The short romantic fiction market is one of the most difficult to break into. Why? Not only is the market narrowing and the competition tough, but the stories are getting shorter and shorter. For a romance novelist who is accustomed to anywhere from 50,000 to 150,000 words, developing a relationship story with plot, setting, conflict and resolution in 1000 to 1,500 words can be a daunting task. Those of you who have been trying to break into the Woman’s World weekly market are already aware there is a new editor reading your submissions.
Woman’s World Fiction Editor Deborah Purcell is from upstate New York. A graduate of Cornell University, she started at CBS in the seventies. She helped found YM magazine, from there moving to Redbook as head of the fiction department. When Redbook fiction phased out, she moved into a number of areas, founding several multimedia companies and doing freelance work.
At Women’s World, she wears various hats. While her name appears on the masthead next to Travel, she is also responsible for the “Live Well for Less” column as well as fiction for the “Mini Mystery” and the “Romantic Short Story.” There are no support services at Woman’s World, so every day, admits Ms. Purcell, is a juggling act. There is no typical day, because WW is a weekly, and they are always on deadline.
Ms. Purcell says that she gets about 100 to 200 fiction manuscripts a week. About two-thirds are romance and one third are mystery. Breaking into either market is based solely on talent. Only a very few authors are successful at breaking into both the mystery and romance. She finds the mini-mystery submissions to be much better written, leading her to frequently write a comment, even if the story is not accepted for publication. “The romances are presented just as professionally, but the prose is much weaker and the storyline has less clarity.”
When asked about the frequency of sales once a writer breaks into WW—or the truth to the stable theory—Ms. Purcell was quick to answer that a story has to be good—especially mini-mysteries. “There are writers,” she admitted, “whose prose we like. My attention is piqued when I see their name come across my desk.” One example she gave was P.J. Platz, whose romantic short stories appear with regularity in the pages of WW. Interestingly, P.J. Platz is a mother/daughter writing team. Says Ms. Purcell, “They have their hand on the pulse of this market. The most important facet of their writing is their wonderfully atmospheric prose.” “Most writers,” she continues, “ aren’t going to hit it every time. One in 10 or one in 20 is a good number of hits. Previous sales don’t necessarily give you an edge.”
In the mini-mystery she’s looking for a story with a really “startling” ending, something that takes her by surprise, an ending she as the reader has no suspicion of. No matter how good the set-up or how engaging the story, if it doesn’t have that surprise ending, she probably won’t accept it. The mini-mysteries have a word count maximum of 1000. There should be no true violence, or grotesque horror. “We don’t want to scare the wits out of our readers—just entertain. And,” says Ms. Purcell, “the perpetrator has to be brought to justice or exposed at the end. They can’t get away with the crime.” Overused themes include; two small time petty thugs, especially those who prey on the elderly. Send her something fun and original in terms of set-up and characters. A cover letter is not necessary for either the mystery or romance. She finds them to be enjoyable but not needed.
Ms. Purcell calls the romantic short story a “misnomer, as it is really a relationship” story. Her readers range from 18 to their 60’s, so she calls this a “wide open field.” “You can use a single, married, divorced, on-the-brink-of-divorce character, and anything and everything in between.” But what she doesn’t want is simplistic boy-meets-girl stories. She receives too many with this theme. She wants “relationship” stories with a specific conflict, and an emotional conflict. “The problems have to be very real, and plotted interestingly. There should be a struggle, a turmoil, a turning point and a resolution.” The story should “turn out well or at least end on a note of hope.” Avoid the simplistic. “I know it’s difficult in a 1,500 word story, but it can be done.” Disease and death are taboo, as are profanity and adultery in progress. Of late, she has received too many struggling widow stories. The theme has become “too convenient.”
The turnaround time at WW is 6-9 months. Ms. Purcell recently lost her occasional reader so she is the only one opening the manuscripts that come across her desk. And remember, she handles several features and is on a constant weekly deadline. She requests writers, please do not call to check on the status of their manuscript. “As one person it is literally impossible for me to check the pile.” She advises, “Be patient. If you have not heard in 9-12 months—resubmit.” On the other hand if you have heard from her with a note or a call and she said she was considering your manuscript, give her at least a month.
Regarding the question of multiple submissions and reprints, when a piece is accepted it gets slotted then and there. While she would like to be able to say yes to multiple submission, as she understands a writers frustrations, because WW is a weekly and things move internally at a fast pace—“it would be problematic.”
She does accept reprints as long as it is not from a competing US market. WW buys first North American Rights, and in six months the rights revert back to the author. Pay on acceptance for the Mini- Mystery is $500, and $1,000 for the Romantic Short Story. Many of her writers are successful in selling their reprints to foreign magazines—British and Australian markets.
The submission process itself is three-fold. If she likes a story, it goes to her editor, then to the editor-in-chief. Once accepted at all levels, it is common for an author to be asked to do rewrites. Ms. Purcell states that she does some rewrites herself, particularly for the mysteries. If time and need necessitate, she “guides the writer” in as many rewrites as are needed—even 4 or 5.
Writers, take heed! Her pet peeve is receiving a manuscript with a SASE consisting of a #10 envelope and .32 cent stamp. It is “irritating” to try to stuff it in and mail the entire manuscript on one stamp.
Deborah Purcell’s words of wisdom to writers are directed to those authors who are targeting the romantic short story, as this seems to be the most difficult area “Think hard about the conflict, what’s at stake even if it’s a humorous piece (and she’d love to see more humor). Think hard about the plot and take the readers on an interesting path. Think hard about setting the mood. Read and read and read our stories again. Modeling is very effective to learn how to write mood or atmosphere. We are all learning till the day we die. You can always improve on your p rose. Hone your skills.
Strive to enchant me. It isn’t fantasy, it’s about real-life relationships, but still you must draw me in. It’s also an escape. Help me escape!”
Many thanks to Ms. Purcell for taking time out of her schedule for this phone
interview.
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