There Are No Rules - Friday, May 22, 2009

Tortured Trilogies
(Why do all fantasy novels seem to come as trilogies?)
@cjlitagency

Useful description of what and how an author gets paid
(Thanks to Moonrat)
@DaphneUn

Why pre-pub website is important
@indieauthor

To self-publish or not: This is a fine list of the considerations.
@selfpubreview

Where to Find a Self-Published Book Editor
@selfpubreview

Craft & Technique

How Do You Learn to Write? Great advice from multi-pubbed authors in my blog comments.
@RachelleGardner

If you are writing profiles, the interview is key
@thewritermama

Writers, do you belong to a book club? Here's how it can improve your writing skills!
@quipsandtips

Best kept secret of enduring characters: quintessentialism
@dbschlosser

The Elegant Art of Writing Less
@michele_menard

Until you write the end you will not truly know the beginning.
@dbschlosser

Great recap of a conversation about revision
@gregpincus

Marketing/Promotion

Author @SherryThomas describes the symbiotic relationship between libraries & readers & how it seeds sales
@jane_l

Build Your Author Platform With Online Forums
@BookMarketer

Author discovers that dropping price on his Kindle book pushes it up the bestseller list
@jennifertribe

Twitter on Twitter

Nonfiction Tweets: 70+ Authors to Follow on Twitter
@mashable

The Twitter Scorecard--for book publishers. Which houses are tweeting and who's getting the followers?
@PublishersWkly

Twitter Scorecard from @publisherswkly updated and more thorough is posted at O'Reilly
@mikehatora

Exhaustive list of publishers & authors on Twitter
@KrisUnderwood

Twitter is changing how publishers do business, 140 characters at a time.
@PublishersWkly

Trends & Opinions

Kudos to Harlequin for driving innovation, loving their writers & readers
@LibreDigital

With books, as with just about everything else, the "good old days" never really existed
@victoriastrauss

The top 50 women in publishing share passionate advice
@HarperCollinsCa

Online Publishers: Don't Stop Thinking About Tomorrow
@ReadWriteWeb

What I learned from my MFA in Writing Poetry
@PeakePoetics

Resources/Tools

Email out of control? You might want to read my “Yes, You Can Stay on Top of Email.”
@MichaelHyatt

Philosophical

Is fiction necessary for our survival as a species? Fascinating article on salon.com
@lawritersgroup

Looking for more social networking and updates from Writer's Digest?

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Best of Twitter

Friday, May 22, 2009 6:40:46 PM (Eastern Daylight Time, UTC-04:00)

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The Song of Writing
Posted by Jane

Today I am thrilled to present a guest post from
writer Darrelyn Saloom. I met Darrelyn at a
recent Writer's Digest Editor Intensive, along with Deirdre Gogarty. These two amazing women are collaborating on a memoir about Deirdre, who is the 1997 Women's International Boxing Federation champion. You can follow Darrelyn on Twitter. (Photo shows Darrelyn in Cincinnati, with writers Barbara and Sean on either side, after the first day of the WD intensive event.)

It took me a long time to believe I could write. I’ve always enjoyed biographies and have read numerous lives of authors who lauded an educator in adolescence as their source of inspiration—a flash of insight burst forth while reading lines of dead poets: Shakespeare, Emerson, Dickinson, Keats. But no such teacher manifested for me in my teens or twenties (that would come later). For me, the muse bloomed with poetical songwriters of my generation: Smokey Robinson, Johnny Rivers, Bob Dylan, Joni Mitchell, and Carol King.

But it was my father, an encyclopedia salesman, who first planted the melodic seed. Filled with wanderlust, he never stopped traveling. Life with Daddy was spent in the backseat of a book-laden car, absorbing adventurous yarns, chirping along to Peter, Paul, and Mary. My Kentucky-born father crooned Stanley Brothers’ tunes and recited “The Raven.” Poe blended into a folk song of enchantment. So it was in the backseat of Daddy’s Ford Thunderbird (where my sisters and I hid kittens and candy) that I fell in love with the imagery of words, the rhythms of poetry, the song of writing.

But falling in love was easy. Hard was to realize I wanted to write. Harder was to believe that I could. The writers I craved were distinguished professors of the humanities. Columbia University PhDs or graduates and teachers of MFA programs; I had no degrees. I dropped out of high school, hitchhiked from the Louisiana bayous to the Oregon coast, picked beans on a farm, married young (and often) and birthed a family. But I grew restless for something unknown to me.

So I went to college in my thirties. I never finished. But now I could lay claim to teachers of literature and writing who encouraged me. Into my forties I continued to read and to study: The Southern Review, The Gettysburg Review, Glimmer Train, and—yes—Writer’s Digest (long before I ever met Jane Friedman). Circled words, underlined phrases and sentences, lists of definitions littered the backs of my books and magazines. I studied libraries on writing and punctuation, even The Chicago Manual of Style.

When I began to write narrative, my restlessness ceased. But did I believe in my ability? The stories I wrote were printed and stuffed into folders and drawers. A few were lost on an old hard drive. Yes, I was still intimidated by the MFAs and PhDs and only wrote for friends and family. But even with their praise, I did not believe in my ability. Belief would have to wait. (And to make things worse, I was about to turn fifty.)

Unable to submit my stories, I printed business cards and worked as a freelance editor. I excelled at spotting clients’ errors, picking apart proposals and briefs. Red ink pen in hand changed me. It improved my writing by opening my eyes to writers’ mistakes. Taught me that writing is a place I can never be impatient or lazy. For a writer must never stop learning. As for intimidation, it has started to slip away. Because now I know it’s hard work that conjures words into music and not a degree.

Here are two verses my father would often sing. I’ve started to wonder if he knew that one day (years after his passing) the lyrics would serve to sustain me. I can still hear his voice.

    If I had the wings of an angel
    O’er these prison walls I would fly
    I would fly to the arms of my lover
    And there I would lie till I die

    Oh, meet me tonight in the moonlight
    Meet me tonight all alone
    For I have a sad story to tell you
    It’s a story that’s never been told

(Researching this old ballad, I found as many versions as strings on three guitars. So I stuck to the only two verses and lyrics my father taught me when I was only two or three. It took me nearly fifty years to grasp that as a writer “belief” is like an angel’s wings. If you, too, struggle to believe in your writing ability, I hope this will inspire you to grow some wings and tell your stories.)

Craft & Technique | General | Guest Post

Friday, May 22, 2009 10:03:52 AM (Eastern Daylight Time, UTC-04:00)

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Thursday, May 21, 2009

5 Ways Writers & Book Publishers Need to Embrace Change NOW
Posted by Jane

In today's writing and publishing industry, knowing how to change and quickly adapt to change can be your biggest competitive asset.

This has been a key takeaway for me from the weekly Twitter editorchats that I started participating in last week.

The discussions often focus on industry change and trends, especially in relation to new media and technology. Part of the discussion last night was about the generation gap in publishing, sparked by Time's article on how by 2019, leaders will have to manage and motivate people in new ways due to generational changes.

I read the Time article and thought: Yes, but this kind of change can't wait 10 years! Just like magazine and book publishing can't wait 10 years to find a new model for survival.

The editorchat was insightful, but I don't see a generation gap. Rather I see a gap between those who can adapt to change and shape a new vision of the future (on a daily basis these days!), and those who get stuck and/or have pessimistic outlooks on the change.

There's a stereotype that "old" people can't adapt to change as well as "young" people—but my experience has shown it's more of a mindset or attitude.

Some people have the ability to act as soon as they know a change is needed, while others think so long and hard about making a change (in order to make the "right" decision and feel comfortable) that it's too late.

Here are 5 specific ways that writers/publishers need to embrace change now.

Writers: The book is not the beginning or the end. Let me restate that: Do not make it your life's work to get that first book published. It's not the Holy Grail any longer (if it ever was to begin with). The book is only one piece of a much larger effort that you need to focus on. Stop thinking you need a book to accomplish your goals (E.g., "I can start speaking/promoting once I have a book.")
Publishers: The act of reading is not tied to books. Stop thinking that if physical books disappear, that reading will also disappear, or that reading will be diminished, or that your jobs will evaporate. Books are not tied to the act or survival of reading. It's a romantic and lovely object, I agree, but it's merely one (sometimes limited) vehicle for something much, much bigger (storytelling, innovative ideas, inspiration, instruction).
Writers: Power lies in your reach to readers, not in the prestige of your publisher. Kevin Kelley has become famous for saying that it only takes 1,000 loyal followers to really make a go of something. If you develop those followers, you can have a much more stable and rich career that is not dependent on publishers to distribute and sell your work—because you already know where and how to market to your audience.
Publishers/agents: Be a true partner and add value to authors' careers. Or become irrelevant. Because of #3, publishers stand to suffer more in the long run, because today's (and tomorrow's) savviest authors already have the tools they need to be successful without a publisher's distribution strength. (Just not all of them have learned this yet!) Publishers who truly partner with authors, and start offering support in new and meaningful ways (see this great idea of a Digital Concierge over at PersonaNonData), will attract the best authors, the best content, the best value, the best readers, the best community.
Publishers and authors alike should focus on vertical communities/niches. The more connected to a specific community you are, the more you understand what it values, what it is willing to pay for, and what sparks action. Paradoxically, the wider you cast your net in terms of audience, the harder it is to get anyone to notice or care.

When you take these 5 things together, I think authors will partner with publishers who offer a community of other like-minded authors (networking/growth potential), who offer diverse opportunities and methods of support, across all types of media, and who share the same values.

New media and technology has made the world transparent. Everyone is going to partner and invest based on mutual benefit/support and values. Those who don't stand for anything special, who lack a great story (or myth) to share, will struggle. (See this cover story from Inc. magazine for an example of a company and CEO who intimately understands this.)

The world is changing, and I'm grateful for it.

Digitization & New Technology | Getting Published | Industry News & Trends

Thursday, May 21, 2009 3:41:59 PM (Eastern Daylight Time, UTC-04:00)

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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)

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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:

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).

Agents | Conferences/Events | Getting Published

Monday, May 18, 2009 5:06:39 PM (Eastern Daylight Time, UTC-04:00)

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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 Tweet

Great discussion on social media for book marketing
@joeljmiller

Others

Read @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?

Follow us on Twitter: @writersdigest @JaneFriedman @robertleebrewer @alicepope @kmnickell
Become a fan at our Facebook page
On our homepage, sign up for WD's free weekly newsletter with new tips and prompts, plus after signing up, you'll get a free e-book on 70 solutions to common writing problems.

Best of Twitter

Friday, May 15, 2009 3:36:15 PM (Eastern Daylight Time, UTC-04:00)

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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)

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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

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

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)

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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)

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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)

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