The following article summarizes the results of a survey on e-mail submissions run in the Writer to Writer section of the Writing World Newsletter; the survey brought such a response (90 replies) that the results were published in three separate issues.

An email submissions discussion would not be complete without paying homage to the award-winning writers' web site, Inkspot and companion email newsletter, Inklings. When Moira Allen signed on with Debbie Ridpath Ohi in 1996, they were one of a few online paying markets about writing that accepted only email submissions. Moira shared her thoughts on the evolution of email: "I ran a survey for Inkspot on whether editors were willing to accept email submissions, and if memory serves, only about half the respondents said 'yes'. I suspect that it was the experience of writers who began to push print editors to move into the electronic age." Experienced writers back up this view. C. Jones said she takes email markets more seriously, "because I feel the publisher/agent isn't living in the dark ages." That attitude is echoed by K. McNamara: "I suspect publications that require snail mail are probably not as professional as those that accept email. Maybe the snail mail requirement is a red flag that the operation is not progressive. Why waste effort and postage?"

Moira also pointed out that email has changed the style of queries: "The query letter format that I've taught through various articles and classes really applies to the printed letter. I've found that email queries are becoming less formal -- my own, and those I receive as an editor -- and when I receive an email query that looks JUST like a print query, I actually wonder a bit about the writer. I think one reason for the change in formality is that email queries are often tailored to fit on the screen rather than the page, which means a bit less verbiage in most cases." On the other hand, the editor of a literary magazine explained how that informality can lead to sloppiness: "Many writers who submit by email ignore writers' guidelines (12-point font, etc.) as well as the period during which we accept submissions. Some use unprofessional email addresses (such as superkisser@hotmail) or write cover letters which sound as if the writer is conversing with a personal friend. Sometimes I am sorry that we accept email submissions, but we continue to do so because this enables international writers to submit."

J. Lawler edits a quarterly magazine and described in detail why she hates snail mail submissions: "I have to physically collect the mail, open it, read through it, write a response, print it out, put it in an envelope, address the envelope, find a stamp, go to the post office and send it. For someone interested in being efficient, this is an enormous waste of time and it drives me nuts. If someone zaps an e-query to me I'll respond within a day or two -- it's so simple. If a writer snail mails a query to me, it may sit on my desk for two months before I deal with a group of them in one long, bitter session."

Editors Love 'em -- Sometimes!

Editor M. Bracken outlined the reasons why he prefers email submissions from experienced writers: "When I'm editing the two non-fiction periodicals, I prefer email submissions from established contributors, who are usually working on assignment, and hardcopy manuscripts from all others. I want potential contributors to prove they can meet my needs before they start cluttering up my email in-box.

"Two of the biggest problems I have with email submissions are:

1) Incompatible file formats. Should the submission be imbedded within the email, or should it be an attachment? Should email with an embedded submission be sent as plain text or as HTML? Should an attached file be in Word format or Rich Text Format? Unfortunately, many writers don't understand their computer programs well enough to even know what these options are, or they don't bother to determine the editors' preferred methods of submission.

2) Spam filters. Unfortunately, submissions disappear because they get caught in spam filters. It may be weeks -- even months -- before the writer or the editor realizes that something never arrived. Once again, some writers and some editors don't seem to understand email, the Internet, etc., well enough to know when technology is the problem and when the person at the other end is the problem."

Another fiction editor of a small literary journal shared some insight on why she accepts only snail mail submissions: "We need a hard copy to work with and we cannot afford to print out all of those pages ourselves. Most editors of lit mags carry manuscripts around with them to read as time allows throughout the day. Very rarely do I read submissions at my desk -- they're read on commutes, on lunch breaks, in my back yard, and sometimes in bed before I go to sleep. I hate reading from a screen -- too hard on the eyes, neck, and back/shoulders." Conversely, editor and freelance writer CGS Lim prefers the convenience of email submissions: "As an editor, email submissions are convenient and they save paper. I can start editing them immediately without having to ask the writer to submit a diskette or to email me the text. And also, email submissions have no chance of getting lost in the clutter on my desk. As a freelance writer, I do not submit anything on paper anymore."

Out of all the comments from experienced writers, one thing that stood out is the difference between the way book writers submit their work versus freelancers. "For initial queries and book proposals, about 90% of mine are by snail mail, simply because that's what the guidelines say to do," said E. Masters. "I write children's books. When an editor answers and requests the manuscript, I do it the old-fashioned way -- I put it in an envelope, weigh it, stamp it, make a SASE, address both envelopes, and drop it off at the post office. It's cumbersome but it's what's required by the publishing houses." That policy was echoed by B. Rich: "If I am querying a large publisher like Penguin, then I understand that I need to fit into their guidelines, because the bigger the beast, the more inflexible it is." According to AC Watkins, even after a manuscript is accepted, publishers still prefer to correspond by mail: "Most contracts still have to be sent postal mail, and when I'm working on a book, galleys and such are sent back and forth via postal mail."

The Flexible Writer

Recently I saw a cute wall hanging of a cartoon character in a twisted position with the caption: "People who do yoga are flexible." The same thing could be said of writers -- with the same illustration! Many experienced writers were hard-pressed to find any concrete percentages in their email submissions, they remain flexible and follow editorial guidelines as expressed by M. Bracken: "The cost of and/or method of submission does not significantly impact my decision to submit to any particular market. What impacts my decision most is whether or not I believe I have material appropriate for that market. Then, and only then, do I determine how the editor may be most receptive to seeing my work." P. Hendrickson has also developed her own submissions policy: "For new markets, I prefer snail mail (unless their guidelines say they want email submissions) because I feel I can make a stronger first impression if they're holding my clips and letter in their hands."

Nearly half of the experienced writers who responded said they are definitely fed up with snail mail submissions and now submit exclusively by email. S. Lawrence said she no longer submits by mail: "They take 30 minutes to rustle together and I get no better response. I have been scolded by some writing gurus for this, they say I should do what the editors want. But I am running a business, too, and unless an editor can respect me as a resource, I am not interested in working for that editor. If no email contact is given, I call the publication and see if I can get one. The problem is, when an editor is not interested, there is often no response -- regardless of the method of contact. This is such a tacky development in our business."

However, when it comes to the true motivation for email submissions, perhaps E. Winkler said it best: "I recently e-submitted an essay to an e-zine. I had an acceptance the following day and three weeks later it was published. Such a thing keeps a writer's juices flowing."

A Boon for International Writers

For international writers, email submissions have opened up markets for new writers, as reported by UK writer D. Copeman: "I am a new writer with less than one year's experience and I prefer to do most of my submissions via email as it enables me to target more international publications. Email has enabled me to break into American markets and to target publications in South Africa, Canada, and Australia. All of these are highly attractive to UK-based writers as they tend to pay on acceptance and not on publication, as is the norm in the UK." For experienced international writers, email submissions can be their only means of submission, especially for writers who live in remote areas, such as R. Hall: "I live on an Outback property in Western Australia and with only a weekly mail service and no regular access to a post office to purchase stamps or register mail, email is the best option for me. It also allows me to submit to international publications without the huge expense of overseas postage costs."

Most international writers said it's difficult to obtain US postage and according to PJ McNamara, International Reply Coupons (IRCs) aren't the solution either: "I live in Canada and just cannot get ahold of US stamps, so it's impossible to send US publications a SASE. I tried using IRCs for a while, but many publishers would just return them -- often because they had no idea of how to handle them." However P. Aikin reminded writers: "It used to be a hassle to get postage for SASEs but not anymore. International writers can purchase US postage at the US Postal Service web site." (http://www.usps.com) However A. de Chevigny pointed out that it might not be a simple matter of proper postage: "I live in Canada and half the packages and envelopes I send to the United States either get opened and contents disappear, or they never reach their destination, and I must resend. And those odds are worse for packages coming into Canada from the US. I have spoken with the postal departments of both countries and have been informed that the problem lies with the customs department."

New writer E. Hanes said that the personal and immediate aspects of email submissions have helped her break in with editors: "Email, while often considered impersonal, is in fact, much more personal than a paper letter. With email, you can engage in an immediate exchange of ideas and information -- and get a sense of the personality of the person you're conversing with. The biggest benefit I've found to pitching by email is that I can get into a back-and-forth with the editor to determine what ideas they're really looking for." B. Boyd discovered quite by accident how the immediacy of email contact can lead to a quick sale: "My first sale was in response to one of my first queries, emailed to a startup magazine; the editor responded immediately and gave me an assignment. My second sale was also via email submission to a national magazine. I then sent requested clips via snail mail, the address on the publication's web site was wrong so the envelope came back to me. I called the editor to obtain the correct address and in that phone conversation was assigned the article. I think this was a lucky matter of the editor needing a story and me calling at the right moment."

E-mail or E-Slush?

However new writers also expressed some misgivings about email submissions, like R. Rushton: "One thing I've found, email queries occasionally go unanswered, but whenever I send one snail mail, with SASE, the publisher or agent seems to feel obligated to reply via my paid-for stamp and envelope." While S. Busch prefers email submissions, she added: "I wonder about how email submissions get to the slush pile. Do editors have to print out each email to create a hard copy to be tossed into the slush? Or do they simply collect hundreds of submissions sitting online waiting to be read? E-slush? From that perspective I can see why most editors might prefer snail mail."

Eight years into her freelance writing career, J. Airey has found the best of all possible worlds: "Now the three main newspapers and two magazines I write for accept all my articles and photographs via email. Last week heavy rains caused much flooding in our area, washed out roads and bridges. At 6:00 a.m., when I heard the rumble of water in the ravine by my house I grabbed my camera shot several photographs and sold them before noon. I spent three days shooting photographs in different areas of the flooding, selling the photographs to various newspapers. I couldn't do that 150 miles from our capital city without a digital camera and computer hooked up to the Internet. I always say, don't miss that window of opportunity."

More Markets = More Frustration

Throughout this six-week survey, there were about 90 respondents. While this is by no means a scientific survey, several worthwhile observations have surfaced. Compared to five years ago, freelance writers (articles, columns, reviews, etc.) are more email oriented than book writers (fiction or nonfiction). As Australian writer G. Kavanagh said: "I started freelancing back in the 60s, with a portable typewriter and regular trips to the local post office. But for the last three years, I have used email exclusively for submitting manuscripts. My postal submissions were dwindling before that, mainly because I was on the move a lot, and had to have mail readdressed so often, that I was losing track of it. I don't have this problem with email. Even when I move around, my email address stays the same and I can check up on my mail anywhere I happen to be."

From the comments, it's clear that there are more email markets than five years ago, so that translates into more markets accepting email queries and submissions. Agents are more likely to accept email queries than book editors. However with both agents and editors once contact has been established, or a contract signed, then email becomes the preferred means of communication.

Because of the quick turn around time email is definitely preferred by writers, but it's not without its downside, as reflected in MS Godman's comments: "I recently submitted some pieces to a literary magazine I respect very much, and in which I have been previously published. This year, the guidelines changed, and in my opinion, not for the better. Submissions had to be by email, with a disclaimer that said the writer owned the rights to the work pasted into the body of the email, and a very specific subject line for each piece submitted. Then, the actual manuscript had to be in 12 point type (which is normal) and included as an attachment. By the time I had two submissions sent, I was ready to climb the walls. Then my emails bounced, because the magazine's editor had not emptied her inbox! I even emailed the editor, whom I know personally to let her know, and then completely redid my submissions."

Whether submitting by snail mail or email, be prepared to wait! Writers are reporting increasingly slow response times, as reported by M. Campagnoli: "During the last two years there's been an alarming (and insulting) increase in editors that take 6 months or more to respond or who simply do not respond at all. In the past, 2 lost manuscripts per year were to be expected; that number has gone up at least 4 to 5 times and it is more usual than not that letters of inquiry are ignored as well. I know of two journals who ignored two of my manuscripts and each and every letter of inquiry. Naturally, I won't send another story to them, but unfortunately they do not stand alone. And it's not that I'm a hopeless amateur. I've been published in numerous journals and have won two awards. And I say these things with an understanding of what editors at journals go through. I worked on the Indiana Review while in graduate school."

As response times lengthen, or queries and submissions go unread, writers have grown increasingly frustrated and are taking matters into their own hands. As mentioned, nearly half of the experienced writers are fed up with snail mail and now submit exclusively by email. Editor J. Lawler said: "I know a number of writers who simply don't submit to magazines that have a snail-mail-only rule. It's just not efficient. I have several colleagues overseas and it just doesn't make sense for them to try to snail mail queries and submissions. All of these people are established writers who get $1-$2 per word consistently. For me, as an editor, I've found that I can get these buck-a-word writers to write for me at half the pay just by being easy to deal with. Several of the writers I use each issue tell me that it works out about the same per hour because when they write for me, they don't do as much hoop jumping as they do for higher-paying editors."

If that's the case, then editors or agents who do not accept email queries are most likely missing out on the works of talented and experienced writers.

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