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 Tuesday, June 30, 2009
Are You Needlessly Worrying About Your Work Getting TOO MUCH Exposure?
Posted by Jane
As writers become more and more comfortable with online media, I receive more and more questions like this:
- If I post my work on my own site, will anyone be willing to consider it for print publication?
- How much of my novel can I post online before a publisher won't take it any more?
- Do I lose rights to my work if it's posted on XYZ site?
Here are key points to remember.
1. First things first: You own the copyright and all rights to your work when you post it online, unless you specifically agree otherwise. It may be easier to steal when it's online, but you still own it.
2. Always check the terms of service when regularly posting content to any site. If you're posting your work on major sites like Authonomy, WeBook, etc., you really have nothing to worry about. In such cases,
you're not relinquishing any exclusive or vital rights to your work by
posting it. (If someone knows of exceptions, please note in the
comments.)
However, there
may be an implicit agreement—by very fact of you using a website—that
the site owner has nonexclusive right to use the content in a limited
(or expansive) way. Such use is usually justified or reasonable, and sometimes it might profit the site owner. You need to decide what
you're comfortable with and if the trade-offs are worth it. I have
yet to see an agreement that is unethical or not upfront.
For example, here is Amazon's language governing book review content, which you agree to when using their site:
If you do post content or submit material, and unless we indicate otherwise, you grant Amazon a nonexclusive, royalty-free, perpetual, irrevocable, and fully sublicensable right to use, reproduce, modify, adapt, publish, translate, create derivative works from, distribute, and display such content throughout the world in any media. You grant Amazon and sublicensees the right to use the name that you submit in connection with such content, if they choose. You represent and warrant that you own or otherwise control all of the rights to the content that you post; that the content is accurate; that use of the content you supply does not violate this policy and will not cause injury to any person or entity; and that you will indemnify Amazon for all claims resulting from content you supply. Amazon has the right but not the obligation to monitor and edit or remove any activity or content. Amazon takes no responsibility and assumes no liability for any content posted by you or any third party.
This basically means that while you retain rights to your work, Amazon has the right do whatever it pleases as well. The key is the word "nonexclusive." If Amazon decided to publish a collection of the most kinky book reviews ever written, and used your material, they would not owe you any money or need to ask your permission, though of course it would be considered good practice and common courtesy to notify you.
3. If your work doesn't have a lot of commercial value, who cares? Here is where I have to be completely insensitive and say bluntly: Writers are overly worried about work that is not commercially valuable. Many things that people post online, whether on their own sites or elsewhere, are online precisely because there isn't a commercial value attached. So, when you post your work without compensation, there is an essential value statement made that, right now, you're valuing exposure (or service or community) more than payment. Or that you're marketing and promoting yourself, your brand, or a work that does have commercial value.
4. That said, the value of your work CAN change or be discovered later—which only opens up the commercial value and potential of your work. Remember that online exposure and online media are not the same as print exposure and print media. They are usually written and edited differently, presented differently, marketed differently, and read differently. The online audience is not 100% the same as the print audience (and sometimes not even 10% the same!).
Think of it this way: If you participated in a poetry slam and became wildly successful as a poet-entertainer, with thousands of followers, would that detract from your ability to publish books of your poetry? No, in fact, it would help make the case for print publication. Would a presentation of your poems online, in a way that gathered 10,000 unique visitors every day, detract from the sales of a beautiful physical chapbook? Of course not. It would help.
For the most part, online and print are complimentary—they are not competitive. Any book publisher who refuses to consider a work that has been successfully published digitally or online or in a multimedia format has not caught up with the times. Magazine and newspapers are a little different, but if they become a fan of your online work, most likely they will ask you to produce an original work for print publication.
5. You're always producing more work, right? Don't hold on so tightly to each piece of work that you're not focusing on new production.
Yes, even I hang onto my creative writing from senior year in high school, and have a catalog of all the places my work has appeared over the years (online and in print, often without pay), but even if a third party is profiting off my work online, that work has no commercial value to me anymore. I'm producing better stuff now. Plus the old work serves to offer additional exposure, little guideposts leading people to the more recent work.
Key takeaway: Just because your work is "published" when it appears online doesn't mean you've destroyed its market value. That's a very old-school way of viewing the value of content—a viewpoint that's based on decades of print publication tradition, when whoever had the "first" rights to print publication had the "best" rights, and paid the most.
If you haven't noticed, things have changed.
P.S. ... and a final word on theft: Stop worrying. When writing becomes a lucrative profession and when demand for writing far outstrips supply, then maybe we can discuss. In the meantime, feel flattered that someone thought your work was good enough they wanted to bother taking the time and effort to market, promote, pitch, and/or publish it themselves.
UPDATE: I recently read this post from Stefanie Peters, which makes 2 more important points about posting your work online, especially in forums like Authonomy.
Photo credit: Wetsun
Building Readership | Digitization & New Technology | Getting Published | Marketing & Self-Promotion
Tuesday, June 30, 2009 6:03:15 PM (Eastern Daylight Time, UTC-04:00)  Trackback
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Risking Failure (from the Glimmer Train Bulletin)
Posted by Jane
Every month, Glimmer Train sends out a monthly bulletin with information about their contests, as well as helpful advice from established writers. In the most recent bulletin (Bulletin 30), you'll find:
Incidentally, the next issue of Writer's Digest magazine (September 2009) will feature an essay from Henkin as well, in the MFA Confidential column.
Here's a little of what Henkin has to say in his Glimmer Train piece:
I
believe this is one of the most important lessons a writer can learn:
You must always be willing to risk failure. Another lesson: Don't take
rejection personally. So much is luck—finding the right editor at the
right moment when he or she will be receptive to the story you've
submitted. I know this first-hand.
Click here for Bulletin 30 (and to find archives of other bulletins).
Craft & Technique | Getting Published
Tuesday, June 30, 2009 5:07:07 PM (Eastern Daylight Time, UTC-04:00) Trackback
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Saturday, June 27, 2009
Best Tweets for Writers (week ending 6/26/09)
Posted by Jane
 I
watch
Twitter, so you don't have to. Visit each Friday or Saturday for the week's best Tweets. (If I missed a great Tweet, leave
it in the Comments, or if you want more of a particular category of Tweet, also comment.) Best of BestWhy New Novelists Are Kinda Old, or, Hey, Publishing is Slow
by @scalzi
@dbschlosser
Book publicist reveals one key thing publishers look for before considering your book
@BookWritingTips
The Seven Deadly Writing Sins
@nicoledenae
Where will we be in five years?
@chipmacgregor
Giving ebooks away for free increases print book sales
@bradvertrees
If you only read one marketing post ever, read this one - 1,000 True Fans by Kevin Kelly
@tferriss
Writing Roads: Authentic Trumps Agreeable
@KFZuzulo
36 Free EBooks for Writers by @PacificBlue
@BookBuzzr
Stand AloneWriting tip 21: Agonize over your 1st story only after you’ve written your 10th, your 10th after your 20th.
@barryintokyo
I have a number of valuable business contacts that I 'found' on Twitter. It is a serious tool in day-to-day business life.
@MichaelHyatt
A poet once said that handwriting connects the pulse of the heart, down the arm, to the fingers, to the pen, to the page. #writechat
@debramarrs
Q. What exactly is a pitch? A. Think of it as back-cover text of your book. Whatzitbout? Whozitfor? Whoyou? Whycare?
@DavidRozansky
No need to note your "copyright" on manuscript. Legally unnecessary (is © as soon as you write it down) and looks amateurish.
@papertyger
No need to "design" your manuscript w/clip art & unusual fonts. The point is the text, not a fancy title page.
@papertyger
Overheard: Youtube, Twitter, and Facebook are merging together: "YouTwitFace.com"
@human3rror
"If you want to build an online community it can't be about you." Says @calilewis
@ThomasUmstattd
Best of Twitter
Saturday, June 27, 2009 6:29:05 PM (Eastern Daylight Time, UTC-04:00) Trackback
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Friday, June 26, 2009
Better Than Brad Pitt? (Why You Should Go to Book Events)
Posted by Jane
Today's guest post is from becoming-a-regular-and-fabulous-contributor Darrelyn Saloom. Above she is shown with Tim Gautreaux, the recipient of the 2009
Louisiana Writer Award and author of three novels and two story collections.
The picture was taken at Garden District Book Shop in New Orleans. Follow Darrelyn on Twitter.
A book event! Authors read from their latest masterpiece, sign copies, and, if you’re lucky, share stories of their writing journey. Maybe an author will reveal how he/she found the plot (in a newspaper), the characters (popped into their head), or even the theme (a song on the radio).
It’s easy to project grandiosity on an admired author. Born to brilliance, for them it comes easy. Such a perfect sentence, and look at that verb. Oh the ease!—the ease from which he/she writes—larger than life, and so much smarter than me.
That’s what I tend to think of writers I admire. And that’s what I thought of Tim Gautreaux. My friends knew this about me. I drove around with his books in my car. Recommended his short story collections and novels to strangers in airports and on the streets (yeah, that was me). So I was thrilled when Garden District Book Shop in New Orleans sent me an e-mail to announce his scheduled book signing.
The day of the event, I checked into Hotel Monteleone and found my way to Prytania Street. The bookstore had a small coffee shop to the side of the building, and I spotted Gautreaux and his lovely wife, Winborne, sipping coffee in a window seat. And, yes, I was nervous. This was better than a French Quarter Brad Pitt sighting for me.
The Louisiana native did not disappoint. With Cajun accent he read from his latest novel The Missing. And then he talked about his writing process. The audience sipped wine, nibbled cheese, and asked questions. And his answers were generous.
Generous because his stories were often rejected by editors—yes—rejected! And he told us that red marks mapped the pages of his returned manuscripts! But here was the key (and what I believe separates a talented writer from becoming a published author—or not).
When Tim Gautreaux’s stories and manuscripts landed back in his mailbox, he read suggestions and criticisms with an open mind. He explained how he’d carefully tear apart a rejected story, rewrite and revise it, put it back together, and send it out again. And again. And again, if necessary. Until he got it right.
If you’ve read Gautreaux’s novels and stories, you know he’s a man obsessed with machines. His characters are camera repairmen, piano tuners, welders, train engineers, and a priest. Okay, so maybe a priest has nothing to do with machinery, but there’s an old Toronado in the story with a “huge eight-cylinder engine and no muffler.”
Tinkering is Tim Gautreaux’s lifelong hobby. He told us about the barn in his backyard in Hammond, Louisiana; and about his collection of antique steamboat whistles, lanterns, and gauges, an amusement that seeped into his novel, The Missing.
“Find what you love,” he said, “and write about it.” What Tim Gautreaux loves has served him well. Tinkering with machinery seems to have taught him the patience to be a writer. To construct something, to take it apart (piece by piece), and then to build it again is not easy. It’s hard work. And it’s akin to writing a poem, a story, a novel. It took him nearly five years to write The Missing.
There are other reasons to attend a book signing: to support a fellow writer, a favored bookstore, (did I mention they often serve wine and cheese?). But to connect to an admired author, and to share his/her struggles are valuable lessons for an aspiring author. And there really is no excuse not to go. Because—they are free.
(The day I completed this blog post, the June issue of The New Yorker arrived in my mailbox—bearing a stapled gift—a new story by Tim Gautreaux! “Idols” is about Julian Smith. And he is a typewriter repairman. So add typewriter repairman to my earlier list. Follow this link to read Julian’s comical and stubborn journey to defeat.)
Craft & Technique | Getting Published | Guest Post
Friday, June 26, 2009 8:28:41 AM (Eastern Daylight Time, UTC-04:00) Trackback
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Wednesday, June 24, 2009
Writing Advice Hasn't Changed Much Since 1921
Posted by Jane
On my desk I keep a copy of one of the first Writer's Digest
titles, How to Write Short Stories by L. Josephine Bridgart, published
in 1921. It is a subtle reminder of how little things have changed
when it comes to writing and publishing. Below is an excerpt from the
very first chapter, "Common Sense in Viewing One's Work."
—
Writing
for publication is a business. If the new writer will accept this fact
he will have laid a foundation upon which, if he have the necessary
natural ability, he can build success.
If a young woman tells
you that she intends to take up nursing, and later reveals that her
chief reason for doing so is that the uniforms in a certain hospital
have attracted her, or that she enjoys reading to the sick, or dislikes
the business life her father has suggested for her, or has heard that
nurses make a great deal of money, you immediately feel that her
nursing will not be a great success. You reason that nursing involves
some very hard and disagreeable duties and that a girl who think only
of the incidental pleasures or the monetary rewards is pretty sure to
fail. It is not common business sense to enter a profession without
taking into consideration the requirements of that profession.
I
have read this lack of common business sense between the lines of many
a first story. Some of these stories tell how a young girl with no
experience won a prize in a short story or novel contest; often the
prize-winning story was written in an afternoon, or an evening, or in
the dead of night as the result of an idea which came to the author
after she had retired. Some of these stories are about attractive young
women who sold an editor a manuscript because she was attractive, or
because she was poor, or because she was sick or saucy. Such stories
show plainly that the authors are depending on personal charm or "an
inspiration" or luck rather than upon hard work to win acceptances.
They do not stop to reason that before they can hope to sell a
manuscript they must learn how to produce a manuscript that some editor
will want to buy. …
Unless you respect the principles governing
the construction of a story or an article or a poem you cannot produce
a manuscript that the careful editor will consider worthy of a place in
his magazine. In any other trade or profession, the beginner expects to
encounter a great deal of hard work. He expects to master certain
rules, learn to apply them, and then make himself skillful by practice.
Writing for publication means careful preparation and a great deal of
hard work, just as millinery and surgery and sculpture do.
In
her autobiography Ellen Terry tells of actresses who had explained to
her that they did not care to be hampered by the rules. The successful
actress had replied that it was wise to learn the rules before one
decided to abandon them. "Before you can be eccentric," she commented
pithily, "you must know where the circle is." …
The editor does
not care at all about rules as rules. He wants a manuscript that will
hold his readers' interest. If you can break the rules and still
produce a manuscript that will grip the attention from the first
sentence to the last you need not fear that your irregularities will
cause you a rejection.
Craft & Technique | Fun | General | Getting Published
Wednesday, June 24, 2009 5:36:40 PM (Eastern Daylight Time, UTC-04:00) Trackback
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Tuesday, June 23, 2009
Monthly News From Glimmer Train
Posted by Jane
 Glimmer Train has just chosen the winning stories for their April Family Matters
competition. This competition is held twice a year and is open to all
writers for stories about family, with a word count range 500-12,000. Monthly submission calendar may be viewed here. First place
Randolph Thomas of Baton Rouge, LA (shown right), wins $1200 for
“According to Foxfire”. His story will be published in the Fall 2010
issue of Glimmer Train Stories, out in August 2010.
Second place
Amy S. Gottfried of Thurmont, MD, wins $500 for “Chim
Chiminy”. Her story will also be published in an upcoming issue of Glimmer
Train Stories, increasing her prize to $700.
Third place
Abe Gaustad of Germantown, TN, wins $300 for “A Month of
Rain”. A PDF of the Top 25 winners can be found here.
Deadlines approaching!
Fiction
Open: June 30 This
quarterly competition is open to all writers for stories on any theme, with a
word count range of 2000-20,000. Click here
for complete guidelines.
Best Start: June 30 This
new category is different from their others in that the piece should be an
engaging and coherent narrative, but it does not need to be a complete story;
it needs to be an important part of a story in progress. Only open to
writers whose fiction has not appeared in a nationally distributed print
publication with a circulation over 3000. Maximum word count:
1000. 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.  
General | Getting Published
Tuesday, June 23, 2009 5:28:31 PM (Eastern Daylight Time, UTC-04:00) Trackback
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Monday, June 22, 2009
How to Save Time and Money with Professional Editors
Posted by Jane
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:
Conferences/Events | Craft & Technique | Getting Published | Guest Post
Monday, June 22, 2009 1:32:31 PM (Eastern Daylight Time, UTC-04:00) Trackback
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Friday, June 19, 2009
Best Tweets for Writers (week ending 6/19/09)
Posted by Jane
I
watch
Twitter, so you don't have to. Visit each Friday or Saturday for the week's best Tweets. (If I missed a great Tweet, leave
it in the Comments, or if you want more of a particular category of Tweet, also comment.) Best of BestAsk the editor: Do publishers have rules about POV?
@LatinoBookNews
Check out Jim Shepard on writing: "I don't think you realize how hard this is for me." [in Oprah's magazine]
@Sirenland
How to find something great to read
@GuyKawasaki
Getting Published, Agents/EditorsTerrific advice on hiring a literary agent from @MichaelHyatt
@RachelleGardner
Should you go to a writers conference? Easy list of pros and cons!
@Kid_Lit
Who says $1 a word freelance markets are dead? The latest FundsforWriters newsletter from @hopeclark
@milehighfool
The Editorial Process [with a traditional publisher]
@BubbleCow
Should You Self Publish Your book? ~~VERY Good Article
@everywriter
What not to edit
@motsjustes
Craft & TechniqueEssay on compelling story telling
@lilleypress
The dangers of starting with dialogue - from @NathanBransford
@benwhiting
The importance of good characters in your novel
@BubbleCow
10 Myths of Writer’s Workshop [particularly for educators]
@MeghnaK
Letting your characters rule the story
@benwhiting
How to write a novel when you have no plot. Hint: it involves bumper stickers.
@kragtbakker
Publishing News, Trends, OpinionsHow the Lit Fic Crowd Can Make Digital Publishing Legitimate
@thecreativepenn
Kindle and book business: this is the best analysis I've seen recently.
@thecreativepenn
There’s a rich and vibrant world at the opposite end of mediocrity, and it represents the real future of publishing
@glecharles
What if people steal my book? Karmic rights management (via @thebookwright )
@thecreativepenn
Marketing/Promotion6 Things Readers Want from Your Author Website
(smart tips; focus on the fundamentals)
@dbschlosser
Advanced platform strategy from Chris Brogan and here
@thewritermama
Twitter on Twitter"I don’t want, or know how, to develop a strategy for my authenticity. Apparently, I will not be a successful tweeter."
@RonHogan
Online & Offline Resources/ToolsThe Economist's writing style guide is fantastic.
@thesolowriter
Five Good Books About Genre Writing by Actual Authors
@jharmonwriter
The Writing Life / PhilosophicalExcellent article about not letting your day job kill your writing life
@kellyaharmon
Love this by Seth Godin, YOU MATTER, reminds me of my 2009 mantra, Make Good Things Happen
@thewritermama
For tomorrow: Get up on the right side of bed. A new routine that'll change ur life.
@sanderssays
FunThis week, "Let's Call the Whole Thing Off," a sad, lovely piece from my writing teacher Sandra Tsing Loh
@lindseyleej
Looking for more social networking and updates from Writer's Digest?
Best of Twitter
Friday, June 19, 2009 4:26:00 PM (Eastern Daylight Time, UTC-04:00) Trackback
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Tuesday, June 16, 2009
5 Common Flaws in Memoir Projects
Posted by Jane
Most everyone knows how difficult it can be to sell a memoir when you're not famous (or infamous). I often advise writers that if you don't have a celebrity-like fan base, or a loyal and captive audience, then you need to write like a master—or have such a fantastical story that no one will be able to divert their attention from it (the kinds of personal stories that get aired on the morning shows, like that guy who had to cut off his own arm when stuck in a mountain crevasse).
Many writers I meet tackle memoir as their first serious book project, which often means their writing has not yet advanced to the level that will enrapture editors/agents. There are exceptions, of course, but I've only met one or two in my time at Writer's Digest, and they have significant writing history behind them. (Here is one example.)
Here are the five common flaws that I see in manuscripts I review at conferences.
- You have written a story focused on pain or victimhood—and nothing more. You get extra (negative) bonus points if you wrote it as part of a grieving process, either at the recommendation of a therapist or as part of a therapy group. Writing through grief and tragedy is a proven method to heal, but it is not a proven method for getting published. I say this not to be insensitive, but to bring needed attention to the fact that these stories are prevalent, and very few publishing houses are accepting them. This is especially true of stories of (1) abuse (2) cancer (3) caring for aging parents.
- Your source material is a diary or journal. And you're using that as your rough draft, or the book is structured in that manner. Such materials are fine for inspiration and to remember vivid details. But very few diaries or journals are suitable starting places for a publishable memoir. (And I say this as a fan of Anais Nin.)
- You want to tell about your experience as a means of self-help for others—that is, you mix the memoir and self-help genres. I have never seen this work on the page. You have to choose one or the other. Self-help is a better option if you have the credentials/authority to back up your advice. Life experience, or overcoming a personal challenge, is not enough expertise to help others, especially when it comes to physical and mental health.
- You have no definitive story arc or story problem. Are you attempting to tell everything about your life, from beginning to end, starting with childhood, where you were born, where you went to school, leaving no stone unturned? Why? Are you sure it's essential to the story? Memoirs need a beginning, middle, and end, and there needs to be a story problem, just as you would find in a novel. And it needs to be told in scenes, and have characters. And you need to leave out a lot of detail.
- The story is not told with a fresh or distinct perspective. You need to find the voice or perspective that makes the story compelling and offers vibrancy, and create an effective and engaging dramatic persona.
One of the more fascinating pieces I've read on memoir was in a July 2002 article in Writer's Digest magazine. W.W. Norton editor Alane Salierno Mason discussed the difference between the "I" memoir (which is all about the narrator) and the "eye" memoir (which is about point of view and relationship to the greater world as well as self).
Most people I meet are undoubtedly writing the "I" memoir, but it leads to a lot of talking and talking and talking (as Mason points out), and unless that talking is absolutely captivating, it's tough to take the project further than your own friends and family.
Looking for more help on this topic?
Photo credit: Jurvetson
Craft & Technique | Getting Published
Tuesday, June 16, 2009 2:55:19 PM (Eastern Daylight Time, UTC-04:00) Trackback
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Saturday, June 13, 2009
Best Tweets for Writers (week ending 6/12/09)
Posted by Jane
I
watch
Twitter, so you don't have to. Visit each Saturday for the week's best Tweets. (If I missed a great Tweet, leave
it in the Comments, or if you want more of a particular category of Tweet, also comment.) Best of BestAdorable AND valuable - 5 Things Sesame Street Can Teach You About Breakthrough Blogging
@Mediabistro
Just compiled a writing advice database of past posts
@NathanBransford (literary agent)
Writing revision checklist for fiction
@NathanBransford
Love this post: Top Ten Things I Know About Editing
@BubbleCow
20 Must-Read Blogs For Freelance Writers
@dnzWriting
Stand Alone (no links)
Better than great sales or bestseller lists are letters from readers saying your book reflects their lives & makes them feel relevant.
@amymackinnon
Idea: Use a Facebook Fan page or group to give away knowledge and tools. Be a resource. <LOVECAT think: Knowledge networking>
@timbursch
"It's nearly always better to resist the urge to explain."
—Renni Browne and Dave King
@KMWeiland
Social networking is about building relationships BEFORE you ask people to represent you, buy your work or offer you a contract.
@DebraMarrs
"Tell almost the whole story."
—ANNE SEXTON
@AdviceToWriters
"There’s nobody out there waiting for it, and nobody’s going to scold you if you don’t do it."
—LYNNE SHARON SCHWARTZ
@AdviceToWriters
@thecreativepenn and @mariaschneider routinely dig up great things on the web for writers, and are worth following.
@KimsCraftBlog
Writing Tip: Make your writing reader-centric: always answer the implicit or explicit "What's in it for me?" question.
@expertwriter
Getting Published, Agents/EditorsShould I send a revision to agents currently looking at my work? You know you've had the urge
@Kid_Lit
Should you query now or wait to meet an agent at a conference? @RachelleGardner gives some insight
@JohnUpChurch
7 reasons manuscripts are rejected & how you can avoid it
@janetlaneauthor
E-Publishing reality
@thecreativepenn
Done writing? Tips for hiring an editor
@motsjustes
Publishing Comparisons (POD vs. POD)
@thecreativepenn
Considering a pen name? The pros and cons.
@motsjustes
Craft & TechniqueWeekend Writing tip: Plan Through Character
(includes worksheet)
@AnnaDeStefano
On Genre-Based Critique Groups: Helpful but Not Mandatory
@Becky_Levine
Some lunchtime reading for any writers out there: "Writing: The power of three"
@Kimota
Plotting by Elimination
@benwhiting
Podcast with lively discussion about editing.
@ljsellers
Great writing podcast by three authors (one writes fantasy, the other horror, the other webcomics)
@gregbas
Setting as a Character - agent Maass on writing mythic significance into the landscape
@dbschlosser
"Just say no to dialect, y'all"
@motsjustes
Keeping your dialogue lively by @RGregoryBrowne
@benwhiting
Learn about point of view in fiction writing
@motsjustes
... a new talk, on plotting and springing surprises in novels (by Arthur A. Levine editor)
@chavelaque
Publishing News, Trends, OpinionsTIME: Amazon defining the future of publishing
@KFZuzulo
Marketing/PromotionAuthor Christina Katz @thewritermama with platform ideas and mistakes
@janecandid
Building an Author Platform (Video)
@thecreativepenn
A pain free method of self-promotion
@TXBirder
Twitter on Twitter
Some deep insights into twitter in this post by @cheeky_geeky. Really thought-provoking.
@timoreilly
USA Today on the art of writing on Twitter (and Facebook):
@jwikert
Why Writers Should Use Twitter
@alexisgrant
Note to writers: Twitter may be a better platform than a blog.
@jamesscottbell
The grand unveiling: The Smashwords Writer's Digest ad, written by your tweets (and yes, winners inside the ad)
@markcoker
Online & Offline Resources/ToolsFive sites to get free books
@BubbleCow
The 50 Best Books on Writing Fiction
@BubbleCow
Sunday writers links (Thx @le_shack !)
@thecreativepenn
Detect Plagiarism on the Web by @CathyStucker
@BookMarketer
The Writing Life / PhilosophicalWriters: Are you indispensable?
@milehighfool
How to be a more successful writer - by thinking like an entrepreneur.
@barryeisler
Just blogged about 3 things John Cleese taught me on unleashing creativity at will
@sanderssays
"Listen Up, Old School Journalists" (via RecessionWire)
@mariaschneider
FunActual student comments in writing workshop from McSweeney's -hilarious!
@WritersGroup
NY Times map of publishing industry natural selection of logos
@ficwriter
The Top 15 Bad Romance Novel Opening Lines (giggle!)
@thecreativepenn
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Saturday, June 13, 2009 3:43:36 PM (Eastern Daylight Time, UTC-04:00) Trackback
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