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 Wednesday, May 20, 2009
3 Reasons Why You Should NEVER Pitch at BEA
Posted by Jane
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.
Agents | Conferences/Events | Getting Published
Wednesday, May 20, 2009 1:49:41 PM (Eastern Daylight Time, UTC-04:00)  Trackback
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Monday, May 18, 2009
Great Agent Advice from Pennwriters
Posted by Jane
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:
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).
Agents | Conferences/Events | Getting Published
Monday, May 18, 2009 5:06:39 PM (Eastern Daylight Time, UTC-04:00) Trackback
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Friday, May 15, 2009
Best Tweets for Writers (week ending 5/15/09)
Posted by Jane
 I
watch
Twitter, so you don't have to. Visit every Friday for the week's best Tweets. (If I missed a great Tweet, leave
it in the Comments.) Best TweetGreat discussion on social media for book marketing
@joeljmiller
OthersRead @yodiwan on the level of professionalism publishers like to see from bloggers, even amateurs
@RonHogan
When will we evolve past “books”?
@jwikert
The future of publishing link list
@The_Rumpus
Do you ever just get overwhelmed by all this change going on?
Why I won't any more.
@thewritermama
Great blog post about whether a writer should post material, such as first chapters, online.
@KimsCraftBlog
Eight tips about writing, by Flannery O'Connor
@gretchenrubin
NYT on digital book piracy
@Joypress
Mistaking action for plot
@thecreativepenn
Print reference publishing in the age of the internet
@PublishersWkly
A contrary take on Anne Lamott's shitty first drafts. RT @MeghnaK: How Good is Your First Draft?
@motsjustes
How to "Trigger" your best writing
@paperbackjack
I am loving Roy Peter Clarks' writing skills podcasts (iTunes link).
@vickytnz
My new Locus column on extremely geeky writing techniques: (via @doctorow) excellent!
@thecreativepenn
Sketching villains - forget the diabolical laughter and read this (PDF download)
@janetlaneauthor
Embracing the Rewrite: A guest post by writer & all-around cool chick @annabdavid
@mariaschneider
great post by Sol Stein on writing character, story, & dialogue:
@heatheragoodman
Tackling character in Fiction: behaviors, desire, sympathy, action, contradiction.
@KimsCraftBlog
"Editorial Ass" has excellent posts on advice for authors going the big press route. (Yes, you need an agent.)
@KimsCraftBlog
Learn about the craft and business of writing on our podcast
@writersinthesky
good post on POV
@heatheragoodman
Looking for more social networking and updates from Writer's Digest?
Best of Twitter
Friday, May 15, 2009 3:36:15 PM (Eastern Daylight Time, UTC-04:00) Trackback
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Before You Decide to Pursue an MFA: 7 Essential Tips
Posted by Jane
 Today we have a guest post from Writer's Digest author Tim Lemire (I'm an English Major, Now What).
Getting your MFA degree in creative writing sounds alluring, especially with the job market in the doldrums: “I think I’ll take a couple years off and work on the Craft.” But before you pack your bags with unfinished fiction or poems, clean underwear, and a whole lot o’ dreams, consider these caveats.
1. “Great writer” doesn’t necessarily translate to “great teacher.” You may fantasize about studying with your literary hero or heroine, but if meeting your heroes is disappointing (and it often is), being critiqued by them won’t be a joy ride either. Pick your MFA program based on something more than its star prof: e.g., location, course requirements, cost, length of program, diversity of student body.
2. “Professor” doesn’t necessarily translate to “mentor.” You may dream of your esteemed writer/professor taking you under her wing, introducing you to her contacts in publishing, getting you an agent, and inviting you to parties, but none of this is in her job description. Your teachers are there to read what you put in front of them and offer feedback -- period. You may end up getting special attention, but don’t expect it.
3. Talk and ask questions. As you consider programs, contact faculty and schedule time for a phone chat, to get to know them better. Also ask to be put in touch with current MFA students or recent alumni. Take notes.
4. Ask about workshop philosophy. Your success in workshop will depend largely on the critical atmosphere the moderating teacher allows. Ask professors: Do they insist on discussions that are respectful and helpful, or do they enjoy watching students mix it up like cats in a sack?
5. If you’re writing fiction, show up with a novel in draft. Short fiction is wonderful, but it doesn’t sell. Your professors know this and will likely critique any longer manuscript you have ready. (Confirm this with them.) Having a novel manuscript to show publishers or agents will stand you in better stead than having just a handful of stories.
6. Prepare for a schedule change. Working 9-to-5 can be a grind, but it’s predictable and secure. The academic schedule changes daily. Teaching classes, attending classes, holding office hours, working a part-time job, and trying to be a literary genius on top of it all is no small organizational feat. You will need to be an expert budgeter of time and energy.
7. Lower your expectations of being “literary” with your program colleagues. You’re going to graduate school, not stepping back in time to some 1920s-era fantasy of expatriates in Paris. Check your pipe, cape and bon mots at the door: The MFA program will likely be more work than you imagine.
Finally, if you’re not accepted into any MFA programs, don’t take it as a sign from the heavens that you weren’t meant to be a writer. That decision is up to you, not Fate or Destiny or some committee. There’s always next year, and plenty of writers fared OK with that MFA degree.
Tim Lemire, a graduate of the MFA program in creative writing at the University of Michigan, is the author of I'm An English Major -- Now What? How English Majors Can Find Happiness, Success, and a Real Job (Writer's Digest, 2006). He also posts TIM'S ENGLISH, a weekly five-minute podcast about effective communication: http://timsenglish.blogspot.com.
Craft & Technique | Guest Post
Friday, May 15, 2009 1:27:54 PM (Eastern Daylight Time, UTC-04:00) Trackback
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Wednesday, May 13, 2009
News, Events, and Free Info at Writer's Digest
Posted by Jane
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
- 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."
Free excerpts from new writing books
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
- 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.
- 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
Agents | Conferences/Events | Craft & Technique | General | Getting Published | New Titles From Writer's Digest | Self-Publishing
Wednesday, May 13, 2009 4:49:40 PM (Eastern Daylight Time, UTC-04:00) Trackback
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Tuesday, May 12, 2009
The One Behavior That Spells Doom for Your Editor/Agent Relationship
Posted by Jane
A top-shelf journalist, Dan Baum, recently Tweeted about his experience breaking into and then writing for The New Yorker. You can read the full account here.
It was fascinating to get an inside look at one of the most venerable publications in the world, but much more fascinating was the story—or lesson—of his dismissal. It was not related to his writing or performance, though that was the official reason given.
Here's part of what he says (edited for space):
I wanted to write about Mexico’s disputed presidential election. A million people were demonstrating in Mexico City.
David said, “I guess if you want to write about Mexico, you might write about that mayor of Mexico City; he’s interesting.”
And here’s where it all went to hell.
I should have said, “Great idea, David. I’ll get right on it.”
Instead I said, “David, that’s the guy I’m talking about! That’s the guy who claims to have won the election! That’s the guy who everybody is demonstrating over!”
Now, what was the point of doing that? He was ceding me the chance to write about the situation in Mexico.
And if he didn’t know the details, he had more than the average American’s sense of Mexican politics.
But, believing we were two colleagues - couple of guys from New Jersey - hashing out what was best for the magazine, I made him feel uninformed.
Then I did it again.
He said, “How about the governor of Montana? He’s an interesting guy; you could profile him.”
Again, the correct response would have been, “Right away, sir.”
Instead, I said, “David, I proposed that story six months ago and you turned it down. Now it’s too late. Next week, he’s on the cover of the New York Times Magazine.”
The conversation ended amicably enough, but everything went to hell after that. I knew it at once. It all turned frosty.
… the real reason Remnick fired me was that he took a personal dislike to me after our conversations.
I was pretty bitter for a while. A New Yorker writer should be able to have a straight-up exchange of views with his editor.
And a guy as accomplished and powerful as David Remnick shouldn’t be so insecure that he can’t take some pushback.
… The biggest disappointment was learning that, after all, it’s not only about the work on the page. That the writing life is not a pure meritocracy, or a refuge from office politics. All that crap still matters. Even at the top of the heap. Perhaps especially at the top of the heap.
Like Baum, I'd expect a higher level of emotional intelligence from people at The New Yorker, and he blames not knowing the culture well as a reason for his misstep (he didn't work at the offices or visit that often).
But it's always a critical error to ignore one of the cardinal rules of human interaction: If you insist on being right, and/or make someone feel bad about themselves (especially when it comes to your superiors!), prepare to be disliked and lose opportunities.
Especially when it comes to superiors, we can mistakenly ascribe more confidence to them because we see them as successful, and as having accomplished so much. You might think your boss or CEO has the wisdom and knowledge to be reasonably and constructively challenged (isn't that how we all learn?), but that's rarely the case.
One book I love dearly is The 48 Laws of Power. Guess what the first law is (perhaps the most important of all)?
Never Outshine the Master.
Get a quick list of 48 laws here.
If David Remnick of the New Yorker is susceptible, I guarantee the editors, agents, and other people you work with—who wield some measure of power in your career—are also susceptible.
Are you telling them that they're wrong, pointing out how they contradict themselves, persisting in an argument of why you're right?
You're not doing yourself any favors.
Editors/agents may not say it openly, but if this is your attitude, you'll get the freeze-out, just like Baum did. It may be a quiet freezing process: perhaps they're not championing you any more to their important contacts —something you could never know for sure.
Think about the contact you have with important people. Imagine how they feel when they see an e-mail from you. Will they have a bad feeling? "Oh no, now what's wrong?" Or: "What will they complain about next?" Or: "How have I screwed up this time?"
I keep a quote from Jean Toomer posted in my office:
Thank everyone who calls out your faults, your anger, your impatience, your egotism; do this consciously, voluntarily.
If we can put aside our egos, we open the door to more honest conversation and an opportunity to learn.
Unfortunately, most of us know instinctively not to challenge the person in power.
Don't we watch, very carefully, when a superior is challenged by someone with very little power? What happens to the challenger? And how does the person in power respond?
What happens when a mistake is made? Is there an acknowledgment of it?
Leaders often make a show of asking for ideas, feedback, and constructive criticism, but so rarely know how to respond in a way that would encourage more of it.
People are afraid. They know about the First Law.
Dan Baum felt comfortable enough to break that law, because he thought the laws didn't apply between two guys who were so much alike, with a leader who only benefits from employing people who are smarter than him, at least in some ways.
I wish Baum hadn't been so wrong.
Photo credit: Manuel_Marin
General | Getting Published
Tuesday, May 12, 2009 5:06:04 PM (Eastern Daylight Time, UTC-04:00) Trackback
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Monday, May 11, 2009
Leading Indicator of Success: How You Deal With Loss, Failure, Rejection
Posted by Jane
Many years ago, when I was working as an associate editor for North Light Books (another imprint of F+W Media), I applied for the lead editor position on Writer's Market. I interviewed with three different people in the division. I wanted the job so bad that I would drive around Cincinnati interstates late at night, for 30- or 60-minute stretches, just thinking about how much I wanted that job.
I didn't get it. The hiring manager encouraged me to keep trying to transition to the Writer's Digest community if other positions opened up.
Within 2 weeks, a managing editor position with Writer's Digest magazine was posted. I thought: They'll never hire me for that job. Why bother? I have no magazine experience. And so I didn't apply. Another 2-4 weeks passed, and the job was still posted. I remember staring at the job description in the lunch room, finally snapping out of my self-pity, thinking, Why the hell not? What have I got to lose?
I got the job. The rest is history.
Of the thousands of writers (and creative people) I have met, all have failed at one point or another. No one is immune. That's why I so consistently preach passion and persistence. If you don't have the passion inside you to motivate yourself to continue, you might not find the persistence and strength you need when faced with failure, loss, and rejection.
There isn't a lack of wisdom for writers (or the human race) when it comes to failure.
Some editors are failed writers, but so are most writers.
—T.S. Eliot
Many of life's failures are people who did not realize how close they were to success when they gave up.
—Thomas Edison
I have not failed. I've just found 10,000 ways that won't work.
—Thomas Edison
Making
your mark on the world is hard. If it were easy, everybody would do it.
But it's not. It takes patience, it takes commitment, and it comes with
plenty of failure along the way. The real test is not whether you avoid
this failure, because you won't. it's whether you let it harden or
shame you into inaction, or whether you learn from it; whether you
choose to persevere.
—President Obama
I know right away when I meet a person who has been hardened or shamed into inaction. It can happen to all of us, at some point, especially when we're young and invincible or new to something, and plan to take over the world. Then something happens, we're blocked, and we dip into despair, self-pity.
You can go there, but you must move through it. The longer you let the failure consume you, the more fierce the casualties. The happy (and usually successful) people I meet have a resilience that you can sense when you talk to them—people who understand that failure, loss, and rejection are all part of the game (no matter what game is being played).
I tend to associate failure with loss. Most failure impacts our sense of self, our confidence level—whether we were able to accomplish something. You can lose a piece of yourself in failure, if you let it. It can lead to a loss of identity, a crisis. Loss sometimes triggers a recognition of a failure (both real and not real).
So you have to take failure and shine a different light on it. Think of it as (1) being a part of life and part of the process (2) bringing you one step closer to success (3) a learning moment (4) an opportunity to make a positive change (5) helping you find better relationships and wellsprings of support.
Can you change the light on what's happening? Do it, and you'll be closer to making your mark on the world.
Photo credit: WorldIslandInfo.com
F+W Life | General | Getting Published
Monday, May 11, 2009 5:51:49 PM (Eastern Daylight Time, UTC-04:00) Trackback
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Friday, May 08, 2009
Best Tweets for Writers (week ending 5/8/09)
Posted by Jane
I
watch
Twitter, so you don't have to. Visit every Friday for the week's best Tweets. (If I missed a great Tweet, leave
it in the Comments.)
Best of Twitter
Friday, May 08, 2009 1:44:38 PM (Eastern Daylight Time, UTC-04:00) Trackback
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Wednesday, May 06, 2009
I Hate Telephones (an Irrational Rant)
Posted by Jane
 Every time I get in a relationship with someone, early on I establish a rule: We will not be having (long) conversations on the phone. I suspect it's been a deal breaker at times, or at least a red flag (I'm thinking of you, Mr. Get-Anything-I-Want-on-the-Phone Conductor). This morning, I overheard a conversation between several colleagues that went something like this. "I hate making phone calls!"
"Me too!"
"It's not like I've had really bad trauma on the phone, I just don't know what to say, it's always so awkward."
"I find ways to avoid calls. I'll send an e-mail if I can. I hate calling my credit card company."
"I don't like talking to anyone unless I really know them."
I suddenly felt as if maybe I weren't alone. (Is it a generational thing?) This conversation was not even sparked by a particularly unpleasant phone calling task: It was a series of phone calls that needed to be made to Writer's Digest contest winners, people who are hopefully thrilled to hear from us! Unfortunately, unlike my colleague, I have experienced traumatic moments on the phone, including: - Hearing a string of foreign expletives a mile long (followed by heart-breaking news and a hang up) after finally gathering the courage to make an international call
- Being brazenly belittled, insulted, and ridiculed by agents who don't like the initial offer or contract they've received
- Being asked by an authority figure to lie to someone over the phone, while they watched to ensure I did so
- Hearing writers (whom I don't know) sigh loudly, say something mean, then hang up when I say I'm not interested in their project
There are maybe two or three people in the world with whom I can have a truly meaningful and productive conversation on the phone. For everyone else, I do my best, but so much is missing: - body language
- facial expressions
- that intangible vibe in the room
- eye contact, eye contact, eye contact
When it comes to business life, though, quick (even long) phone calls are far superior to endless, indeterminate e-mail chains, and an absolute must when you're working in a company with many locations and telecommuting employees. But when it comes to phone communication vs. written communication with unknown people in my business, written always wins: I never, ever want to hear your pitches on a phone call, I don't want to return your call asking for submission guidelines (it will turn into a pitch), I don't want to brainstorm ideas with you. For the love of God, take two minutes to find my e-mail address online (easy if you Google my name) and send a quick note. It's less intrusive and you'll actually get a response. I have to ask the writers who do this: why make phone calls to people you don't know or have a relationship with? Maybe you think that because the e-mails aren't getting answered, the phone is the only way to get through, but not many people pick up the phone anymore without knowing who's on the other end and/or expecting the call. So why waste your time? Find other ways to connect. Technology note:The Writer's Digest blogs will be undergoing a server transition starting tonight at 10 p.m. EST, lasting all-day Thursday. This basically means that any comments you post during this time will not be saved, so hold them for Friday. Photo credit: Mykl Roventine
F+W Life | General
Wednesday, May 06, 2009 8:29:40 PM (Eastern Daylight Time, UTC-04:00) Trackback
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Tuesday, May 05, 2009
Dear Writer, Please Pay in Full
Posted by Jane
 As publisher of Writer's Digest, I get the tough, make-you-cringe cases for response. Back in March, we received the following
e-mail through our general account. It's a long message, but important
to convey in its entirety. Dear Writer, please pay your membership fee in full.
Dear Writer, please pay for your online membership.
Dear Writer, please pay for your print edition of Writers Market.
Dear Writer, please pay for your digital edition of Writers Digest.
Dear Writer, please pay for your webinar.
Dear Writer, please pay for your competition dues.
Dear Writer, please pay for the advice you received on "How to make money as a writer."
DEAR WRITER, PLEASE PAY IN FULL!
Dear Writers Digest,
I'm a writer, of merit and accomplishment. I read many of the trade
journals, and avoid many of them as well - half of the writers
magazines are written by people that are still in need of a copy of
shrunk & white's. I'm writing you because this is becoming
ludicrous. When it comes down to it the majority of us are trying to
do something we love and make money at it. We all strive to break
through with every word, sentence, paragraph and page. We gorge
ourselves on the advice of others, both by way of trade publication and
by our hefty bookstores totals. All of us are looking for a writers
haven, where we can glean from our peers, embrace the craft, and better
ourselves. Unfortunately, that place no longer appears to be Writers
Digest.
As a business you've forgotten your customer. As
writers, you've taken advantage of the craft and the passion with which
people execute it. You can't possibly think that you can charge readers
for every word. Even Barnes & Noble let's people read books in the
store without throwing a surcharge on them, or even attend Book Groups
without making them put down a deposit.
I follow many of your
writers, not just here, but all across the internet. I respect them
tremendously, even when their writing isn't useful it's still
uplifting. I was recently disappointed when I read an article, written
by one of your writers, that said you were proud to announce your new
webinars. I was excited, thrilled even, to think that I might get some
tangible advice for the subscription I pay for, I read on eagerly so I
could set the date for the next session. Then I followed a Link that
showed me a price list for your short webinars.
The small
instruction explains that while originally you wanted to charge $199
dollars you decided that was too much and instead only charge $99
dollars. A $1.50 a minute...TO WRITERS...WHO ALREADY PAY FOR YOUR
SERVICES. How does that equate? Let's see, a normal person, working
forty hours a week, at $1.50 a minute would make over $14,000.00
dollars a month. Are you taking advice from investment bankers now, or
simply trying to capitalize on the voice you've gained because of us
writers who already spend countless dollars of our hard earned money on
market and trade materials.
It's really rather simple, charge,
certainly, for some things. First, live up to your end of the contract,
people are already paying, so start providing something to them without
an additional fee. Second, be realistic, don't be so pretentious,
you're time isn't worth $14,000.00 a month, not unless your running a
pyramid scheme or a brothel.
I still haven't
responded, so this has become my response. What's interesting about
this particular case is that I'm 99% certain it is from one of my
Facebook friends who is an aspiring writer I haven't met. (A few of us
Writer's Digest editors have invited writers to friend us on Facebook;
you're welcome to do so as well.) I digress. What this e-mail says to me: - We're not doing a very good job letting people know what content we offer for free.
- We're not doing a good job communicating the value of what we offer or
the diversity of what we offer (whether in terms of media, price point,
or delivery channel).
- Our marketing messages may be too
numerous. (I can confirm that the frequency of these messages has
increased dramatically in 2009.)
- Whatever it is that we
provide writers (for free or not), we're failing if writers feel that
we're heartlessly capitalizing on their dreams, and merely exist to
find more ways to take their money.
When I started at F+W in
1998, the mission of the company was to help creative people fulfill
their dreams. Ten years later (with plenty of time and opportunity for
cynicism to sink in), I'm still with Writer's Digest because I believe
in that mission. The problem is, we're not a nonprofit. (Yes,
sometimes I wish we were.) And just like many writers are trying to
make money at what they love (some of them by working for Writer's
Digest!), the people in publishing are also trying to make money doing
what they love. Yet I don't know anyone who goes into this business for the
money. Those people usually migrate over to law, business school, and
Wall Street. And I think the writer of this message is primarily
and supremely annoyed that he was hooked on a particular
experience/product, and became angry when he realized it came at a cost
that he found both unjustifiable and unaffordable. Speaking from
a business perspective, we price things at what the market can bear.
And we've found that the value of the interaction and information in
the webinars has consistently allowed a price of $79-$99. We could
charge less, and attract more people, but for our efforts, it's better
to charge a little more, and have fewer people. The webinars so
far have been hosted by our in-house editors (that includes me); we are
not paid additionally for these. There are costs in licensing and using
the Webex platform, based on number of attendees and how long the
sessions run. We have one person running tech support in the background
at all times, plus a customer service rep handling questions/concerns,
and a marketing person who develops messages about the webinars, and an
online editor who updates pages about it, etc. There's a cost of doing
business; it's not pure profit. However, there are other
communities at F+W that charge less than we do. It's all based on
customer feedback and attendance levels. So it's good to have this
feedback, and maybe one day we'll consider lowering the price. But the
wisdom typically with pricing is that it's much better to start high
and bring it down, rather than start low and jack up the price later. Writer's
Digest can survive only by providing writers with valuable and trusted
content that they need and are willing to pay for. The reason you see
newspapers and magazines and even book imprints disappearing is because
many types of content have become plentiful and free online, and no one
is willing to pay for it any longer. Maybe that day will come for us,
if we're not able to compete with other sources and communities that
provide free or more valuable information. Certainly peer-to-peer
sharing, as well as the sharing that comes directly from the source
(agents/editors), cuts out some of the need for a Writer's Digest to
give you the authoritative perspective on anything. Only time will
tell, but as soon as we become irrelevant to the writing community,
we'll go out of business. That aside, it might be helpful to advise everyone on what we offer for free. Our
blogs. We have blogs focusing on agents, poetry, children's/YA,
scriptwriting, plus general Q&A. The blogs focus on
prescriptive/how-to information, current events, interviews with people
in the industry, and inspiration (like Robert's Poem-a-Day challenge).
We also frequently link to other (free/paid) resources that compete
against us, in the name of serving the community. Best Tweets for
Writers and 101 Best Websites (2009 list coming soon!) are good examples of this.
WD.com.
All content here is free, and there is a ton of it (although admittedly
it can sometimes be hard to find). You can find most of of the
magazine's content here 1-2 months after the issue has released,
as well as book excerpts (click here for a starter list). There is also an active forum where we regularly bring in guests to answer questions.
Your Story. This is a free contest we run every issue of the magazine that offers an opportunity to get published with us.
Newsletters.
You can sign-up for our weekly newsletter with tips/prompts at our
homepage, and get a free e-book (on common writing mistakes) while
you're at it. There's also a free newsletter associated with
WritersMarket.com.
Twitter/Facebook. There are unique opportunities to interact with Writer's Digest editors through Twitter and
Facebook. I've managed to answer some questions in 140 characters or
less, and also learned a lot from the community in the process. It's a
two-way street.
I do hope that the accessibility of our editors
online (for free) helps alleviate this feeling that we're only here to
make a buck. It's also important to us that you find value in the content
that does have a price tag, and that you feel you've made a great
investment in your writing and your career. We work to deliver a good experience. It's why I get up in the morning.
F+W Life | General
Tuesday, May 05, 2009 5:43:56 PM (Eastern Daylight Time, UTC-04:00) Trackback
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