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Writing Resources
|
 Sunday, May 31, 2009
Monthly News From Glimmer Train
Posted by Jane
 Glimmer Train
has just chosen the winning stories for their March Fiction Open. This
quarterly competition is open to all writers for stories on any theme,
with a word count range of 2000-20,000. Monthly submission calendar may be viewed here. First placeJustin
Torres of New York, NY, wins $2000 for “Surrender Unto Us”. His story
will be published in the Summer 2010 issue of Glimmer Train Stories,
out in May 2010. Second placeVauhini Vara of Iowa
City, IA, wins $1000 for “We’ll Rise Above the Sky”. Her story will
also be published in an upcoming issue of Glimmer Train Stories. Third placeKeith Meatto of New York, NY, wins $600 for “Tierra Santa”. A PDF of the Top 25 winners can be found here. Also: Short Story Award for New Writers competition
(deadline soon approaching! May 31) Glimmer Train hosts this
competition twice a year, and first place is $1,200 and publication in
the journal. It’s open to all writers who haven’t had their fiction
appear in a print publication with a circulation greater than 5000.
Word count range 500-12,000. Click here for complete guidelines.And beginning June 1, Glimmer Train opens a brand new category! Guidelines here: Best Start
--
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
Sunday, May 31, 2009 3:03:49 PM (Eastern Daylight Time, UTC-04:00)  Trackback
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Saturday, May 30, 2009
Best Tweets for Writers (week ending 5/29/09)
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.) Apologies for the lag this week— catching up from our BEA event. Look for a recap with photos in the next few days. Best of Best54 Tips For Writers, From Writers
@MeghnaK
Five Novelists' Web Sites That Offer Great Writing Advice
@jharmonwriter
Amy Tan (TED): The Ted Commandments
@Krizanovich
Cory Doctorow: Writing in the Age of Distraction
@dbschlosser
Stand Alone (no links)
"Write down the thoughts of the moment. Those that come unsought for are commonly the most valuable." —Francis Bacon
@wayne1009
Be suspicious if your editor only corrects grammar, typos. The less you're outraged, the less it'll sell. Editing equals improving. @gyokusai
"Writing has got to be an act of discovery. I write to find out what I'm thinking about." —Edward Albee
@UpWritePress
To get ahead, at the very least, write out at night your next day's objectives. Writing focuses your energies to accomplish your tasks.
@yourdaytoshine
In writing fiction, finding "facts" to fit your narrative = recipe for success. In real life, not so much.
@dbschlosser
Your editors are like coaches: they know audience & reject writing for good reasons, even if you don't know specifics. —T. Whalin
@QuipsAndTips
Getting Published, Agents/EditorsWhy writers should avoid content aggregators such as Helium:
@milehighfool
Reality check from author: Getting published is just the beginning
@KFZuzulo
Tips for the editor/agent appts
@heatheragoodman
The Five Traits of a Successful Writer
@saithota
Ask the editor: Do publishers have rules about POV?
@kdwashburn
Wed writing exercise: historical figures in fiction, by the Donald Maass Literary Agency
@motsjustes
Craft & TechniqueThe key to prolific writing? Genre.
@motsjustes
How to salvage writing disasters by @quipsandtips
@motsjustes
How Screenwriting Broke My Writer's Block
@jharmonwriter
I wrote a guest post called Embracing a Million Crappy Words
@beagooddad
Tips for writing a killer opening line, via @mariaschneider
@motsjustes
To drop the F bomb or hold it in reserve: choosing when to cuss in your writing
@dbschlosser
"If the character does not change in the course of the writing, it is not fiction. It is information."
@jshelley78
One of the challenges of writing is ... writing. 13 Tips For Actually Getting Some Writing Done
@musicasmessage
Summarized Dialogue: The many uses in fiction and memoir.
@KimsCraftBlog
The yin and yang of characterization in writing
@dbschlosser
Marketing/PromotionThe author's own story. Marketing, conversations and lies.
@paperbackjack
How you can use eBooks and the Kindle to market your writing from @jakonrath
@benwhiting
Twitter on TwitterLiterary Tweets: 100+ of the Best Authors on Twitter
(via @tweetmeme)
@DebraMarrs
Check out "Best of Writing on Twitter"
@MeghnaK
News, Trends, Opinions
Why AmazonEncore matters (via @BubbleCow)
@thecreativepenn
Richard Curtis on changes to copyright due in 2013
@bookmarketology
"Demise of Writing Greatly Exaggerated" -- a teen is not deterred from pursuing her dream job
@motsjustes
Online & Offline Resources/Tools
@michellerafter reviews 10 great virtual hangouts for freelance writers
@milehighfool
Free Online Writing Courses (via @BubbleCow)
@thecreativepenn
101 Best Websites for Writers: Our 2009 list from the May/June mag issue.
@WritersDigest
Wired's Ebook reader buying guide - good roundup of current state of art.
@thecreativepenn
Random Writing Prompt Generators
@MeghnaK
PhilosophicalDo we Miss Authorial Omniscience?
@idtheory
How writing saved me from myself
@joanna_haugen
"to cast a spell [on the reader]–possess them, manipulate them, coerce them into turning another page"
@jshelley78
Writers Reveal the Book the Changed their Lives
@blogofinnocence
Looking for more social networking and updates from Writer's Digest?
Best of Twitter
Saturday, May 30, 2009 2:47:29 PM (Eastern Daylight Time, UTC-04:00) Trackback
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Friday, May 29, 2009
Just a Start (How a Writer Builds Confidence)
Posted by Jane
 Today's guest post is from the lovely Jane Koenen Bretl—an aspiring author taking one day at a time, and
writing about it. Her blog, jane, candid, is a sometimes funny,
sometimes thoughtful, often irreverent account of one mom trying to
start a writing career and make the kids catch the bus. Really, it’s
just one jane’s look at life.
As someone just embarking on a new writing career, I am hard-pressed to offer hard-earned wisdom or sage writing advice. I have, oh, maybe 20 more years of rejection letters to look forward to before I will feel qualified to offer those nuggets of wisdom to the readers of this blog. What I can share is one jane's journey to become an Author, the kind I think of with a capital A.
Technically, I have no formal writing education. A business degree, ten years in the food industry, nearly a decade as a full-time mom, a children’s photography business of my own—none of these pursuits specifically qualify me to write more than newsletter cover articles and the Christmas card letter. Still, through career after career, one thought returns time and again—the desire to express myself through writing, and to ultimately be published. Sometimes it is better for me not to know how much I don’t know. The publishing industry might serve as a good example. However, a series of serendipitous events landed me in a writing course last June, where I finally found the courage to pursue my dream of becoming an author—to step off the ledge of comfort and face failure as a viable, admittedly probable, option … at least, I thought, until I figured out what I was doing.
Start by starting.
I worked on a few children’s book ideas, and threw myself into my new career the same way I did each one before it—by researching and reading and absorbing everything I could find about the topic. I had bookmarks of writing websites; the list was a mile long. I bought lots of books and writer's market guides and reference materials. The Elements of Style sat on my bedside table, as if the contents would continue to seep into my subconscious while I slept. All this research quickly led to lots of thinking about writing and reading about writing and planning for writing—without much actual writing about writing.
Did I mention start by starting?
I did submit one story to an anthology, because a writing instructor advised that anthologies were a good place to start building clips for a resume that had none. I wrote a second anthology piece but never bothered to send it in, since by then I hated the first submission and was seriously questioning the sanity of breaking into the publishing world in the first place. The more I read, the more intimidating the whole proposition seemed.
But I continued to read, read, read about writing until last December, when I signed up for the Writer’s Digest Editor’s Intensive event. How lucky that the F+W Media office is in my hometown! Serendipity strikes again! In my newbie enthusiasm, I glanced over one little detail: it is a really, really, REALLY good idea to have actually polished something before I sit down for 30 minutes with an editor.
Good thing we don’t know how much we don’t know or it would be hard to ever try something new.
So I showed up at the event, all bright eyed and shiny, ready to learn, learn, learn. It quickly became obvious (at least to me) that most everyone else in the room had several novels under their belt, had paid their dues, logged their hours, and were blogging or freelancing or had been writing full-time for years. I swear some attendees had tattoos with long-suffering potential book titles on their arms, and those were just the ones I could see. Oh, and they had actually written something great to discuss with the editor the next day.
Oops.
When I arrived for my 30-minute time slot, I wasn’t feeling so shiny. I did have a crackin’ query letter that received good feedback, but my chosen editor kindly and gently indicated the actual story needed a lot of work. Like the “start by starting over” kind of work. Not a surprise, really—after only a few months working on the story (in between all that reading), I already knew it was not ready for prime time. I did receive a wealth of helpful information and actionable advice from the editor. It was a great experience, even though I was secretly hoping the work contained a glimmer of brilliance somewhere deep down. Well, not this time. But the good news? I now had my first (albeit unofficial) "rejection" under my belt. Now I felt free to make more mistakes along the way. Rejection in any form, even the most kind, is painful yet still liberating. It was like that first scratch on a new car—it took away the need to worry about my mental bumpers.
So I listened, and I walked out the door with a new focus. Jane Friedman and the rest of the staff inspired me to join some social networks to build contacts and connections with other writers and potential readers. I could commit to writing (something) daily. I would start a blog (as soon as I figured out what a blog was) and use that as part of my daily writing practice, and as an idea incubator and network builder. I would start visiting lots of other blogs, leaving comments, and building up my own readership while creating more and more contacts along the way. Learning something new every day.
The fellow attendees of the conference? Several of them formed a Facebook discussion group, invited any attendee to join, and shared a heap of experience and information. And, of course, I learned that some of them shared my state of mind, the writer's blessing/curse to never think the words are quite right, yet. To keep revising and rewriting and wondering when. I wasn't alone with my doubts, or my over-active imagination. (I still wonder about the tattoos.)
That anthology piece? It was actually published this spring, and that gave me a shot in the arm. Actually it is still an IV drip of confidence as I keep the book next to my computer, there to remind me how I felt the day that book arrived in the mail. The book with my name in it. And my little story. Someday, my name could be on the cover, if I work hard.
Using Jane's advice to become more productive while becoming cyber-savvy, I started using (for the love of god) an RSS reader. Now I could satisfy my need to read voraciously about writing and still have time to write something. And, four months after its launch, I can say I truly enjoy the process of blogging and have, through that social media, found a new voice within myself. I just passed the 5,000 hit mark for jane, candid, a small number by many blog standards but a big milestone for me. I am not sure yet where this voice will take me. Actual income is a rational goal. I have to start by starting …
Craft & Technique | General | Getting Published | Guest Post
Friday, May 29, 2009 12:46:35 PM (Eastern Daylight Time, UTC-04:00) Trackback
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Friday, May 22, 2009
Best Tweets for Writers (week ending 5/22/09)
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 22, 2009 6:40:46 PM (Eastern Daylight Time, UTC-04:00) Trackback
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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) Trackback
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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) Trackback
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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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Monday, May 04, 2009
Are You Ready to Be a Bestselling Author? Then Listen to Alec Baldwin
Posted by Jane
When I'm feeling stressed at work, I love watching this clip from Glengarry Glen Ross, where Blake (played by Alec Baldwin) walks into a real-estate office on a rainy night to give everyone a little "pep" talk. (Warning: Strong language ahead.)
I've never had a sales job (and never want a sales job!), but listening to this reminds me of the ground rules about working in any business. For writers who are trying to succeed at writing as a business, maybe you'll find this helpful too. Below I've extracted the writing pearls of wisdom from the best parts of Blake's talk. Note: I have cleaned up the language to keep this at least PG-13. Blake
Let me have your attention for a moment! So you're talking about what? You're talking about that sale you shot, some SOB that doesn't want to buy, somebody that doesn't want what you're selling, some broad you're trying to screw and so forth. Let's talk about something important. Are they all here?
Lesson #1. Where You Expend Your Energy Is VitalIf you want to sit around and complain about your situation, is that helping you succeed? No. If you go to a writers conference or critique group, or to an online forum, are you the type of person who's just there to air complaints and talk about how rough you've had it? ("You're talking about that pitch you shot, some editor that doesn't want to buy, somebody that doesn't want your novel?") It's time for self-reflection. How can you be productive with your time, and put your energy into something positive? Blake
Let's talk about something important! (to Levene) Put that coffee down!! Coffee's for closers only. Do you think I'm messing with you? I am not messing with you.
Lesson #2. Coffee Is for ClosersActually, there is no lesson here. It's just one of the best lines of the whole scene. Blake
... The good news is -- you're fired. The bad news is you've got, all you got, just one week to regain your jobs, starting tonight. Starting with tonight's sit. Oh, have I got your attention now? Good. 'Cause we're adding a little something to this months sales contest. As you all know, first prize is a Cadillac Eldorado. Anyone want to see second prize? Second prize's a set of steak knives. Third prize is you're fired.
You got leads. Mitch and Murray paid good money. Get their names to sell them! You can't close the leads you're given, you can't close, hit the bricks pal and beat it 'cause you are going out!!!
Lesson #3. Know When to Fire YourselfIn sales, call volume is important. The more calls you make, the more sales you make. It's important to spend time on the phone. In writing, butt-in-chair is important. The more consistent time you spend writing, the better you get, the more you produce. Think about how much time you spend on your writing. Do you deserve to be fired, or are you proud of your production? In publishing, pitching is important. Have you found the right leads? Or are you indiscriminately opening up a market directory and sending generic queries? Do you buckle under rejection, or can you keep going? If you can't face rejection, if you can't learn to pitch agents/editors, you will indeed hit the bricks, at least in terms of writing as a business pursuit.
Blake
… you drove a Hyundai to get here tonight, I drove a eighty thousand dollar BMW. That's my name!! (to Levene) And your name is "you're wanting." And you can't play in a man's game. You can't close them. (at a near whisper) And you go home and tell your wife your troubles. (to everyone again) Because only one thing counts in this life! Get them to sign on the line which is dotted! You hear me?
Lesson #4. Success Calls for Thick SkinWriters who can't be edited, who faint at red marks on the page, who think their writing can't be improved (yet in the same breath complain that editors don't edit any more): You can't effectively play at this publishing game if you're this sensitive. If you can't adjust and compromise (when necessary) to close a deal, it's time to exit the game. Of course, if you're asked to compromise so much that it's a bad deal, find yourself another lead. (Blake flips over a blackboard which has two sets of letters on it:
ABC, and AIDA.)
Blake
A-B-C. A-always, B-be, C-closing. Always be closing! Always be closing!! A-I-D-A. Attention, interest, decision, action. Attention -- do I have your attention? Interest -- are you interested? I know you are. You close or you hit the bricks! Decision -- have you made your decision for Christ?!! And action. A-I-D-A.
Lesson #5. Always Be ClosingBefore you even write the first word of your manuscript, you should have an audience/readership in mind, and know how to close agents/publishers on buying your work, but more importantly, your readers. AIDA! Blake
You think this is abuse? You can't take this -- how can you take the abuse you get on a sit?! You don't like it -- leave. I can go out there tonight with the materials you got, make myself fifteen thousand dollars! Tonight! In two hours! Can you? Can you? Go and do likewise! A-I-D-A!! Get mad you SOBs! Get mad!!
Lesson #6. Get MadSometimes it's necessary to get angry or fired up (over rejection, over poor treatment from a publisher/agent, over lack of sales) to get the more successful outcome you want. You can't sit back and play the victim and expect to be successful. Don't expect others to do the work for you. Are you making the most of the tools you have? Could someone else do better with your tools, if they had more confidence, energy, and drive? Blake
The money's out there, you pick it up, it's yours. You don't--I have no sympathy for you. You wanna go out on those sits tonight and close, close, it's yours. If not you're going to be shining my shoes. Bunch of losers sitting around in a bar, (in a mocking weak voice): "Oh yeah, I used to be a salesman, it's a tough racket."
Lesson #7. Writing and Publishing Is a Tough Racket. So What?The percentage of writers who eventually get published is very small. The percentage of writers who publish and manage to make a living at it is even more miniscule. But there are new authors who manage to do it everyday, through traditional and nontraditional (self-publishing) means. You can complain all you want about it being a tough or unfair racket, but that doesn't get you any closer to success. If you want to be in the game, these are the rules. Would you know what to do with good luck if you got it? I hope so! Go and close!
Getting Published
Monday, May 04, 2009 4:24:38 PM (Eastern Daylight Time, UTC-04:00) Trackback
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Friday, May 01, 2009
Best Tweets for Writers (week ending 5/1/09)
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 01, 2009 3:58:43 PM (Eastern Daylight Time, UTC-04:00) Trackback
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