In dialogue, many recommend contraction use as opposed to the two base words. Again, the reason is it sounds more natural in dialogue. In almost all cases, editors and fellow authors advise using the contractions.

Now, the second part of the answer is to not use contractions if you are writing something formal or want character dialogue to sound stiffer or perhaps "upper-crust" as it were. In business, law, and other formal writing forms, you do not want to use contractions-do not as opposed to don't-because it creates a formal stance. This includes writing professional advice. Again, unless you are trying to create a friendly or perhaps more relaxed air, do not use contractions.

So, for most creative fiction forms: use contractions.

For formal writing or to create a more haughty air in dialogue: Do not use them.

Notice how I did just that when speaking about the two subjects?

Last words of advice: When using contractions, be sure the subject and verb are clear if the verb is a linking one. Don't use the contraction if it's clumsy or draws more attention to the word. So, do write: Shayne will get you for it as opposed to Shayne'll get you for it. Proper nouns are the key here

Finally, passive use can hide in contractions. I've got a story for you is passive. The "have" is hidden, but is there. Don't let passive voice creep into your prose just because the flow looks better. It has to sound better first and foremost.

Word to the wise.

Wrong

One paragraph. Yes, just one. After this advice, frustration shows. My fellow writers explain it cannot be done, more details show the whole story, or the subplots need mentioning due to equal importance.

Wrong

You must propose your main plot-and only your main plot-in the query letter because you want to pitch fast and hold the agent or editor's attention. It shows you can choose the right words and focus on the big picture. This is the main reason you want to do this.

Wrong

I'm going to tell you the real reason: The pitch you use will be the same pitch an agent uses to court an editor. It will be the same pitch the editor uses to convince the publishing house. It will be the same pitch the publisher uses to get your book in the stores. And-this will thrill you-it will be the blurb on the book's back or jacket.

That's right. You're not only working your query letter, but the pitches for everyone else in the game. So remember the next time you want to go on and on with the plot portion within your query letter-if you can't pitch the project in ten seconds or less, neither can anyone else.

And that means no sale for all involved.

You want your writing to accomplish this. These are the six basic themes that do it.

Sex

Forgive the cliché, but sex sells. Nothing grabs attention like naked, sweating bodies roiled together. You're not supposed to look, but readers can't help themselves. Careful not to get too graphic with the opening sentence unless you intend to write erotica. Opening with sex doesn't always mean intercourse. It can also be like the young man in the above example. Hints are often stronger than the event, but the fantasy is always more powerful than the reality.

Family Drama

Opening with this always works. Everyone has family drama so all can relate. And if readers can relate, you will hook them. It's strange, but people want to know someone has a family worse than theirs. There's comfort in it.

Violence

It's the car wreck you know you shouldn't stare at, but you can't help it. People are fascinated with violence. From the Roman Coliseum fights to the full-contact arenas today, people love this theme. Again, this can be subtle or visceral, but it does attract and fascinate.

Tragic Love

Themes on unfulfilled love are the biggest sellers. These go straight to the emotions and draw the reader to the inevitable. If you can make the reader cry, you'll have them buy your work again and again. Readers often want an emotional release, and opening with tragic love promises this.

Humor

This is the hardest to do because it requires timing and talent. If you make readers laugh on the first page or even the first sentence, you'll grab them. Like a good cry, everyone wants a good laugh. Humorous hooks and their books are rare, but their successful writers prove it works.

Death

Like violence, death attracts readers. It is the forbidden that repulses and intrigues. But, like humor, it's the hardest to pull off if flawed. Balance and skill are required to make opening with death work, but the shock draws readers into reading more.

The next time you open your writing, ask if any of these hooks are present. If not, you may want to reconsider your opening line. Remember if your reader is not hooked in the first line, chances are they won't read any further. And a closed book is an unpublished book. Remember that.

If the agent didn’t love your work, then he or she was not the person to champion your novel. Always remember a bad agent is much worse than no agent. Move forward until you find the right one.

And quit looking for meaning in those form rejections. There is none.

1. Never Make It Personal

   You would think this is obvious, but the responses on forum boards tell otherwise. If the Green-Eyed Monster is rearing its head in your feedbacks, consider whether this is the impression you want to give about yourself. Also ask if you’re criticizing more than writing. If you are, it’s time to discover why your own writing is stalled.

2. Never Give an Emotional Critique

   If you are having a bad day, decline on giving feedback. To do otherwise will make your words sound bitter. Give yourself time to settle down, return, and be professional. Don’t turn someone’s work into your punching bag. You’ll regret it later.

3. Never Say You “Loved It” or “Hated It” Without Citing Examples

   Writers get enough vagueness from their query letter responses. They don’t need the same from their peers. You can say why you felt the way you did, but you must state why something did or didn’t work for you. Did the writer use passive language ad nauseam? Adverbs clinging to weak verbs? Is the dialogue more wooden than Pinocchio? Point out examples in the prose.

4. Never Be Dishonest

   A critique should always be honest. Trying to spare feelings because the work stinks doesn’t help the writer. If it’s awful or masterful, say so. Was there a line worthy enough to line a bird cage or be encased in gold? Point out where it was done. Not only does this help the writer, but others who need to hear it. People learn from examples and missteps—good and bad.

5. Never Destroy a Writer

   Do your best to judge the level a novelist can take criticism. Often, the recipients will tell you with their words and actions—written or otherwise. No beginner is ever as thick-skinned as they say. New novelists always take criticism personally. Be prepared for them to lash out. Frustration at being told they aren’t a master is always a hard thing to hear when you think otherwise. Getting thick skin has to start somewhere.

6. Never Rewrite Something for an Author

   This is hard for the experienced who know what’s wrong with the prose and how to fix it. If you are tempted—don’t! Rewriting something for someone else doesn't help. Instead, it teaches writers to rely on others to correct their mistakes—something they should do on their own. Examples have their place, but reworking entire passages is something else. Even though the intentions are good, you’re hurting the writer. Your voice dominates the prose when it should be theirs. Don’t do it.

7. Never Tell Someone to Quit Writing

   You have no right to do this. Period. No matter how bad the characters, dialogue, and plot is, you point out the errors and hope the writer learns from them. If they do nothing to improve their writing, you can point this out too. But never tell them to quit. You can suggest reading novels on the chosen genre, how-to books, agent advice, etc. Yes, some authors will never be published. But it’s not your place to stomp their dreams to the ground.

Agents and editors do that fine, thank you. There’s no need for help there.

Enter the Paranormal Romance novel. In Joss Whedon's wake come tales with the same template as the Buffy Series. There's the heroic female, vampire lover, and a played out potential.

Come again?

If you follow a trend as a novelist, avoid committing career suicide. What is hot today will become dead tomorrow. Successful writers do one of two things:

Tell a Different Story

Hot female must save tortured vampire's soul is now cliché. If you have any doubts, thumb through those new novels. You will see the same plot. To avoid this, spin the situation into a new perspective or dump it for something completely new.

And completely new does not mean changing the vampire into a werewolf, demon or making the female the paranormal subject. That's changing color, but not structure.

Start Your Own Trend

Every reader, agent and publisher is looking for the newest, trend-setting novel. Write it. This is difficult, but who said writing was easy? Be the template author. A clear sign you've done something different is trying to pinpoint your book into a specific genre. Clan of the Cave Bear's publisher had no idea where to place it. But the novel's stand-alone perspective drew in readers who demanded more.

If your story is different from everything else, and it's well written, agents and editors want it.

Despite what you've heard about agents looking for a reason to reject you, the opposite is true. Agents want a reason to see more. However, most writers give them a reason to pass instead.

Don't be those writers. Stand out!

So what should you not do?

1. Take it Personally

   There is nothing worse than seeing a hopeful writer lash out at his or her peers because they found something lacking in your writing. Not only have you marked yourself as an amateur, kicking and screaming on the metaphoric floor, but chances are you've become a pariah as well. The next time you ask for a critique, don't be surprised if no one is willing to help you.

2. Be Ungrateful

   Let's say the remarks are scathing. Show your professionalism with a thank you. Even if you disagree, be thankful anyway. This will not only show you can take the comments, but you're also polite about it. People will be willing to help you repeatedly for that fact alone.

3. Be Rude

   You are asking for criticism. This is not your chance to be critical of other people. Remember that most writers who offer help are taking the time to give their opinions on how to improve your work. That's time they're not writing or reading for themselves. If you decide to verbally attack that person's opinion, don't expect much of a response when you ask for help again.

4. Throw a Tantrum

   This happens more often on internet boards than in person because of the anonymity the internet provides. But this does not mean you will get away with it. People have long memories, and if you decide to show your proverbial rear on the boards-people will remember. The other thing to keep in mind is agents, editors and publishers read those forums as well. If you used your real name and threw a hissy fit, they will recall that unfortunate moment when you query or promote your manuscript. It will be a rejection before you get your foot through the door.

5. Not Listen

   Reposting a query letter or an excerpt of your work with little to no changes per suggestions will be noticed. It will tell those who gave feedback either you are not paying attention, don't care, or not willing to listen. They in turn will give you the same.

Always remember writing for publication is hard. If you think lay critiques are rough, you are not ready for the professional agents, editors and critics who will not forgive a misstep. And people do listen to professional critics.

Get your thick skin now before those critics eat you alive. And always remember: It's not personal, it's business.

George didn't come to Chicago to exchange body fluids ... well, maybe he did but not like this! (HOOK) He thought vampires were fantasies stuck in places like crypts, B-movies and corporate America, but when he is made into one the hunters turned out to be just as real too and they want him dead. (CONFLICT) Life might suck, yet undeath bites as George discovers in his search for a cure that doesn't involve stakes, sunlight or super powered ninja-nuns. (RESOLUTION)

SPURNED AND TURNED is an 80,000-word humorous novel. It is similar to Moore's Bloodsucking Fiends and takes place over a period of one week. I wrote this as a deliberate mockumentary towards all the recent vampire/supernatural romances that have flooded the market as of late.

I am member of the Chicago Writer's Guild of North America and an active journalist for the Chicago Sun Times. I am the recipient of the Chicago Star for creative writing and one of my short stories was awarded second place in the Humorous Tales Competition of Illinois in 2006.

Thank you for your time and attention.

Sincerely,

NAME

1. The first paragraph includes your setup, hook and resolution. Also included are the title, the proposed word count and brief explanation of the topic. Be creative with your setup, hook and resolution. If it reads like a textbook, you have failed.
2. Unlike a fiction query, you place your credentials in the second paragraph. This will include your qualifications, experience, education, previous articles or writings published, anything that applies to why you are the writer for the proposal. Be confident here, but don't overdo it. Balance your confidence with humility. Show why you are the writer for this book.
3. The third paragraph is the comparison. You will compare your book to others on the market and show why yours is different and marketable. Explain why yours is fresh, unique and timely. Don't ever say yours is the first ever to touch the subject. It isn't.
4. The fourth paragraph is where you invite the agent to represent you and look over your proposal. You must give an estimated time of how long it will take for you to complete the writing. Unlike fiction, non-fiction proposals do not have to be completed at the time of the query.
5. The last line is in bullet format. You enclose the book proposal and list them in the same order as the query letter.
6. The very last line is your professional thank you. "I look forward to hearing from you," is not professional. "Thank you for your consideration," is professional.

Please note that the non-fiction query can vary from agent to agent. The information above is the most generic template. An agent may desire a specific format for the query on non-fiction, so again be sure to look up that agent's website, agency, etc. before you commit yourself to something in error.

Example of a Non-Fiction Query Letter

Agent Spectacular
Spectacular Associates
123 West 35th Street
Suite 456
New York, NY 10001

Dear Mr. Spectacular:

This paragraph is where I write my setup, hook and resolution. THE TILE IS CAPS ALL with this many potential words when completed and my short explanation on the topic. This paragraph better be tight, exciting and get to the point quick.

Here I spill out my numerous experiences, credentials, education, previous works, the reason I am so smarmy and sexier than Brad Pitt. Okay, maybe not the sexy part unless my non-fiction book is about grooming or Hollywood gossip.

Now, I compare my book proposal to other books on the market. Here I will also tell why mine is different and/or fresh. I will stress my target market here with the comparisons.

This paragraph is where I invite the agent to represent me and look over the proposal. I include how long it will take me to finish the manuscript. If it is already done, say so. Again, unlike fiction queries, it is not assumed to be completed at the time you contact the agent.

Enclosed below are the bullets:

• First proposed idea in query letter
• Second one
• Third one
• Fourth
• Etc.

Thank you for your time and attention line.

Sincerely,

Arden S. Wolfe
1313 Mockingbird Lane
Somewhere, NY 12345
(123) 456-7890
AWolfe@nowhere.com