the character's thoughts from the rest of the narrative? Some people have suggested I put them in quotation marks, but I find that when I read novels in which the character's thoughts are in quotation marks, I initially think they're speaking rather than thinking. I have seen novels in which the thoughts were italicized, but I know it's not advisable to use italics in a manuscript you're submitting to an editor. Should I instead underline all the thoughts? It makes for long underlines, but maybe it's the best way. What do you think?

There are three basic ways of indicating literal thoughts in narrative: setting them off in quotes, setting them off in italics, and not setting them off at all: "I have to get out of this place," John thought, "if it's the last thing I do." I have to get out of this place, John thought, if it's the last thing I do. I have to get out of this place, John thought, if it's the last thing I do. Each method has its adherents, and you're free to choose whichever one you think will help you make your prose as clear as possible. I'm with you on the quotes—I find it too easy to mistake those thoughts for dialog—but my own personal stylistic preference is for the third method. I find that italics gives thoughts such a strong literal flavor that seeing this technique employed often breaks me out of the story. I don't know about you, but rarely do I find myself thinking in complete literal sentences. (Except when I'm writing) But I'm something of a cantankerous reader. I think it's safe to say that the italics method is the one most commonly used these days. It's a solid choice, and if you go that route, do not be afraid of long chunks of underlining. You are correct to avoid using italics in your manuscript; it's just too easy for editors to overlook when reading your submission, especially in Courier font. Underlining is the correct and accepted method for indicating italics in a manuscript (as demonstrated in the second example above), and no editor is going to blink at encountering a long string of it. That's what she's accustomed to seeing, even if it looks graceless to your eye. I've written more about italics in the entry Italicizing long blocks of text.

Proper novella format

Mon, 16 Mar 2009 09:44:28 -0600

A reader writes to ask:

What does the format look like for a novella? What's the first page look like? And, what do you do with chapters?

The novella is a curious case. Not quite short enough to be called a short story, not quite long enough to be called a novel, the novella exists in a definitional twilight zone. SFWA defines a novella as a work of fiction of between 17,500 and 40,000 words, but to most of the world it's just an awkward in-between sort of thing. It can be a very satisfying fictional length—just ask Henry James—but it can be a hard thing to sell. The market for novellas, sadly, is not a big one these days. In my estimation, the format you use for a novella would depend on where you're submitting it, and for what purpose. If you're sending it to a magazine or anthology, format it the same as you would a short story. If you're sending it to a book publisher for consideration as a standalone volume, you should format it like you would a novel, with a separate title page. In short story format for your novella, you would indicate new chapters simply by skipping a line, then centering the chapter header on its own line. In novel format, you could either do it that way or by starting each new chapter on its own page, with the chapter heading centered halfway down the page. It's too bad the novella isn't more popular these days, though it's easy to see why publishing standalone novellas is probably not very cost-effective. To me, it's a great length for fiction because the author can explore a character or idea in depth but is still forced to focus his writing and make each word count. The reader gets the satisfaction of a complete, involving reading experience with some heft to it that she can still finish in one sitting. I think that's a great thing all around. (I should point out here that my own standalone novella Cast a Cold Eye, co-written with and at the instigation of the estimable Derryl Murphy, will appear from PS Publishing later this year.)

Word count vs. page count

Sun, 15 Mar 2009 14:40:41 -0600

A reader writes to ask:

I've been speaking with an agent who has expressed keen interest in my sci-fi/humor novel, and what she's telling me is that while she really digs it, the manuscript is simply coming in too long for most publishers to take a look at. Unbeknowst to me (rookie mistake), I need to reformat the mansucript using Courier 12 point, which is blowing my page count sky-high (I wrote in Times Roman). The agent is also telling me that I need to get it down below 480 pages Courier for publishers to be willing to look at it. My mansucript is 120,000 words and change, but is coming in at 730 pages Courier 12 point. Any thoughts about anything I might be doing wrong, if anything? Is she on point? Is the page count more significant than the word count? I hate being so close and yet feeling like I might be so far. I'd appreciate any feedback you can offer me.

A lot of points to address here in this message! As far as your mechanical problem goes, without looking at your manuscript I can't be sure what you're doing wrong in your word-processing program that's making your page count so high. Check your margins carefully to be sure they are 1 inch all the way around. Check to be sure you're double-spacing your text and not triple-spacing it, because that alone would explain why your page count is about 50% higher than it should be. 480 pages in Courier 12 is going to yield a manuscript of between 120,000 and 140,000 words, depending on your margins, so your novel should be fine as-is, without any cuts, if you can just get your formatting problems ironed out. For the record, 120,000 words sounds about right as a cap for an average first novel, although longer ones certainly do sell and get published. Assuming for a moment that your word count is wrong and the book really is longer than your agent wants it to be, you have to weigh her advice in relation to your own instincts as a writer. Cutting a manuscript down to size is often a very effective exercise for improving a book, but it's not right for every book. Try to get your agent to offer more specific suggestions for why this book should be shorter, and for plot elements or other specifics that could be trimmed. Try to assess whether she is trying to make the book better or just trying to get you down to a target word count on general principle. She very well might be right to ask you to cut the book, but you have to make that decision yourself. For the record, any editor worth his or her salt, especially at a major house, is going to understand that word count is what's important to the size of the published book, not the page count of your manuscript. Just a glance at the height of the stack and the size of the font will be enough for most editors to estimate a ballpark word count, which tells them how long a book they're really dealing with. One last point. It's not necessarily a mistake to print your manuscript in Times Roman. Courier has traditionally been the accepted default, but times have changed and the editor who would reject a manuscript out of hand these days because it's printed in Times Roman is rare indeed. The best guide is still to use Courier unless an agent or editor explicitly requests a different font in his guidelines, but it's certainly not a dealbreaker to use something attractive and readable like Times Roman or Georgia. (You should definitely avoid sans-serif fonts like Arial and Helvetica, though.)