There Are No Rules - Conferences/Events

Marketing in a Digital Age

Jane — Wed, 04 Nov 2009 00:24:22 GMT

More than a year ago, I left a comment on the Booksquare blog by Kassia Krozser, on a post titled "Why Publishers Should Blog." Kassia argued that publishers needed to be more vocal about supporting the titles they publish. I responded:

Definitely agree, but I have to wonder if the lack of enthusiastic comments direct from publishers is primarily due to lack of time (and energy, sadly). If an editor (or whomever) is juggling dozens of projects in a given year, accomplishing just the basics can be enormously demanding. (Lean staffs!) The “friendly” online marketing or buzz building has often been left to the authors, rightly or wrongly.

Kassia didn't agree with me then, and now I don't agree with me either.

However: I'm not convinced it's the publishers who need to market and promote as much as the individual people who work at the publisher. That's because Publishers speaking as Publishers may not be very interesting to listen to, and it's hard to develop a relationship or carry on a conversation with the corporate entity "Publisher" unless we're talking about an imprint known for a specific type of work (like Tor), or a publisher focused on a genre (like Harlequin). What is the "voice" or approach of a publisher if they have dozens and dozens of potential target audiences?

Maybe Publishers (as corporations) don't need to "blog," but an imprint and its community of editors must be involved in efforts to spread word to a community of readers, through whatever channels or tools make sense for a particular topic, since editors are unique in their position of knowing the content so intimately (and hopefully the audience too!)—not to mention very influential in how the book performs.

All this to say two things:

First, I'm participating in a free webinar hosted by Digital Book World, Marketing in the Digital Age: Batteries Not Included.

This webinar may not be specifically geared to aspiring writers, but the story I told above is an important one when you're considering who to publish with and what to expect.

Authority and influence no longer lie with traditional media outlets and traditional marketing techniques. The old buttons we all used to press don't work any more. And frankly, many of the new buttons don't work either, depending on how well you use them.

So this webinar promises to be a fascinating discussion about what it means to market books (or content or media) in a digital age. I'll be joined by Guy Gonzalez (Digital Book World), Diana Villibert (Marie Claire), Patrick Boegel (Media Logic), and Dan Blank (Reed Business).

It's an incredible honor to be included, and it's amazing to think how far my company F+W has come in its approach to publishing.

Which leads me to my second point: I recall in 2007 longingly reviewing the first Tools of Change Conference schedule, and wanting to be savvier and more forward-looking in my publishing approach. I recall hearing Mike Shatzkin speak that same year at BEA, and feeling the urgency of his message.

I don't think I would've believed it if God himself had told me: that my company would be hosting Digital Book World in January 2010 (with Shatzkin as program chair), and covering consumer publishing issues in a way that helps me keep Writer's Digest growing and profitable when so many things in the print-based business are changing (often diminishing).

Two sessions I am most looking forward to:

Back-Loaded Book Deals: No (and Low) Advance Contracts, Profit-Sharing and Other Innovative Business Models (with Robert Miller of HarperStudio, Rogert Cooper of Perseus Vanguard, and agent Susan Ginsburg of Writer's House)

New Business Models: Changing the Commercial Rules of Publishing (with Richard Nash, Eoin Purcell, Chris Morrow, and Diane Naughton)

In short, I don't have to be sad about not being able to attend TOC any more.

Every Writer Needs a Little Salesperson Inside

Jane — Mon, 02 Nov 2009 23:16:59 GMT

It's not a natural thing for most creative people to sell their work, but when it comes time to publish, you have to know something about how to sell.

You have to put in the effort, make the calls, not get beat down by rejection. (It's why I love this Alec Baldwin video, and my advice based on it.)

I'm definitely not a salesperson by nature. But it didn't take long to learn some basic skills, since my first editorial job depended on convincing salespeople my ideas were worthwhile.

Most writers need a little help in understanding how to pitch their work effectively, and I love being the one to help craft and rework that pitch.

This week I'm teaching an online course that offers an extreme makeover on query letters. You get to submit your 1-page query ahead of time, then you'll see me (in a live session) dissect all the queries into good, OK, and needs revamped.

It's a fun and illuminating process, and you learn the essential principles of selling the story (fiction) or selling an idea (nonfiction).

My goal is that every writer leave this session with a little salesperson inside who can kick into high gear when it's query-writing time.

Go register here if you have a query letter that needs professional attention. The session is this Thurday, November 5, at 1p EDT.

Also:

Read my previous post: 5 Elements of Query Letters
If my online class isn't for you, try our excellent guide by Wendy Burt-Thomas, The Writer's Digest Guide to Query Letters (with specific tips by genre).
Check Chuck's agent blog for his Successful Queries series.

How to Get Your Book Published

Jane — Mon, 19 Oct 2009 19:13:27 GMT

The No. 1 question we get asked at Writer's Digest is "How do I get my book published?" As the Brazen Careerist has noted, sometimes people don't ask the best or most focused questions if they want a meaningful answer (or if they want to respect the person they're requesting information from).

In my online class this Thursday, I'll be attempting to answer this big-picture question of how one gets a book published. I hope to provide the fundamentals on what it takes, and discuss concrete steps to score a book deal. You can register here for $49.

(Special offer for readers of this blog: If you take this Thursday's class, I'll give you a coupon for $50 off any other online class in November/December, which is a 50% discount.)

One of the first steps in your journey is identifying where exactly you are on the publishing path. At the September event in New York City, I categorized writers into 3 broad areas:

I AM GOD. You think-know-believe you have what it takes to become the next Stephen King. This takes quite a bit of ego—enough to sustain you across years of rejection—and it also usually takes enthusiasm and energy to keep you going when all other lights have gone out. For novelists, having this goal (bestsellerdom) usually means that you're at the top of your game when it comes to storytelling or information.
I AM GROWING. Most writers who I meet fall into some version of this. They have manuscripts in progress, may not be sure of what they should write, and seek some kind of validation that they should continue in their efforts. Rejections can be detrimental if not categorized for what they are—part of the business of getting published.
I AM AN AUTHORITY. This category is especially relevant for authors in nonfiction genres who may be recognized experts in a subject matter, or have successful businesses or careers that can be successfully expressed in book form.

In my class on Thursday, I'll talk about next steps no matter what kind of writer you are, and how to get agents/editors to approach YOU, rather than you begging for their attention.

How Twitter Is Helpful for Aspiring Writers

Jane — Sun, 04 Oct 2009 00:05:17 GMT

At this weekend's Editors' Intensive, Alice Pope & I were trying to explain how Twitter works and how it can be helpful for writers.

There were many skeptics in the audience. So I posed the question to my friends/followers on Twitter: How has Twitter helped you as a writer?

I love the responses I received, so I'm sharing with all. Thank you for your generous tips—and if you have more to say beyond 140 characters, you have the comments to elaborate!

Twitter's let me meet writers, editors, & agents I might not have, & helped me understand all aspects of the business better.
@littlefluffycat

Contacts, sources and community - it's a digital moveable feast
@FictionMatters

I've met editors, agents, big authors, up & coming authors, spread the word about my blog, made wonderful friends!
@RachelJameson

The connection/interaction to other writers, editors, even agents has been hugely enlightening.
@jdistraction

Twitter helped me meet ppl I wouldn't have had access to otherwise. Casual format makes asking questions less intimidating.
@RocchiJulia

Twitter has helped me connect with other writers like me. We encourage each other--writing is no longer a lonely occupation.
@TboneJenkins

Twitter has helped me learn more about specific agents and enabled me to make a better decision on if they're right for me.
@HeatherMcCorkle

Twitter also keeps me updated on the writing industry & has helped me meet great writers I wouldn't have otherwise met.
@HeatherMcCorkle

Met many writers and authors I never would have met on Twitter.
@lafreya1

How has Twitter helped? Connected to writers, pubs, opportunities, promotion - gotten more readers on blog, my novel, etc
@tericoyne

Twitter helped me find an excellent guide in southern Austria on a research trip for my next historical novel.
@KarenEssex

Twitter helps me observe the minds of literary agents! I've discovered those not living in New York are almost normal, almost!
@kenkanten

Inspiration: microfiction and poetry at my fingertips, showing how much can be conveyed in 25 words.
@amgamble

Networking in a telecommuting industry. Editing for concise: make cuts and preserve meaning. Best clipping service ever.
@amgamble

Writing community with support and very imp. info re: today's publishing world.
@jessrosenbooks

Twitter gives affirmation of what I know and information about what I don't. Networking allows pub. & unpub. to come together.
@jessrosenbooks

I agree with everything @jessrosenbooks says about writers & twitter. Support, info & encouragement is incredible, even for a rookie :)
@CafeNirvana

I am learning a lot from twitter friends and people who share info through twitter. And I'm getting to know fantastic people.
@mariblaser

Twitter has taught me about platforms, promotion, community, and audience.
@alittlesandy

I've had hot scoops from tweeters in other countries, I've met ace journos i never would have otherwise ... I've been filming a Lisbon city guide using nothing more than my phone, mostly twitter, no printed research, guides etc.
@UKtraveleditor

Twitter helps me connect with fellow writers in a fun and collegiate way
@Debs1

Networking, research, discovering new things, calling attn to my blog has been ESSENTIAL to my work flow.
@jenzug

Learned of an online auction, bid for crit from my dream editor, won, got crit & a request for full!
@AuntBirdseed

Still learning Twitter, but like the opportunity to follow info on specific subjects from lots of sources in one place.
@meredithrmorgan

From @DavidRozansky:

I have acquired more than a dozen potential new authors for our house via Twitter pitches.

Linking to articles via Twitter has increased blog traffic by 900%.

Twitter keeps tabs on rival publishing houses & client bookstores.

By following industry experts, knowledge of books industry grows exponentially.

Links to books on Twitter results in increased book sales.

I've built platform of 2,600 Twitter followers in only 5 months, no gimmicks.

I run #scifichat, a weekly scifi books group discussion, Fri. 2-4 pm.

Twitter gives me ideas for books and marketing before competition.

Through Twitter, I am first to learn of trends and news in the books industry.

The best thing-I make friends with fab people in the industry, like yourself!

Leave your tips and thoughts in the comments!

Don't forget:

Follow Writer's Digest and our editors on Twitter: @writersdigest @JaneFriedman @brianklems @robertleebrewer @alicepope @kmnickell @mfaconfidential
Become a fan at our Facebook page

Excellent (and Free) Presentation on Self-Publishing

Jane — Mon, 28 Sep 2009 19:14:38 GMT

At our conference last week, April Hamilton gave an in-depth presentation on the basics of getting started in self-publishing—or as an indie author.

Click here to download her presentation as a PDF file.

I blogged some tips from her session on the Writer's Digest Conference blog, which I'm reposting below.

April's definition of an indie author
An indie author is not someone who is using self-publishing as a desperation move, but as a carefully considered and conscious decision to self-publish. An indie author is a businessperson and an entrepreneur.

Some easy ways to create e-books

Easy-easy (one-click publishing): Scribd
Easy-easy (one-click publishing): Smashwords
A little more complicated: Amazon DTP (Kindle)
Add-on option with POD services like Lulu

Choosing a POD or self-pub service
April gets down to brass tacks when it comes to choosing a publishing/POD service based on the upfront costs and back-loaded fees—plus how you want (or they want!) to price your book. Lots of useful charts and graphs in her presentation showing how to do the math.

You can get a taste of this by looking at her blog post that compares Lulu and CreateSpace.

If you're considering self-publishing, be sure to check out April's community site devoted to your indie-author options: Publetariat.

(I also recommend Self-Publishing Review.)

The First Writer's Digest Editor's Intensive (And a Boy's First Snowman)

Jane — Fri, 25 Sep 2009 10:55:32 GMT

Today's guest post is by the generous Darrelyn Saloom, who has brought numerous new readers to my blog. I thank her and I thank you. Follow Darrelyn on Twitter.

Imagine writing a book (any genre, fiction or nonfiction), typing away for ages and then opening an e-mail that says Writer’s Digest (a magazine you’ve enjoyed for years) is having an event (their first) called the Writer’s Digest Editor's Intensive. And, if you attend, an editor will read fifty pages of your manuscript—fifty pages!—to be read by a professional, not your mother, or sister who stopped answering her phone.

Excited to receive such an e-mail, I wanted to go. But did I want to fly to Ohio in December? It gets cold in Ohio, and I live in the South. So far south it only snows once every five years—at the most. And rarely sticks to the ground. The cold sort of scared me. And the name of the event scared me, too: An Editor's Intensive. I imagined a group of editors, squinting at manuscripts, lines etched between brows, faces frozen in frowns.

But fifty pages of manuscript! For the past two years I’d been working with boxing champion, Deirdre Gogarty, on her memoir. And in those (inevitable?) moments of doubt, we had questions: Are we headed in the right direction? Or wasting our time? We wanted answers. And if Deirdre and I both signed up, we could submit a hundred pages!

So we signed up online. And the first thing I did was buy a Michelin-Man coat. Down-filled and puffy. And warm—make that hot, worn indoors made me sweat—a lot. I bought gloves and socks, a scarf and wool cap, while Deirdre (who packed a light jacket) found someone to feed her two cats.

And then we flew to Cincinnati (actually to Kentucky but on the state line). Into a taxi to Hannaford Suites, no need to rent a car. Okay, we needed a car. But managed just fine (thank you Sharon Pielemeier and Barbara Weibel for the rides!). After the first day, Chuck, Jane, and Alice left us wiser than wise (and their faces were not frozen in frowns or squinting lines!).

We learned about Facebook and Twitter, WordPress and blogging, platform and publishing. And made the kind of friends you keep for life: Other writers from around the country who were as nervous as Deirdre and I. For the next day was Sunday, the day of our appointed critique. So Saturday night, a group of us went out to eat.

And then we searched for bookstores, which closed by nine. So we pressed our noses to the windows and visualized: the books of Barbara Weibel, Sean Miller, Kent Ostby, Caitlin O’Sullivan, Amber Gardner, Mark Benedict, Deirdre Gogarty, and mine. It was magical, really. Bonded by a desire to publish stories we write. And by doubts, questions, and obstacles that plague a writer’s life.

On Sunday, we huddled together and waited our turn. We discussed our manuscripts and scanned faces of fellow writers as they emerged. And every one I talked to went in nervous but left satisfied. Some were sobered by reality, others floated on cloud-nine. But questions were answered, and manuscripts were marked with professional advice: Valuable information that defied any price.

Never wore the down-filled coat at the conference. Turned out Deirdre was right to pack only a light jacket (though I brought one of those, too). I’ve only worn my Michelin-Man coat once since I bought it last year. A short time later, the magic I found in Cincinnati seemed to follow me home—and it snowed. So I bundled up and played outside. And my grandson, Milas, built the first real snowman of his life.

A Note About My Good Friend Earl

Jane — Fri, 25 Sep 2009 01:05:24 GMT

There's a joke by Jay Leno that goes something like:

Go through your phone book, call people and ask them to drive you to the airport. The ones who will drive you are your true friends.

And there's another saying, in publishing: Only work with authors who you wouldn't mind being stranded with in an airport for 8 hours.

In 2003, at my first year speaking at the Midwest Writers Workshop, I spent a lot of time in an airport with Earl Conn, one of the founders of the organization.

My airport memory is my fondest memory of him, when we traveled together to Indianapolis, about an hour's drive, to pick up the famous George Plimpton, the MWW keynote speaker. Plimpton's flight was late, so Earl and I ended up chatting in the airport for a couple hours until our VIP arrived. (Read a personal essay I wrote on the experience of meeting Plimpton here.) Earl bought me a pretzel, talked about his years of teaching and writing and Ball State, and he was also the only person at MWW who knew the exact location (and claim to fame) of my hometown of Oakland City, Ind. (That's because he wrote a popular travel column about Indiana.)

I got news this week that Earl passed away. It's a great loss for the Midwest Writers Workshop, and he'll be greatly missed. One of our last conversations was about whether some of his essays and book ideas should be developed further and taken to publishers, or whether he should look at independent options. He was a devoted and energetic writer to the end, and I'll miss his wise and insightful presence at MWW.

My thanks to Judy Joslin for sending me the above photo of me & Earl at the most recent MWW.

For more that I've written on MWW in general:

The Four Stages of Marketing & Promotion (MWW 2009 Recap)
MWW 2008 Day 1 Recap
MWW 2008 Day 2 Recap
MWW 2008 Day 3 Recap

How to Succeed in Today's Publishing Industry (Takeaways from Conference)

Jane — Tue, 22 Sep 2009 21:33:06 GMT

By noon on Saturday, attendees were commenting that they'd already gotten their money's worth. I consider that a big win!

If you missed the event, you can still get some valuable takeaways:

Meryl Evans has compiled Tweets from the event, which I've made available for printing and download on Scribd.
You can also read this fabulous recap from an attendee: 8 Gatejumper Tips Heard at the Writer's Digest Conference.

And most remarkably, Meryl Evans sent me a note to help attendees make sense of what to do next! See below. My big thanks to her generosity.

—

So You Went to the Writer's Digest Conference. What Are You Going to Do Now?
by Meryl Evans

In the Writer's Digest Conference blog, Robert Lee Brewer reported on something he overheard:

So, earlier today, in the hallway, I overheard one writer speaking to another. She said, "I don't have the time to handle all this."

I was not surprised to hear this kind of statement at a conference on publishing and marketing and communicating and podcasting and basically everything we've been going over since Friday. But, of course, I started thinking about how successful writers should be, at least, trying.

Well, after a long pause, she continued speaking to the other (very good listener) writer, "But I have to make the time if I'm serious about making this work."

The writer caught on. Not all of us think about how we're going to make the most of a conference. Or we feel overwhelmed that it paralyzes us preventing us from taking action. We bring home all the notes we took filing them away only to never see them again. Then the least we can hope for is that our brains remembered a few key points while we wrote or typed them and apply them.

Review Your Notes
Take five or ten minutes to look over your notes. You can handle that, right? As you review your notes, pick one to three things you want to use. Post them in your to do list or whatever you use on a regular basis so you can remember and practice. Give yourself a deadline—you're a writer, you can handle it. Check off each item as you do them.

Got 'em all done? Great. Now, go back to your notes to cross them off. Pick one to three more things to try. Repeat.

That wasn't so bad, was it? Turning loads of notes into a couple of doable tasks makes a difference.

Write One Article
You probably walked away from the conference with a few article ideas. Rather than trying to do it all, I pick one topic and write the article within a couple of days after returning home. You can make it a blog entry, an article for your publication, whatever. In writing the article, those ideas will stick with you. Plus, you gain a bonus of sharing that with others.

When you finish the article, revisit the other article ideas and what you can do with them. Rather than feeling spread thin with all your article ideas, you focus on one article at a time while putting the rest away for later. You've captured the ideas on paper or on your laptop. They won't disappear. Well, unless you delete them, lose them or trash them.

Key Points from WD Conference
You can find great tweets from the conference by searching Twitter for WDC09. Here are some highlights worth remembering, captured from tweets and the blog so you don't have to read it all:

Christina Katz: Platform is everything you do with your expertise. So many tools are available; must prioritize, maximize your time. Do you see yourself as the producer of your writing career and take 100% responsibility for your success?
Jane Friedman: Platform comes first! Book second. Without a strong platform and topic—creating demand—your book will have a difficult time finding its place in the market. Any changes publishers want to make to the book is what they believe will help increase book sales. They basically want what's economically best for your book—and that's ultimately a good thing.
Scott Sigler and Seth Harwood: Once you show you can move (sell) books, publishers will take notice. That's why giving away your first book online for free and building up an audience is essential to getting publishers—who have ignored you for years—to wake up and realize your talent and value. "You are the best person to sell your book," says Hardwood.
Alice Rosengard: Sees organization as a common problem with nonfiction proposals.
David Mathison (Be the Media) keys: Have a direct relationship with your audience. Control your rights. Repurpose your content.
Chris Brogan: The best way to get a book published is to not try to get a book published. The whole trick about promoting is to not talk about yourself. Learn to talk about other people. Twitter is not about talking; it's about listening.
Agent Miriam Kriss: A lot of "overnight successes" are 10 years in the making.
Agent Panel (Jessica Sinsheimer, Regina Brooks and Michelle Humphrey): Difference between freelanced editing and traditional editor is the latter cares, has a vested interest in the book. Professionally edited, professionally typeset, professionally designed are critical for success via POD.

Instant Publishing Tools: Getting Noticed & Visible

Jane — Tue, 22 Sep 2009 21:20:35 GMT

Today I taught an online class about instant publishing tools that can help you get exposure for your work in digital formats. Thanks to all the participants who joined me today. Here's a summary of some of the sites & tools we reviewed (a handy reference for the attendees, as well as a good peek for others on what we discussed).

You can join me for my next webinar on Thursday, covering 3 secrets to getting your nonfiction book published ($99).

Instant & Digital Publishing Sites (Free to Use)

Smashwords (get your books onto iPhone, BarnesandNoble.com)
Scribd
Amazon Digital Text platform (get your books on Kindle)
Blurb (great for full-color, print projects)

Community Writing & Publishing Sites (also free)

Authonomy
WeBook

Blogging and Site Building (free)

Wordpress
Storytlr
JaneFriedman.com (example of my lifestreaming homepage using Storytlr)

Social Networking

Writer's Digest fan page on Facebook
My page on Facebook
Twitter (Writer's Digest)
Twitter (Jane Friedman)

Previous & Helpful Blog Posts

Benefit From Our Conference From Afar (or Nearby)

Jane — Thu, 17 Sep 2009 21:32:19 GMT

It's definitely one the favorite parts of my job: speaking at events and meeting writers and other professionals in the business.

This weekend, Writer's Digest debuts its first stand-alone event in New York City at the Marriott Marquis on Times Square. (And there's still time to register on-site at the event, for just a day or for the whole thing.)

For those who aren't registered, you can still get a piece of the action!

Read up-to-the-minute reports from our conference floor, by the Writer's Digest staff, at our conference blog.
Follow the event on Twitter: #wdc09. Here's a direct RSS feed/page if you're feeling a little confused by those instructions.
Join us at our first-ever Poetry Slam, at the NYC Bowery Club, Friday night, 8p. Mention Writer's Digest at the door, and you can still get in even if you're not registered for the conference.
Or join us Saturday night! Speakers and staff from the conference are having a NYC Tweetup. At 6p, everyone will meet at the Atrium Cafe (8th floor of Marriott Marquis). At 7:30p, the group moves to Joe Franklin's Comedy Club (713 Eighth Ave at 45th St). $10 cover charge. Here's a link to the Facebook invitation.

For those who are registered, I look forward to meeting you in NYC!

Book Promotion: Like Shouting Prayers Into Hurricane

Jane — Thu, 10 Sep 2009 13:58:13 GMT

I first met author N.M. Kelby at the AWP Conference in Atlanta. The Writer's Digest staff includes many fans of her work, so it was thrilling to talk with her about a potential book project.

I'm now proud to announce the fruits of our collaboration, new to our list this fall:
The Constant Art of Being a Writer.

Read an excerpt from the book here: Test Your Story Ideas
The book's editor, Kelly Nickell, comments on NM Kelby and the project
Discover Kelby's other book releasing this fall, A Travel Guide for Reckless Hearts (I love this title!)

Kelby recently did a Twitter-style Q&A interview for Reckless Hearts, and shared the answers with me.

1. Favorite book as a child?
Loved my father’s copy of The Last Days Of Pompeii by Edward "It was a dark and stormy night" Bulwer-Lytton. That explains a lot, doesn’t it?

2. What are you reading right now?
The Escoffier Cookbook and Guide to the Fine Art of Cookery. Don’t you want to know why?

3. Read aloud a favorite segment/recipe/poem from your book …
Smoke billowed out into the street, blanketed the stars. It tinted the night sepia, as if the moment had already been lived and forgotten.

4. Why that title?
TRAVEL GUIDE FOR RECKLESS HEARTS? Who doesn’t have one? Who doesn’t need a guide to travel through the world with that joyous unruly beast?

5. Why independent bookstores matter?
For the same reasons that cowboys matter, their wild untamed spirits. They make their own rules. Plus they know bull when they see it.

6. Favorite part of writing a book?
To write a book is to begin a conversation. I love to tour and finish that chat face to face. Nothing is more fun than reading for readers.

7. Least favorite part of writing a book?
I know it’s now a writer’s job to promote their book but sometimes it feels like you’re shouting prayers into a hurricane.

8. Are you working on anything new?
Yes. BTW This could be my first answer under 140 spaces.

9. Do you have any superstitions, lucky charms, or rituals around your writing?
I arrive at my desk by 9 a.m., take 30 minutes for lunch, and leave at 6 p.m. It’s a job, after all. A great job––but still, a job.

10. Comment on the writing life...
THE CONSTANT ART OF BEING A WRITER: THE LIFE, ART AND BUSINESS OF FICTION is my comment on the life. It’s more than 140 spaces––it’s $17.95.

11. Hardest part of the creation to publication experience?
Writers are public dreamers––the work itself is a great joy. Selling dreams twelve to a carton is another story.

12. Why do you write?
Asking a writer why they write is like asking a dog why they breathe … they don’t understand the question but they’re still hoping you’ll toss them a bone.

13. When do you write?
I write when I am sleeping, lying, eating, flirting, praying, and pulling weeds. Living life is writing. It’s paper optional.

14. When did you know you were a writer?
When I was about 7 years old and started creating library books for my dolls to check out.

15. What, or Who, will you dish on, as in gossip about, at dinner?
I have a great many Dwight Yoakam stories––some of which involve me being naked, which, surprisingly, is more innocent than it sounds.

16. What will make you a scintillating dinner guest?
I believe in fun, gossip, and the well-turned phrase and am a consummate foodie. Heck, even my in-laws like to eat with me.

17. Who is your favorite new author?
Chef Auguste Escoffier––although he is dead and only new to me.

18. What is your drink of choice?
I drink bourbon and wine, although not usually in the same glass. Of course, there is an exception to every rule.

19. What is your favorite food?
If it isn’t moving, fried, fatty and the word “atomic” is not printed before it on the menu, I’m willing to give it a try. I’m all about the food.

20. Will you talk business over dinner?
Why would a writer talk business at dinner? That’s like asking your ex who makes the best surveillance cameras.

--

After Kelby's workshop at the Writer's Digest/BEA Conference in 2009, she handed me a print-out of one of her slides. I have it hanging in my office now—see below.

(Hint: Our authors-speakers are always such a delight. You can experience them too at our conference next week in NYC. Register here for the full event or just for a day. Use code PC109 to get $50 off a full registration up until Monday.)

Back from Alaska Round-Up (3 Tips)

Jane — Thu, 03 Sep 2009 14:39:06 GMT

I just returned from my 1-week adventure in Alaska. It is certainly the most foreign place I've ever been within the United States. You can check out photos here.

Here are 3 tips for your Alaska adventure:

One glacier experience is probably enough to satiate your curiosity about glaciers.
You haven't experienced Alaska unless you take advantage of the ubiquitous bush air services. Air is the most efficient form of transportation to and within the state; most towns do not have road or highway access, and that includes the state capital of Juneau.
Weather is extremely changeable. Think Gore-Tex.

And here are 3 tips on exciting stuff at Writer's Digest that I wasn't able to mention last week since I was completely off the grid (e.g., inside a glacier moulin, as pictured above).

Instant Publishing how-to class (Sep 17)
In one of my last conference workshops, I made the comment that with tools today, you can instantly publish yourself. One writer piped up, "Instant Publishing! I want a book on that topic!" In lieu of a book, I'm teaching a class on Thursday, Sept. 17 that gives you a tour of sites that provide instant publishing capabilities (free, very little or no tech experience required). I'll discuss how and when to make your content free, when to charge, and how to evaluate your success. The class fee is $79, with an opportunity for live Q&A. Click here for more info and a link to register.

8 Tips for Writers on Digital Change in Publishing (WD Conference)
Our big NYC event on Sept 18-20 is only a couple weeks away. If you've been on the fence about it, be sure to check out our very affordable 1-day registration options. You can get an excellent preview of Mike Shatzkin's keynote, "What do you tell a writer about digital change in publishing?" over at his blog. Even if you are not going to the event, don't miss his 8 tips.

New MFA Confidential blog
Just launched this week! Check out our newest addition to the Writer's Digest blog family by Kate Monahan, a 2nd year MFA student at The New School University in downtown New York City. One of her first posts is about 6 lessons learned during her first year.

More wonderful stuff still to come this week, including a guest post tomorrow by Darrelyn Saloom.

Below: A view of the Hubbard Glacier.

Hiring a Professional Editor vs. Getting Amateur Critiques

Jane — Thu, 13 Aug 2009 18:23:17 GMT

Today I gave a live online class on The First Five Pages—how editors evaluate your manuscript in an instant. It is one of my favorite classes to teach because in one page, you can easily show the tremendous improvement that can be achieved usually by cutting alone.

Here's a small example of what I mean (and thanks to the writers today who bravely offered up their first pages to my knife!).

[Note: The opening paragraph says that Danny, while off-duty, stumbles into the restaurant where he works to see a friend.]

Original:

“Hello, Liesel,” Daniel said as he grinned, brushed fresh snowflakes from his wavy brown hair.

“Danny, what are you doing here so late?” Liesel asked from behind the hostess stand. “Look at you. Are you drunk?”

“It’s wonderful to see you, too. You look exceptionally lovely tonight. Hey, is Andre still here? What kind of mood is he in?”

“He’s in the back room. He’s bearable tonight,” she whispered. “Danny, seriously, why are you here?”

“Tonight deserves one more. Then I’ll be on my way home,” Danny replied.

“Oh? What’s the occasion? A Christmas party? Your birthday?”

“It is an anniversary of sorts. But I’m not celebrating. It’s a day to forget, and so far, alcohol is the only way I’ve found. Just a little something for the pain, you know?” Looking around, he asked, “Who are all these people?

Edited:

“Hello, Liesel,” Daniel said as he grinned, brushed fresh snowflakes from his ~~wavy brown~~ hair.

~~“Danny, what are you doing here so late?” Liesel asked from behind the hostess stand. “Look at you.~~

"Danny! Are you drunk?” Liesel stood with arms crossed behind the hostess stand.

“It’s wonderful to see you, too. You look exceptionally lovely tonight. Hey, is Andre still here? What kind of mood is he in?”

“He’s in the back room. ~~He’s bearable tonight,” she whispered. “Danny, seriously,~~ Why are you here?”

“Tonight deserves one more. Then I’ll be on my way home,” Danny replied.

“Oh? What’s the occasion?" ~~A Christmas party? Your birthday?”~~

~~“It is an anniversary of sorts. But I’m not celebrating. It’s a day to forget, and so far, alcohol is the only way I’ve found. Just a little something for the pain, you know?”~~ Danny looked around. “Who are all these people?

When I do classes like this, it's often the first time writers have seen a professional go through their work with a fine-tooth comb. And so the question arises, "Can you recommend an editor?"

It's always tough to make a recommendation—there are so many variables!—the editor's background/experience, the kind of editing work you need, the editing approach you have in mind, your sensitivity level (yes, it matters!), the personality of the editor, and so on.

But 3 things are critical:

Make sure it's really time to pay for a professional edit. (And realize it's not the key to publication or an agent.) I recommend you read about writer Jim Adam, and his advice on how/when to hire a professional.

Make sure you know what kind of editing help you need: developmental, content, copyediting, or proofreading. The editing I've done above could be part of a developmental edit or an extensive content edit, which are far more expensive than a copyedit or proofread. A developmental edit will give you high-level feedback on how to rewrite and revise (on your own), often with major structural changes or complete redirection. A content edit may be just as thorough, but may not require a lot of new material or restructuring. Copyediting and proofreading looks at your material at a surface level (grammar, syntax, punctuation, typos).

Follow a thorough process to hire someone. Do your research. And try to get some kind of sample or idea of their work before committing. Here's an article that describes how one writer did it.

Another option is to take online classes with a professional editor/author that includes a critique component (like our own WritersOnlineWorkshops.com—Advanced Novel Writing Workshop is one of the most popular classes).

Never forget: A professional editor can make a good manuscript great, but they can't work miracles if your story line is weak or not marketable. If you want an editor who can speak to market concerns in your work, select one who has a background in published and commercial authors.

Not everyone has the money to hire a professional editor, but many writers, if they put in the time and effort, can benefit from a critique group. (We have a book coming out this December on working with critique groups.)

Some online critique groups and writing communities worth checking out:

Critters.org
Authonomy
Online Writing Workshop for SFF & Horror
Ray Rhamey's blog offers a free critique of your first 16 lines
Writer's Digest forum

Do you have recommendations for excellent free (or paid) online critique groups—or how to start a local/regional critique group? Please share in the comments!

The Art of Live Pitching (3 Rules)

Jane — Thu, 06 Aug 2009 05:19:37 GMT

Today I arrived in Portland, Oregon, to participate in the Willamette Writers Conference. I first came here in 2004 to hear pitches and take appointments, and I often return to Cincinnati with a great author for Writer's Digest (e.g., Christina Katz and Sage Cohen as the most recent).

Tonight I took part in a "pitch the pros" panel with Jeff Herman (agent), Charlotte Cook (Komenar), and Krista Lyons (Seal Press). More than 20 writers had about 3 minutes to pitch their work and get feedback from the panel. Overwhelmingly, most pitches could have been improved if they followed these three rules:

Keep it short. (Brevity is your friend!) Just because you have three minutes (or 5 or 10) doesn't mean you should take up all the time. Never talk for as long as possible—it can take a mere 15 seconds to deliver a convincing storyline. The longer you talk, the less time the agent or editor is talking. And isn't that why you're meeting with them—to hear THEIR feedback and reaction?
Focus on a character and the character's problem. When it comes to fiction, it's much easier to follow a pitch and remain interested when we can connect to a character and immediately understand the problem or conflict facing that character. Why are we going to care? What are the stakes? So what?
Stop at a moment of tension and wait. Rather than talk and talk (which sometimes happens because you're nervous), remind yourself that it's OK not to explain all the details or the final outcome. It's more effective to stop just as you've established the key stakes or tension, and wait for a reaction from the agent. Let them guide the discussion; find out what's caught their attention or what piece is missing.

In the next few days at Willamette, I'll be taking appointments, sitting on another panel, and also giving an educational workshop. Hope to have another update with some more advice, including tips from the many talented agents/editors who are gathered here.

Want a Crystal Ball to See the Future of Publishing? You Have One.

Jane — Wed, 05 Aug 2009 21:01:30 GMT

I'm often asked by writers what the future of publishing looks like. Will print survive? (Yes.) Will newspapers survive? (A few.) Will book publishing become a do-it-yourself free for all? (For some.) Will anyone pay for content, or will a free model reign? (Both.)

Confused yet?

Everyone is.

Amidst the chaos, there is one voice I keep going back to again and again. I first discovered Mike Shatzkin at the 2007 BookExpo America. Mike gave a speech, "End of General Trade Publishing Houses: Death or Rebirth in a Niche-by-Niche World." (Click here for the text of that speech.)

What he said was dead-on true to what I was experiencing in my job—and felt in my gut—even though the speech was looking 10, 20, even 30 years out.

From that point on, I wanted to know everything this guy was ever going to say, and thank god for the rest of us, he started a blog earlier this year.

So it was a dream come true for me (personally and professionally) when F+W (the parent company of Writer's Digest) partnered with Mike on a new event called Digital Book World.

You can read Mike's announcement of the event here. A little of what he says:

In the trade space, one of the big ebook topics (which we plan to explore in depth at DBW) is “pricing.” What should ebooks cost the consumer? The convention among trade publishers has been to peg ebook retail prices to the least-expensive edition available in print. So if there is a cloth edition and a paperback edition, the publisher would be guided on ebook pricing by the paperback (usually setting at or slightly below the print book price.)

But in academic publishing, hardcover and paperback editions are often published simultaneously. The publisher figures that the paperbacks are for the students; the hardcovers are for the libraries. Since ebooks in the academic space are considered primarily library items, and because they have often become part of larger searchable databases, the academic publishers would set their ebook prices based on the hardcover, the more expensive print book available. He also said that sometimes they are even more expensive than the hardcover, because of the additional functionality they have, like links and embedded video.

This was important information for our client, who works across publishing segments. But if presented without a clear contextual frame, it could well be confusing information to a consumer trade publisher (or an academic publisher) trying to figure out a pricing strategy. Because we are tightly focused on consumer trade publishing, our panel(s) at DBW might not mention a tie-to-hardcover pricing, but if we did, we’d pose the model and talk about why it made sense in some other context, but not in ours. We’ll be talking about lots of other things that affect price: discounts, retailer strategies and control, the impact of the publisher selling direct to the consumer, and the extent to which there is enrichment or enhancement, for example. All of those things, as well, are somewhat different in the consumer space than in the others, where aggregation and value-added capabilities are critical components of ebook development.

It would be very easy in an economic climate like today, where we see newspapers and magazines closing, to bemoan the state of the industry.

But I continue to be optimistic, because I feel like I have a small grasp on what the future is like, and how I can successfully adapt to it (along with my company). And that's what Digital Book World is all about—adapting in a way that can positively impact our business today.

Photo credit: Silver ArTiSt

The Four Stages of Marketing & Promotion (and MWW Recap)

Jane — Tue, 28 Jul 2009 21:01:58 GMT

This past weekend, I spoke at the Midwest Writers Workshop in Muncie, Ind. It was my seventh year speaking there, and remains one of my favorite conferences. (Read my three recaps from last year, starting with Day 1.)

Among other things, I gave a two-part session on essential tools for online marketing and promotion—and did my best to explain what it means to use Twitter, Facebook, sites, and blogs to build meaningful relationships with an audience.

One of the key takeaways: you can't decide it's time to market and promote on the day of your book's release. By that time, it's far too late. You need to establish relationships and connections the day you decide you want a career as an author.

To help break this down into a manageable process for people, I outlined four stages to marketing and promotion, especially when you're entering any online community and trying to be an authentic member:

Sign up, observe, and educate yourself (sometimes called lurking). Many people stay at this stage for a long time, simply soaking up good information.
Participate. Start to make yourself known. This could be as simple as making status updates, posting photos or sample writing, or creating a profile.
Share something and grow relationships. Focus on what you give people or what you can share that's of value. As you participate and share with others in the community, and do things for each other, relationships grow and develop.
Ask for help. This is when you might actually put your connections to work as a means of soft or hard marketing. Maybe you want to tell people to pre-order your book on Amazon on a specific day. Or you're hoping that your network will spread the word about an upcoming event you're hosting. So you ask.

People who know you and trust you will be more likely to help you. That's why it's important to establish relationships far before you market and promote a product/service. The relationships have to be meaningful before they have value in a marketing/promotion effort, particularly online.

(Because most authors don't realize the importance of marketing/promotion until it's too late, the first annual Writer's Digest Conference is focused on these types of strategies and skills.)

Other notes from the conference:

I had a good conversation with author Kelsey Timmerman, who wrote Where Are You Wearing (Wiley). He found his agent at Midwest Writers two years ago, and is now shopping his second book. He's a great example of an author with a strong online brand, partly due to the kind assistance of his publisher. Also: Check out this YouTube video he did on book signings versus book clubs.

Dennis Hensley gave a rousing keynote about the "re-create 8" — or eight ways to be a better creative thinker (e.g., reduce, rearrange, expand, reverse).

Eric Butterman, an expert freelancer, gave sessions on how to earn more money writing even in a down economy. He struck me as one of the most engaging and prolific freelance writers I've met in a very long time, who really knows his stuff. (If you can manage to find a workshop or class with this guy, jump on the chance.)

I was alerted to a poetry contest that has first prize of $500 or a colonoscopy. Go here to read more about the Bottom Line contest. Tip of the hat to Irene Fridsma, who also shared this Dave Barry column on the topic. And note that Irene's blog was set up in the past 48 hours by following my advice in the online marketing and promotion session! :-)

Many thanks to the MWW committee (I'm pictured above with members Alan, Jama, and Barb) for another lovely year. I highly recommend the event to all writers for its hands-on craft/technique sessions as well as access to literary agents.

Looking for more?

Check out the Writer's Digest Conference.
Our very own Chuck Sambuchino is hosting an online class on how to find an agent using online tools. Visit his blog on agents.
One of our best books on establishing relationships to further your career is Get Known Before the Book Deal by Christina Katz. Visit Christina's site, read an excerpt (Why All Authors Need a Platform), or view the table of contents.

5 Elements of Query Letters

Jane — Tue, 21 Jul 2009 16:38:14 GMT

Earlier this year, I taught an online class where I offered "extreme makeovers" on query letters. To help ensure everyone took away some concrete advice, every attendee was invited to submit a 1-page query for review.

It was a successful workshop, so we're repeating it again this Thursday. In preparation for the workshop, I take the query letters that are submitted and categorize their basic elements into "good", "OK", and "needs revamped." The five elements I look at are:

Personalization. What effort has the writer made to ensure this letter has been customized for a particular editor, agent, or publishing house?
Hook. How effective is the hook? Is it too long? Is it clear? Does it cover everything an editor/agent needs to know to say, "Yes, I've got to see more!"
Bio. For nonfiction, people often slip up and don't emphasize the right aspects of platform or credentials. For fiction, it can be difficult to know what to mention, if anything, when you're unpublished. So I always give examples showing the best-case scenario, as well as examples when you rely on your hook and overall charm or professionalism to carry you to the finish line.
Basic info. Have you included the necessary information about title, genre, word count?
Opening/closing. There are lots of red flags and stumbles that can make it onto the page. Some aren't deal breakers, others are. I show examples of both.

I speak at conferences frequently about query letters, but seeing real examples of what's working and not working can be the best way to learn how to fix your own. Go here for the link to register ($99); after the event has concluded, you'll have access to the recording for a year. Plus I'll share a recap of the event on this blog, offering some takeaways for everyone.

In the meantime, here are some excellent query resources.

Essential Blogs

QueryShark (by agent Janet Reid)

Guide to Literary Agents blog

No longer active but still helpful Miss Snark

The Rejecter

Great Posts From the Guide to Literary Agents blog

10 Query Letter Tips

Breaking Down the Query Letter

Where Can Writers Examine Good Queries?

Example of a Mind-Boggling Horrible Query

Concerning Agents and E-mail Attachments

Conflicting Advice About Query Formatting

How to Word a Follow-Up Query to an Agent

Will She Ever Reply to Your Submission?

Want to know more about upcoming online events? Click here for more.

How to Save Time and Money with Professional Editors

Jane — Mon, 22 Jun 2009 17:32:31 GMT

This post has been adapted from material by Jim Adams, at his site Migdalin.com. I met the talented Jim this past weekend at the WD Editors' Intensive, and we discussed his passion for editor George H. Scithers.

—

After 30 years of rejection, I finally got tired of not knowing why my writing wasn't working. Before trying to find a publisher or an agent, I sent the novel I'd just finished (or so I thought) off to a professional editor.

The year that followed was expensive (professional editors don't come cheap), but it also taught me things about plot, protagonist, pacing, and novel structure that I hadn't picked up from 15 credit hours of undergraduate creative writing courses, an M.A. in creative writing, and reading untold books on writing (some of them with titles like PLOT).

Professional editors are more efficient than how-to books. They give you feedback specific to your project. It's one thing to read a "rule" in a book, it's another thing to have an editor point to a spot in your opus and say, "Here's where you broke the rule, and here's how your writing was weakened as a result."

Professional editors can be more effective than a degree in creative writing, since half your time in getting that sort of degree will be in ancillary class work. Worse, unless you're careful and choosy, you could easily wind up (as I did) at a university where the creative writing teachers sneer at pedestrian concerns like plot. If you dream of getting an M.A. or M.F.A. in creative writing, you might consider finding a professional editor instead. Not only could you learn more in less time, the editorial route might even be less expensive (depending on the university you're applying to), especially if going back to school means giving up a decent-paying job.

As sold as I am on getting help from professional editors, though, when I started working on a new novel, I faced a real dilemma: an insufficiency of funds. Although I hope this new book will need less editorial hand-holding than the previous one, getting the full manuscript critiqued still represents a major expense.

Also, I never feel I've mastered something until I do it right three times in a row. As such, I still have doubts about my ability to spot major plot holes and plot sidetracks on my own.

My brilliant solution to this conundrum?

I sent my editor a detailed synopsis rather than a complete novel.

Getting a synopsis critiqued is not only less expensive, it can save you a lot of time. In my case, although I already had a complete draft of the novel written, revising generally takes me twice as long (at least) as writing the rough draft. Thus, by spotting major non sequiturs in the synopsis, my editor can save me from tweaking pages, chapters, or even (please God, not that again!) an entire book that needs to be tossed out and rewritten from scratch.

If you like to outline and plan books ahead of time, you could even save yourself time during the drafting stage by getting an editor to look at your story premise and outline straightaway.

While they might tell you things you don't want to hear (such as that your underlying story idea won't hold water), wouldn't you rather find that out before you've spent months or years of your life working on the thing?

Even getting a synopsis edited can cost $200 or more, but it's money well-spent, since this particular $200 could save me weeks, even months, of fruitless revision and polishing. Even better, it could save me several thousand dollars, compared to sending a full manuscript to my editor, only to find that my novel has major structural problems—problems that could have been fixed via a review of my story outline.

Wondering how to find a solid professional editor? Preditors and Editors is a good resource for checking out an editing service before you give them your money or your manuscript. I've been using The Editorial Department, and the editor they assigned me to (Peter Gelfan) is the greatest: cruel, insensitive, tactful, patient, and very insightful.

My first book is still making the rounds of agents and publishers, and may still wind up turning into a trunk novel. While I'm convinced it's technically solid, that isn't enough to make a book sell given the difficult publishing environment these days. But whether my first book makes it or not, I feel much better about what I'm doing. I no longer feel like I'm spinning my wheels fruitlessly, repeating the same mistakes over and over again without realizing it.

—

Have you used a professional editing service that you've had a good experience with? Recommend it in the comments!

You can also check out:

Writer's Mart, where editorial services advertise with Writer's Digest
Advanced Novel Writing Workshop at WritersOnlineWorkshops.com, a long-term course that offers critiques of your work by the instructor and peers
As always: the next Writer's Digest Editors' Intensive (upcoming in October and December)

Center for Fiction Writers Conference: June 27

Jane — Tue, 09 Jun 2009 22:30:20 GMT

Ron Hogan of Galleycat has been working to put together a new writers conference with the Center for Fiction in New York—a conference that deals specifically with the issues that writers face AFTER they've created a great story and found an agent and publisher.

As you've often heard me say, it's as important for authors to know about the business side of publishing as the artistic side. It's nice to see a conference finally taking up this side of the writer's life in a serious and focused way.

The Center for Fiction Writers Conference is one-day only (Saturday, June 27) at Fordham College at Lincoln Center, with panels populated by heavy hitters from mainstream publishers and literary agencies (e.g., Dan Menaker, Jon Karp, Kate Lee, Larry Kirshbaum). The complete lineup of two dozen speakers is available online.

In addition to all that, the Center for Fiction is giving attendees a free month of access to its writers' studio in midtown Manhattan, plus a discount on future membership. The total cost is $200 for the day.

Here's some more information about the conference and why Ron Hogan wanted to produce it.

And more here.

This looks like a fabulous, top-notch event for someone with a publishing deal, especially for those in the NYC area.

For those who may or may NOT have a publishing deal, and are looking for a longer program that would help justify traveling a long distance to NYC, I encourage you to check out WD's new event this September that focuses on the business side of publishing, whether you're going the traditional route, DIY route, or still need to make up your mind.

Persistence Doesn't Matter If You Make This Common Mistake

Jane — Tue, 02 Jun 2009 21:47:47 GMT

I've talked with thousands of talented writers over the years, and nearly all unpublished writers have 1 thing in common that trips them up, every time.

They rush to submit their work before it's ready or before they are ready—especially those writers who are fresh with the excitement of having just completed their very first book-length manuscript.

A typical example: Countless writers at our BEA pitch slam had just completed their books, and some were so new to the business they didn't realize that their manuscripts of 100,000+ words are a tough sell for a first-time author. (However: Good for them for understanding, maybe by accident, that you can speed your path to publication by meeting agents/editors in-person and learning these lessons more quickly.)

If you've just spent months (or years!) writing a manuscript, why rush it to an agent or editor, and why rush it to just ANY agent or editor? And why rush it if you're new to the publishing business?

When I read Tim Ferriss's Four-Hour Workweek, I loved reading about his process of due diligence in learning what it would take to write and publish a New York Times bestseller. He talked with dozens if not hundreds of people who knew how to achieve the results he was looking for. And he developed an excellent and concrete plan of how to position himself for success.

There are two things to always remember after you complete a manuscript or proposal:

Is the book really done? Is it really the best you can make it? And have professionals (whether editors, agents, or published authors) encouraged you, because they see and know you are ready? Do you feel confident that it's ready to submit?

Are you informed enough about the publishing business to understand where to submit the work, how to submit the work, and what obstacles you might face? Does your work break the rules of the industry? (If so, that's OK, but know it going in!)

For beginners, it can be difficult to connect with experts and professionals who can get you moving down that path of readiness. A good place to start? Local writers groups, online writing workshops, and writing conferences. (Shameless plug: Our next Writer's Digest Editor Intensive on June 20-21 will give you an editor's take on your first 50 pages, and teach you about industry expectations.)

You should also find a mentor, someone who has accomplished something you're after.

Your work and your success is worth the wait. Slow down.

Photo credit: aussiegall

Recap of 2009 BEA/WD Writers Conference

Jane — Mon, 01 Jun 2009 22:40:22 GMT

We had another amazing year at our writers conference hosted in conjunction with BookExpo America. Here are a few places you can find reaction and summaries:

LA Splash has the most comprehensive take on the event, and offers insight into several of the sessions, as well as the writers attending. And there's a photo of me.

Literary agent Janet Reid (and blogger behind QueryShark) helped with pitch slam practice by entertaining a crowd of nearly 400 writers, showing them how to tighten and structure their pitches. Here's her inspiring take.

Literary agent Robin Mizell also mentions starting to receive submissions from writers at the pitch slam, plus shares wonderful insights from Mike Shatzkin, who gave an educational session at BEA on the day following our event.

WD author and presenter Christina Katz has a great scrapbook of the event, with videos of Karin Slaughter's keynote address and the bookstore signing!

Writer's Digest editor Chuck Sambuchino has a brief recap on his Guide to Literary Agents blog, as well as a summary of agent Ted Weinstein's advice from the agent panel.

Conference attendee Michelle Reynoso blogged about her experience here and here.

We were honored to have Ron Hogan from GalleyCat at our conference, where he live-tweeted N.M. Kelby's session:

Sitting in on N.M. Kelby's Closet Writer's Workshop. She's got 2 books coming out in September.

N.M. Kelby's advice starts with believing in yourself.

N.M. Kelby quotes Robert Frost: "No writer has ever been corrected into importance."

N.M. Kelby has another Frost: "Why have we wings if not to seek friends at an elevation?"

"write. read. write more. travel. write even more. repeat. And show people your work!"

"When I say 'get a hobby,' I mean it. There's nothing that will drive you crazier than writing."

N.M. Kelby also preaches the importance of proper nutrition for writers. Live mindfully!

"When you write, it's art. Once you send it out, it's business."

"If you can give the book to your mother-in-law," it can become a bestseller. "But more importantly, if the publisher doesn't treat the book like a bestseller, it's unlikely to be one."

"Publishing is all about relationships. Play nice." Join writers groups, be active in the literary community.

You can find Ron Hogan's Twitterfeed here.

If you'd like some images from the event, I've posted several on my Picasa account—click here.

3 Reasons Why You Should NEVER Pitch at BEA

Jane — Wed, 20 May 2009 17:49:41 GMT

I've said it before—and many other people have said it, too—but it always bears repeating.

Do not go to the BookExpo America trade show to pitch your book or self-published book to a traditional publisher or to an agent.

The only exception to this rule are well-known authors who get into the trade show by invitation of a publisher, and are already networking/connecting with publishing professionals.

BEA is not a candyland of publishers and agents offering you a sweet opportunity to get your project noticed. It is NOT like shooting fish in a barrel, it is NOT fun, and it is likely to KILL your chances at a deal.

Three reasons why:

Agents/editors do not like to be pitched on the show floor. Most have to take care of existing authors/clients and have many other obligations and meetings while at the show. We're also dirt-tired, thirsty, and cranky as the day wears on.
The trade show is for and by publishing industry professionals. That's why it's called a trade show. You wouldn't go to a trade show for lawyers and prospect for a new lawyer, would you? You don't go to a trade show for publishers and do prospecting, either.
If you decide you're the exception to the rule, and decide to pitch anyway, you'll have trouble finding the right people to pitch (very few editors actually attend BEA—it's mostly sales/marketing/executives), and once you DO find them, they will likely put a black mark next to your name, diminishing your chances of success later.

I've attended BEA for five years, and each year I am pitched on the show floor by people I don't know. I never enjoy it, and I have never pursued or signed a project as a result. The meetings that HAVE been productive (usually with authors and their agents) are those where an appointment was made well in advance of the show.

Apparently, BEA has recognized there is a contingent of attendees who are not bringing "value," and they have cut down the "miscellaneous industry professional" category by 1,350. You read more on BEA show director Lance Fensterman's blog. (And it will be a smaller show this year, for many reasons.)

Recognizing that many writers were trying to use the trade show in hopes of advancing their careers, BEA partnered with Writer's Digest in 2003 to create a one-day conference for writers with an opportunity to pitch editors and agents. And so the BookExpo America / Writer's Digest Books Conference was born.

This year, even if not attending, you'll be able to follow along on Twitter: #wdbea09

A few of my favorite breakout sessions this year include:

The Fire in Fiction by Donald Maass — based on Don's all-new book for us this spring. Don is known as a superlative speaker on the craft of fiction. Not to be missed.

Self-Promotion & Social Networking by Alice Pope — one of our most active editors in social media will teach writers the ropes of using Facebook, Twitter, and blogs to help grow your career.

The Closet Writer's Workshop: How to Write Fiction That Sells by N.M. Kelby — we're very proud to feature award-winning novelist N.M. Kelby at our conference for the first time this year. Later in 2009, Writer's Digest will release her craft & technique title, The Constant Art of Being a Writer.

The conference will also feature past favorites Christina Katz, with a super session on platform building; editor Chuck Sambuchino, who will help you practice your pitch; and yours truly, speaking on do-it-yourself publishing options. Plus nearly the entire Writer's Digest crew will be there! We can't wait to meet you. Read more about our program and pitch session.

Registration is still open! Click here.

Great Agent Advice from Pennwriters

Jane — Mon, 18 May 2009 21:06:39 GMT

This was my fourth year speaking at the wonderfully run Pennwriters annual conference. I gave a workshop on building platform, critiqued nonfiction with editor Matt Holliday (Pennsylvania magazine) and agent Uwe Stender of TriadaUS Literary Agency, and participated on a nonfiction Q&A panel with Matt.

Aside from Uwe Stender, other agents in attendance were:

Lucienne Diver (Twitter: @luciennediver), Knight Agency
Colleen Lindsay (Twitter: @colleenlindsay), FinePrint Agency
Becca Stumpf, Prospect Agency
Paige Wheeler (Twitter: @pwheeler_agent), Folio Literary Management

You can read an account of the conference by one of the agents, Lucienne, who has a blog and posted here. (Colleen also blogs; if she decides to post, you'll find it here.)

Below are my notes from the agent panels (which are adapted from my live Tweets of the event):

Queries/submissions and what they're looking for

Paige Wheeler gets 35 e-queries/day. Stender gets 135 queries/day. Colleen Lindsay is closed to submissions. Becca Stumpf and Lucienne Diver get queries through an agency system.
Lucienne Diver: Only thing that matters is VOICE and characters to deeply care about. This can and should come through in the query letter.
Colleen Lindsay looks for amazing characters she can get excited about every time she reads the story. No self-indulgent navel gazing.
Colleen Lindsay says granting exclusives can be bad for your career. You can say no. If you say yes, limit to short period (e.g., a week and not a month).

Industry trends

Uwe Stender has noticed an impact on business due to changes in the industry: two YA books would've sold without a problem a year ago, now there is hesitation and revision before an offer.
What's? hot: romance!! Harlequin is doing very well.
Editors seeking middle-grade books suitable for boys (boy voice/protagonist, still accessible for girls)
Plentiful interest in urban fantasy from publishers
Market has compressed for mystery. Really need great hook or high concept that WOWS - people MUST read when hearing it.
Romantic suspense still popular, but tough for a new writer to break in unless you can really blow the agent away.
Trend is toward DARK and sexy. (Or the polar opposite: inspirational)
Platform is particularly important for anyone writing literary fiction. You need street cred, placement in great journals and magazines.
Biggest seller of books is word of mouth, which is often driven by author platform rather than publisher's publicity. (And Jane says: A great author platform spreads word. Platform is developed over life of career, not a one-time act, not overnight occurrence. A good resource for platform building? Get Known Before the Book Deal by Christina Katz.)

Tools

Colleen Lindsay recommends Online SF&F Workshop as a fabulous writing group with lots of success stories. Run by a former book editor.
Online reviews for genre fiction are key. E.g., Dear Author and Smart Bitches are two of the greatest review sites for romance.

My heartfelt thanks to the conference organizers for another wonderful year, and also to the agents/editors who I had the chance to meet and chat with (and graciously put up with my constant sneezing, sniffling, and tissue trails).

News, Events, and Free Info at Writer's Digest

Jane — Wed, 13 May 2009 20:49:40 GMT

Today I'm taking a little break to let you know about some other stuff happening at Writer's Digest. Tomorrow I leave for the Pennwriters conference in Pittsburgh and will be Tweeting (@JaneFriedman) and blogging throughout the weekend.

Cool stuff on other WD blogs

What Should You Include on Your Bio for Agents?

Interview with Poet Justin Marks. Good tidbit where he says, "I've been given such large heaps of bad advice over the years I'm hesitant to offer any of my own. So maybe my advice should be, 'don't take any advice.' Then again, I've also gotten some good advice that has often helped sustain me: Trust yourself. Don't let anyone or anything stop you. Be willing to change. Perservere. Stuff like that."

Veteran writer and editor Mark Garvey gives advice to writers who are new to blogging.

Great agent advice from Jim McCarthy of Dystel & Goderich

From Script Notes: Are webscripts useful writing samples?

Free excerpts from new writing books

Download a PDF excerpt with great creative writing prompts, from our newest creativity title, Take Ten.

Check out a conversation with The Office co-creator Stephen Merchant where he talks about where the idea for the show came from and how it got onto the air. (From an upcoming title, Here's the Kicker.)

Upcoming events

WDB/BEA Writers Conference (May 27). This is the big kahuna where you can pitch to 66 agents and 4 editors during a 2-hour window. Even if you aren't successful in your pitch attempts here, you will learn so many amazing things about what makes an agent or editor jump on a project. The interaction is invaluable and can shave years off your path to publication. The full day costs $199 and includes the pitch session (plus lunch and terrific networking). I'll be there, as will most of my colleagues from Writer's Digest.

WD Editors' Intensive (June 20-21). Once again, we're opening up Writer's Digest HQ to 50 people for a personalized weekend of writing and publishing instruction. We spend a day coaching you about how to succeed in the changing landscape of publishing, then wrap it up with a one-on-one 30-minute appointment to discuss the first 50 pages of your manuscript or proposal. We've received excellent feedback from writers who've attended who love the up-close-and-personal interaction as well as the practical, hard-working information.

Online education

Guide to Literary Agents editor Chuck Sambuchino is hosting a live session tomorrow on how to land a literary agent. There's still time to register; follow the link here.

Writer's Market editor Robert Brewer (also known for his Poem-a-Day Challenge at Poetic Asides) is hosting a live session on May 29 on how to get your poetry published. You'll never meet a better expert, and you'll get an opportunity to ask him any question you like on the topic during the live event. Again, visit this site for registration links.

Unsure if an online event (webinar) is right for you? You can find our FAQs here.

We're launching a new WOW course, Hooked, which is focused on how to craft an amazing beginning to your novel—one that will catch the attention of agents and editors. It's nearly full, but we're still accepting students. Class starts on May 28. Go here for more info.

Competition deadlines

The deadline for the Writer's Digest International Self-Published Book Awards has been extended to May 20. Enter in 10 different categories, from poetry to humor. You could win $3,000, plus some winners are noticed by agents. (Yep, we have success stories of authors who have been picked up by a traditional house after winning this contest.) Click here for more information or to register your entry online.

This Friday marks the deadline for our biggest contest of the year: The Writer's Digest Annual Writing Competition, now in its 78th year. Grand prize includes a trip to NYC with a Writer's Digest editor to meet with agents.

As always: You can sign up for the WD newsletter on the homepage and receive a free-book on 70 common writing mistakes. You can also sign up for musings strictly from me, on writing and publishing (launching July 1). Go here to register.

Photo credit: Sister 72

Avoiding Red-Flag Mistakes on Your First Page

Jane — Fri, 24 Apr 2009 13:47:33 GMT

Yesterday, I presented a webinar on how you can critically review your manuscript (particularly the first pages) for red flags that lead to a rejection from an editor or agent. My thanks to the 25 participants who were courageous enough to allow us to critique their first pages.

For my blog readers, here are the common problems that we identified during the webinar:

Flashback on first page
Too much backstory or explanation, slowing story down
Waiting for the protagonist to appear (or unclear protagonist)
Starting with an alarm clock or ringing phone
Lots of characters introduced on first page
Ordinary day stuff (getting out of bed, walking to kitchen, etc)
Ordinary crisis moment without distinct voice or twist
Too much telling about the story, not enough showing
Nothing happens -- no action or problem
Interior monologue: in character's head, just lots of thinking, no acting or interaction with anyone else
Predictable story start or story line without a unique take
More of a journal entry (stream of consciousness), and not a story
Wrong starting point; not starting at a point of change
Too confusing, not enough reason or motivation to figure out what's happening

Here are other excellent resources:

An excerpt from Hooked (a book about story beginnings)
Alice's blog focusing on children's/YA
Chuck's blog, focusing on agents' perspectives
My take on common nonfiction problems (from my blog post at Pennwriters)
Big red flags in the first 25 pages (from my blog post at Harriette Austin)
My blog post about memoir/storytelling, inspired by Ira Glass (good for every genre)
8 Articles/Posts You Should Have Read in 2008

Agent/Query Research

AgentQuery.com
QueryShark

If you attended the webinar, I hope you found the information you were looking for. Don't forget to network with me on Facebook, Twitter (@JaneFriedman), and LinkedIn; I regularly post and share information of interest to writers seeking publication.

Check out next online event! How to Land a Literary Agent

Future webinars also include:

The Dreaded Synopsis
How to Get Your Poetry Published

Click here to view details on all upcoming online events .

Thanks to Query Letter Survivors, Plus Free Resources

Jane — Thu, 09 Apr 2009 22:43:56 GMT

Today I hosted a 90-minute session on query letters, dissecting and revising writers' queries to make the best impact on an agent, so you can get that wonderful request for your partial or full manuscript.

For attendees today, as well as readers, here are a few resources to help you along your way while querying/submitting:

Essential Blogs

QueryShark (by agent Janet Reid)
Guide to Literary Agents blog
No longer active but still helpful Miss Snark
The Rejecter

Great Posts From the Guide to Literary Agents blog

Benefits of the BEA/WD Conference, Plus a Note on Query Letters

Jane — Wed, 08 Apr 2009 16:54:51 GMT

Now in its seventh year, the program for the BookExpo America/Writer's Digest Books Conference is now posted!

I've been involved in the event for six years; my colleague Kelly Nickell (Twitter: @kmnickell) is the Wonder Woman behind this year's stellar program.

As part of the event (open to all attendees), Chuck Sambuchino is hosting what has now been called the Lawn & Garden Scotch Fest (aka the pitch slam with 66 agents and 4 editors). Bring your own scotch (or, in my case, bourbon). You can visit the program page for a full listing of agents and editors in attendance who you can pitch to from 3-5p on May 27.

We've had considerable success stories coming out of this event (see this post from agent Janet Reid), so if you have a completed novel manuscript or polished nonfiction book proposal, you could stand to benefit from quality face time with agents/editors, and get immediate feedback on your pitch.

I usually present a session at the conference each year; this year I'll talk about self-publishing and DIY options for the independent-minded author. In past years, I've spoken on changes in the industry, nonfiction book proposals, and query letters. The year I did query letters (in Chicago, for those who were there), the room was packed with 200+ people. I modeled it after the "Extreme Makeover" show that was popular at time, and "gutted" and transformed letters into more sound and savvy pieces.

While pitching is often the best way to get feedback on an idea, query letters are still the No. 1 way to approach an agent/editor, and there is a definite art to them. You can visit sites like QueryShark to learn how to craft a great one, and you can also get an interactive class on the topic with me. We're offering a session tomorrow afternoon focused on query letter makeovers, using query examples from writers attending. (Click here for more info and links to register.)

Has Publishing Gone Nuts? Interview This Sunday

Jane — Fri, 03 Apr 2009 22:38:46 GMT

This Sunday at 4p EST, I'll be on the air with Wordsmitten's Kate Sullivan, who interviews someone from the publishing industry each week on her radio show.

You can listen here via BlogTalkRadio.
(Also, stay up-to-date at Twitter: @wordsmitten)

The WordSmitten "About the Books" radio broadcast (and podcast) has been nominated for the 2009 Gracie Awards (George Burns and Gracie Allen) sponsored by the AWRT.org. Recent Gracie Award-winners include Oprah's Gayle King radio broadcast. Recent guests include Pulitzer Prize-winning author Edward P. Jones, journalist and author Gay Talese (Mr. New York), National Book Award honorees Fiona Maazel and Sana Krasikov, sportswriter Jeff Pearlman, and author Natalie Goldberg.

Last year, I spent a lovely time in the Florida area with the folks at Wordsmitten, when they hosted a one-day writing conference.

When you check out the BlogTalkRadio site, you'll see the following colorful note:

During last year's visit to the WordSmitten event, and the rowdy authors assembled for that spectacular writing conference (Connie May Fowler, Robert Tarte, Alison Steele, Kate Sullivan, and Jane Friedman conducted sessions), Jane Friedman came through unscathed despite flat tires, an abundance of wine, merriment, and sassy writers.

The WordSmitten team is delighted she survived the writing conference and authors' parties. Even more interesting, we're glad she still talks to our editorial staff.

Hope you'll listen in -- and call-in with a question.

Free Online PDF Guides: Online Marketing

Jane — Wed, 01 Apr 2009 01:48:58 GMT

Today Alice Pope & I gave a webinar on how authors/writers can effectively market and promote online. (Thanks to everyone who joined us today!)

For webinar attendees as well as those who didn't join us, I'd like to share the following resources that are useful for both beginners and advanced writers.

Penguin Authors Guide to Online Marketing: A free 60+ page PDF guide that helps you get online and get noticed, with info about purchasing domain names, setting up a new site, and using third-party sites.

Get Content. Get Customers: This is a site based on a book by the same name. You can get the table of contents and first chapter free as a PDF document. I didn't get a chance to expand on this topic during the webinar today, but this is a good starting point for learning how to deliver relevant and valuable information that, according to the book's subtitle, "turns prospects into buyers."

Photo credit: cambodia4kidsorg

The Risk of Innovation

Jane — Mon, 30 Mar 2009 22:39:39 GMT

I've been silent this past week due a company off-site innovation summit in Iola, Wisconsin (the headquarters of Krause Publications, a division of F+W Media).

As part of this off-site, I presented a success story from the Writer's Digest community related to our webinar series that launched in January 2009. (P.S. Next one happens tomorrow, covering online marketing and promotion.)

The funny part about innovation is that I'm not convinced it happens on a schedule, in a meeting room, though you certainly walk away from such meetings with more ideas about how to improve and grow than you can possibly execute.

Also, innovation carries risk, and not every innovation is destined to be successful. In the case of Writer's Digest, we tried launching a video model in 2008, WritersDigest.tv, but it did not work out as we'd hoped. (In comparison, if you look at the F+W art community, they've been quite successful with their TV model, ArtistsNetwork.tv.)

So when we decided to try out writing webinars in 2009, I was a little worried writers wouldn't take to the format. No writer has ever approached me and begged to take a webinar. Most don't even know what a webinar is. (It's a fancy name for a live, online event, and all it requires is an Internet browser and a good Internet connection.)

But we do know that writers want personalized and immediate instruction, with definite benefits and results, and lucky for us, the technology behind webinars allows us to accomplish this in a brand-new and effective way. There may not have been much hard evidence that a webinar program would be successful, but the innovation has worked (at least so far) because it provides information and benefits that writers need and want (and can justify spending money on).

Thus, one of the most stressed points at the innovation summit, as we evaluated our ideas, was: What consumer need are we meeting? Unfortunately, it's easy to trick yourself into thinking that you are fulfilling a need, especially if you are looking for new ways to make a buck.

Photo credit: Photo Mojo

WD Editors' Intensive Cheat Sheet

Jane — Sun, 22 Mar 2009 02:39:01 GMT

A huge thanks to all the wonderful writers who are visiting our offices this weekend for Saturday's educational workshops, plus Sunday's critique day. I hope you took away some useful action steps on your path to publication.

As promised, I'm posting some resources and links that we discussed during our time together. If I've missed anything you were hoping for, don't hesitate to comment on the post, and I'll add more info as needed. (And for those attendees who have useful links to share, please post in comments as well.)

Agent/Query Research

Chuck's blog (Guide to Literary Agents)
AgentQuery.com
PublishersMarketplace (fee-based)
Miss Snark
QueryShark

Community Writing & Publishing Sites

Authonomy
WeBook
BookRix

DIY/Self-Publishing Sites (Free/Next to Free)

Smashwords (partnership with Stanza, the iPhone e-reader)
Lulu
Blurb
CreateSpace (Amazon-related)

Blogging and Site Building

Wordpress
GoDaddy (domain registration)
Storytlr
JaneFriedman.com (example of my lifestreaming homepage using Storytlr)

General Social Networking

Facebook (I accept all friend requests; also look for Writer's Digest page)
Twitter (@JaneFriedman and @WritersDigest)
LinkedIn (you can network with me here too)
Ping.fm (to coordinate your status updates among all social networking sites)

Previous & Helpful Blog Posts

Other Events You Might Want to Try

BEA/WD Writers Conference in New York City (May 27), with our pitch slam featuring 60 agents
Our September event on the business of publishing, also in NYC, on the weekend of September 19-20. Details coming, keep checking our events page.

List of Attendees
If you did not receive an e-mail giving you online access to this list, drop me a note.

Interested in the next Writer's Digest Editors' Intensive—on June 20-21? We'll soon be opening for registration here.

Hey, Writers: What's Your Online Strategy? What Are You Waiting For?

Jane — Tue, 17 Mar 2009 22:09:59 GMT

I recently received this letter from Jane Bretl, an attendee at our Writer's Digest December Editor Intensive event:

I attended the Writer's Digest Editor's Intensive in December. I was the very quiet woman in the back who was soaking up information like a sponge, all the while trying to put together a cohesive, intelligent-sounding question in my head. I never did come up with a satisfactory question to ask; only one nervous joke about twitter, and an overwhelming feeling that every else in the room had a much better handle on what was being discussed. I did not know how much I did not know about the world of publishing until I attended your event. I'm new.

It took me about a month to digest (no pun intended) all the information from that day, but by mid-January I was ready to give it a try. I joined facebook, started a blog and was on my way. Soon, I took your advice and secured the URL of my name and was posting daily. The more I wrote, the more I felt the decades-old writing barriers push away -- the ones that had always held me back from a daily writing habit. I don't want to sound too dramatic, this is just a blog for goodness sake, but I can say that my writing life is dramatically different since the day you inspired me to try something new. I don't know where it will lead me next, but it feels good.

As you have the next Editor's Intensive coming up soon, I wanted say something that may already be obvious, or not -- that everyone who attends, even the quiet lady in the back with the confused look on her face, will walk away with information she can use.

Click here to visit Jane's new site!

I can't tell you what a relief and a delight it was to receive this note, because when I do discuss online tools with writers, sometimes I wonder if I'm suggesting the impossible: to dramatically change your thinking about how you write and interact with readers, agents, editors.

Some writers think they can't make the leap — and therein lies the only problem.

You can make the leap (just as Jane did), and it can have a dramatic improvement in your writing life, whether you're new to the business, or an old pro who simply hasn't yet taken advantage of all the new tools available.

It simply requires an openness.

Looking for some help on the how to part? You can attend one of our intensive events (there are four scheduled this year), or rather than travel to our offices in Cincinnati, you can take our interactive online course on March 31 that teaches you, step-by-step, how to get started with your online writing life (see here for more info). And/or you can keep reading this blog; I'm like a broken record when it comes to authors learning to be savvy online.

Photo credit: pshutterbug

The First Five Minutes: How Editors Evaluate Your Manuscript

Jane — Thu, 12 Mar 2009 18:53:28 GMT

This afternoon, I presented a webinar with Alice Pope on how you can critically review your manuscript (particularly the first pages) for red flags that lead to a rejection from an editor or agent. A big thank-you to the first 25 participants who were courageous enough to allow us to critique their first pages!

For my blog readers, here are the common problems that we identified during the webinar:

Flashback on first page
Too much backstory or explanation, slowing story down
Waiting for the protagonist to appear (or unclear protagonist)
Starting with an alarm clock or ringing phone
Lots of characters introduced on first page
Ordinary day stuff (getting out of bed, walking to kitchen, etc)
Ordinary crisis moment without distinct voice or twist
Too much telling about the story, not enough showing
Nothing happens -- no action or problem
Interior monologue: in character's head, just lots of thinking, no acting or interaction with anyone else
Predictable story start or story line without a unique take
More of a journal entry (stream of consciousness), and not a story
Wrong starting point; not starting at a point of change
Too confusing, not enough reason or motivation to figure out what's happening

Participants: Be on the lookout for your critique checklist, Q&As that we didn't have time to answer, as well as the specific notes on your manuscript (if yours was used).

Here are other excellent resources:

An excerpt from Hooked (a book about story beginnings)
Alice's blog focusing on children's/YA
Chuck's blog, focusing on agents' perspectives
My take on common nonfiction problems (from my blog post at Pennwriters)
Big red flags in the first 25 pages (from my blog post at Harriette Austin)
My blog post about memoir/storytelling, inspired by Ira Glass (good for every genre)

If you attended the webinar, thank you very much for joining me and Alice, and I hope you found the information you were looking for. Don't forget to network with me on Facebook, Twitter (@JaneFriedman), and LinkedIn; I regularly post and share information of interest to writers seeking publication.

Check out next webinar! Online Promotion & Marketing (March 31)

Future webinars also include:

Extreme Query Letter Makeover
How to Negotiate Any Book Publishing Contract
How to Land a Literary Agent

Click here to view details on all. (Click on "Live Sessions", then on "Upcoming Sessions".)

10 Seats Left for WD Intensive (Visit HQ, Get a Critique)

Jane — Tue, 10 Mar 2009 23:29:12 GMT

Just a quick reminder that March 11 (tomorrow) is the el cheapo deadline for registering for the Writer's Digest Editors' Intensive on March 21-22. (The late registration fee kicks in March 12.)

This is the event where we invite you to our headquarters in Cincinnati for a weekend to participate in a day's worth of instructional workshops (some delivered by yours truly), get a critique on the first 50 pages of your manuscript, and a half-hour appointment with an editor to discuss your work.

This time, we're also having a Saturday evening reception. I'm not actually sure if cocktails will be available, but I can promise to bring my flask and share.

NB: Only about 10 seats left (we cap registration due to space constraints and to ensure a personalized experience).

Click here for more info and links to register.

A Thank-You to Self-Publishing Webinar Participants

Jane — Thu, 26 Feb 2009 20:43:46 GMT

This afternoon, I presented a webinar on self-publishing, meant to give an overview of how and why you might self-publish, and how much you should invest (monetarily) in it. If you weren't aware, there are many digital self-publishing options available that don't cost you a dime, and can get your work in front of many people (e.g., Lulu and Smashwords).

As part of the webinar, I published a Writer's Digest e-book on both Lulu and Smashwords: the Writer's Digest Red Heart Black Heart Valentine's Day Writing Contest anthology. You can see the fruit of our efforts here:

I published both of these within about 30 minutes. (Of course, I had my files ready to go, but they weren't complicated files—a PDF document and a Microsoft Word document, as well as a JPG of the cover.)

If you attended my webinar, thank you very much for joining me, and I hope you found the information you were looking for. Don't forget to network with me on Facebook, Twitter (@JaneFriedman), and LinkedIn; I regularly post and share information of interest to authors who are pursuing self-publishing and other alternative models of publication.

Also, click here for my interview with the lead guys on Smashwords and Stanza.

The Burden, Joy, and Necessity of Networking

Jane — Sat, 14 Feb 2009 00:13:32 GMT

I have a confession. I am a lousy networker.

I make this admission as I sit behind the Writer's Digest table at the AWP Bookfair, and watch people walk past. Dozens and dozens, eventually hundreds … then thousands by day three. Some stop to look briefly, some even pick up a book, but I'm not much of a salesperson. I'm much better at answering questions and providing information, and listening. I like to hear about what resources people need or what they are looking for, and how I can help. Of course, if I were a good networker and/or salesperson, I could proactively ask, "So what do you write?" and see where it leads. But I have this thing where I think I'm bothering people.

I've seen some authors (particularly Michael Martone), who can sell a book in 2 minutes to a complete stranger, simply through good-natured charm and charisma. It makes me think that much of salesmanship relates to personality and talent, though I've also been told by very reliable sources (The Conductor, who moonlights as a Financial Advisor) that even the least talented salespeople can make up for lack of natural ability by simply putting in more time, calls, and appointments than anyone else.

When I think of all the excuses I'd like to make, I think of author Christina Katz, who has described herself as starting out in life as a shy introvert, but learning over time to connect with people (she likes the word connect rather than network—less intimidating). For her, it's more about being open to the idea of meeting people, finding common ground, and forming connections. (You can read an entire chapter on this topic in her book Get Known Before the Book Deal.)

On a side note (but very relevant), Christina was at the TOC conference, and because she's able to put herself out there—without expecting favors, being pushy, or asking for attention—she was mentioned in Chris Brogan's blog as an example of microfame. Her interactions are authentic and real, and, as she says, she wants to help make good things happen. People respond to that.

So even the most introverted of us (who don't have a salesperson's brass balls to take the abuse of a sit), let's endeavor to say, to believe, that we would like to help make good things happen. That's why we connect. That's why we take the risk of reaching out. And in the case of writers and authors, it's essential we practice this skill, and push the boundaries of what we think we're capable of.

WD Editor Intensives in 2009 (Registration Open for March)

Jane — Wed, 11 Feb 2009 23:31:59 GMT

After our successful debut of the WD Editors' Intensive in December 2008, we've decided to make it a quarterly event.

This event is unique because:

It's run at Writer's Digest headquarters in Cincinnati
It's run by Writer's Digest editors, whose primary objective is to help you succeed in your writing career
Everyone receives a WD editor's critique of the first 50 pages of your manuscript, plus a 30-minute appt. with that editor

This event focuses on getting you and your manuscript ready for publication, and we concentrate on giving you concrete next steps, e.g., should you revise further, are you ready to query, do you have a marketable concept?

Because our staff and our offices are rather small, we cap attendance at 50 people, so it's a very personalized event, and part of what delighted us with December's group is the amount of networking and camaraderie that developed among the writers who spent the weekend with us. I can guarantee you'll make some new friends if you attend.

You can find more info here, as well as links to register.

Headed to AWP in Chicago

Jane — Tue, 10 Feb 2009 22:04:47 GMT

Tomorrow morning I hit the road for the Association of Writers & Writing Programs Conference, held this year in Chicago. Writer's Digest is exhibiting as part of the AWP Bookfair, which is open to the public on Saturday. Anyone who visits our table will receive a 40% off coupon for the WritersDigestStore.com, plus we'll have free copies of the magazine available (until supplies run out!). Please stop by and say hello.

Our Newest Look at Self-Publishing

Jane — Mon, 09 Feb 2009 18:24:45 GMT

The March/April 2009 issue of Writer's Digest magazine is now available, and it has an in-depth focus on self-publishing. There's an article by yours truly, that shows you where Writer's Digest stands on the issue, plus we offer insider perspective from people like O'Reilly's Joe Wikert and literary agent Andrea Hurst.

To coincide with this release of this issue, I'm giving a 90-minute live webinar on self-publishing on Feb. 26. You'll learn if you have what it takes to successfully self-publish, and get a personal tour of the popular online tools and sites that can help you. We limit attendance to the first 100. if you'd like to be walked step-by-step through what's involved with self-publishing, with an opportunity to ask me questions that pertain to your situation, I encourage you to sign up. (Register here. Link fixed.)

Nonfiction Webinar Participants: Thank You!

Jane — Thu, 29 Jan 2009 20:20:57 GMT

Thanks to everyone who participated in today's webinar on getting your nonfiction book published. I hope you found the information and the critiques helpful. (And some of you still have critiques coming.)

Here are a few links mentioned in today's seminar you might find helpful:

Publishers Marketplace (to research publishing deals, editors, and agents)
Guide to Literary Agents blog
Bowker (statistics about book publishing)

If you missed any info during the session, or need clarification on any points, feel free to leave a comment here for me to address. And don't forget to look for me on Twitter and Facebook (just mention the webinar when putting in a friend request).

Update: I forgot to mention an excellent resource for those of you asking questions about platform: Get Known Before the Book Deal by Christina Katz. It's a Writer's Digest Book that shows you step-by-step what it takes to build a platform, which is essential for every aspiring author.

Red Heart :: Black Heart Writing Contest

Jane — Fri, 23 Jan 2009 22:11:32 GMT

You heard it here first: For the first time in 2009, Writer's Digest is hosting a Valentine's Day writing contest. We're calling it the Red Heart :: Black Heart writing contest, and you can enter for free. Soon we'll have an official page with all the details, but here's the early scoop.

Basic idea
Do you feel like you have a red heart at this time of year, or a black heart? We want your poems, essays, and letters about love and heartbreak—your highest moments and your lowest. And we promise we won’t tell you how to feel about this very controversial holiday of the year. Just choose the most appropriate category of submission:

Love Poem
Black-Hearted Love Poem
Love Letter
Rejection Letter (and we don’t mean the editor/agent kind)
Essay on Love at First Sight
Essay on Love Lost

Winners and Prizes
The Writer’s Digest staff will choose the best entries from each of the six categories, and post them on the WritersDigest.com forum no later than February 10, 2009. The entry with the most votes on the forum by February 12, 2009, at 5 p.m., determines the contest winner.

The winner will receive a $250 shopping spree to the Writer’s Digest Store. Plus Writer’s Digest Publisher Jane Friedman will send the winner a Whitman’s Sampler with a personal, red-heart note of congratulations. The best entry in each category will receive a free 1-year subscription to WritersMarket.com and 50% off any course from WritersOnlineWorkshops.

Red Heart :: Black Heart Compilation
The Writer’s Digest staff will select the best entries from this contest for a Red Heart-Black Heart compilation, available for free as a download at WritersDigest.com.

Length guidelines
1 poem, up to 30 lines
1 letter, up to 750 words
1 essay, up to 750 words

Deadline: February 6, 2009

How to submit your work
No fee to enter. All work must be original and the author must own all rights to the work. Click here to send your work via e-mail (no attachments!); be sure to include the full text in the body of the e-mail—no attachments! Only one entry per e-mail message, please. Entries beyond the word count or with attachments will be disregarded. We’re sorry, but we can’t confirm receipt of submissions.

The fine print
Writer’s Digest retains one-time nonexclusive publication rights to the best entries, to be published in a Writer’s Digest compilation. All rights remain with the author. All decisions of the editors are final.

Photo credit: carbonnyc

Get a Makeover for Your Nonfiction Book Concept

Jane — Wed, 21 Jan 2009 16:48:48 GMT

My most popular writing conference session in 2008 was all about creating high-powered nonfiction book concepts. Most people concentrate on writing the proposal, but don't realize that without a salable and compelling hook to anchor it, you can have the best proposal in the word, but it won't sell.

Because it's such a popular session, I'm offering it through WritersOnlineWorkshops as a 90-minute webinar on January 29 ($79 fee), where I'll be speaking in live time about how to create a great selling handle for your book. During the webinar, I'll live-critique the first 25 concepts submitted by registrants, plus give the next 25 registrants an offline critique. Consider it an extreme makeover for your nonfiction book. You can register here.

To give my blog readers a sneak preview of what this is like, if you leave a summary of your nonfiction book (100 words or less) in the comments section, I'll choose one or two to critique on this blog tomorrow.

Photo credit: Striatic

Information on Writer's Digest Webinars

Jane — Tue, 13 Jan 2009 19:47:06 GMT

New in 2009, Writer's Digest is launching a series of webinars (which you may have seen me post about last week). Each webinar has a specific benefit or focus, like how to land an agent or how to write a nonfiction book proposal—the kind of sessions you attend at a writers conference.

At first, I wasn't sure if writers would respond well to webinars, but so far, we've been thrilled with the response. We completely filled the initial webinar (offered for free) on how to get published in tough times, and our first paid webinar this Thursday is nearly full (how to land an agent by Chuck Sambuchino, see his blog post here; it also includes a link to register.)

We now have a page up at WritersDigest.com that describes all of our upcoming sessions this spring. Soon we'll have it updated to show what's on tap for the entire year. Here's a brief overview:

January 15
How to Land a Literary Agent (editor Chuck Sambuchino), 60m, $99

January 29
3 Secrets to Getting Your Nonfiction Book Published (Jane Friedman), 90m, $129

February 12
You Can Write Children's Books (editor Alice Pope), 60m, $99

February 26
Self-Publishing 101 (Jane Friedman), 90m, $129

March 12
The First 5 Minutes: How Editors Evaluate Your Manuscript (Joe Stollenwerk), 60m, $99

March 26
How to Negotiate Any Book Publishing Contract (Jane Friedman), 90m, $129

What you can do in a WD webinar:

Hear the presenter in speak in real time on the topic (through your computer or on the phone)
See any visuals the presenter wants to share (e.g., PowerPoint presention)
Interact with the presenter and other attendees of the webinar
Ask the presenter questions in real time
Receive any relevant materials from the presentation after it has concluded

If you have reliable Internet access, you should be able to easily participate in a webinar; it is all run through your Web browser—and by phone if you want to call in.

Thanks to Everyone Who Participated in WD's First Webinar

Jane — Thu, 08 Jan 2009 18:39:44 GMT

Welcome to all the webinar participants from today's free session: 5 Tips to Getting Published in Tough Times! Here are links to the sites I recommended in my presentation:

Also: Our first paid webinar will be on January 15, all about landing an agent, by Chuck Sambuchino ($99).

And I will be hosting a 90-minute session of January 29 on secrets to getting your nonfiction book published.

Visit WD Headquarters and Get a Manuscript Critique

Jane — Thu, 06 Nov 2008 21:25:30 GMT

Writer's Digest is offering a brand-new writing event this year (we're calling it the WD Editors' Intensive), hosted at our palatial estate headquarters, in the Kenwood area of Cincinnati. Many people have asked for this type of event, and we're limiting attendance to only 50, so it really is exclusive. Once we sell out, we'll start a waiting list.

This event takes place on December 13-14. You'll get information on marketing and publishing your work, plus receive a one-on-one manuscript critique from a WD editor. Visit www.writersdigest.com/university for complete details.

WD editors participating include myself, as well as:
Chuck Sambuchino, Editor, Guide to Literary Agents
Alice Pope, Editor, Children’s Writer’s & Illustrator’s Market
Joe Stollenwerk, Director, WritersOnlineWorkshops.com

The event features door prizes and an on-site bookstore with special discounts and sales. Plus, you’ll take home freebies that include a subscription to WritersMarket.com and a writer’s resource CD.

Northwest Ohio Writers Conference

Jane — Mon, 27 Oct 2008 17:27:05 GMT

This past weekend, I spoke about the art of query letters at the Northwest Ohio Writers Conference. Download my query letter handout as a PDF: NovelQuery.pdf (80.05 KB)

Help Us Name Our 2009 Writing Event

Jane — Wed, 15 Oct 2008 15:34:24 GMT

I've been working with the F+W events division to concept a new writing conference in 2009 that will focus on helping writers/authors get their work published, marketed, promoted—and ultimately sold—in an industry that's changing by the day. At this conference, we plan on offering educational sessions that will be helpful to both traditionally published authors as well as self-published authors, since the work required on the front-end AND the back-end is becoming much the same. (For example, F+W no longer has a traditional publicity or marketing department, and no publicists.)

The WD staff is split down the middle when it comes to the following options. Which one appeals to you, and why? Do you have an even better idea? Send me your feedback, or leave a comment.

Writer's Digest University: New Approaches to the Business of Authorship
People seem to like this one because it's short, snappy, and the main title (Writer's Digest University) can be used for many types of events, should we choose to launch more.

Writer's Digest Publishing University: New Approaches to the Business of Authorship
Others like adding the word "Publishing" in the key title since, without it, the conference could be construed as very craft-oriented, plus "publishing" is a big objective for most writers.

Other favored subtitles included:

New Approaches [or Paths?] to Successful Publishing
New Approaches [or Paths?] to Successful Authorship

There doesn't seem to be any agreement on whether "authorship" is a word that will catch the attention of writers/authors, and there's not a clear favorite between "paths" and "approaches."

As for myself, I think the word "business" seems a little frightening for someone who's new to the industry, but maybe this conference is really suited for the person who already understands that it takes a business mindset to be successful as an author, and is ready to get to work.

Thoughts?

Monthly News from Glimmer Train

Jane — Tue, 16 Sep 2008 19:57:28 GMT

Glimmer Train just announced the winners of their July Family Matters competition. All winners will be published in an upcoming issue of Glimmer Train Stories.

First place ($1,200)
Nellie Hermann (Brooklyn, NY)
“Can We Let the Baby Go?"

Second place ($500)
Stefanie Freele (Healdsburg, CA)
“Us Hungarians”

Third place ($300)
Rolf Yngve (Coronado, CA)
“Going Back for His Brother”

A PDF of the top 25 winners can be found here. This quarterly competition is open to all writers for stories about family (word count range is 1,200–12,000). Submissions may be sent for the October Family Matters using the Glimmer Train online submissions system at www.glimmertrain.org.

Also: Fiction Open contest (deadline soon approaching! September 30)
Glimmer Train hosts this contest four times a year, and first place is $2,000 plus publication in the journal. It’s open to all writers and all themes, with a word count range of 2,000–20,000. Click here for complete guidelines.

If you didn't know, Writer's Digest partnered with Glimmer Train to publish two compilation volumes of the best stuff from their Writers Ask newsletter. Be sure to check them out.

Writer Mama Back-to-School Daily Giveaway

Jane — Tue, 02 Sep 2008 13:20:41 GMT

Writer's Digest author Christina Katz (our Writer Mama) has a month of giveaways in September to celebrate back to school! You can find the line up of prizes here (which includes goodies from Writer's Digest):

http://thewritermama.wordpress.com/2008/08/28/writer-mama-back-to-school-giveaway-the-2008-final-list-of-prizes/

Participants have to answer writing-career related questions to qualify for the daily drawing. Click here for the full list of rules.

BEA Pitch Slam Success Story

Jane — Tue, 19 Aug 2008 21:37:35 GMT

Just received this news from agent Janet Reid (thanks for pointing out, Chuck!)

Then there was that BEA Writers Digest Pitch Slam conference. I bitched and
moaned and whined so much about going that Chuck forced me, yes FORCED me,
to find a great writer, sign her, and sell her book for six figures. I blame
Chuck entirely for that failure of expectations.

Chuck comments, "She's being sarcastic, of course, but she DID sign a client there and sell her book for six figures."