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Writing Resources
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 Tuesday, February 09, 2010
Are Fee-Charging Agents Legit?
Q: Recently I queried an agent and, in her response, she told me she charged a fee for reading manuscripts. I had never heard of this before, so I'm hesitant to move forward with her. Are reading fees a standard practice with agents?
A: No, charging a reading fee is not a standard practice of agents. Most agents generally get a 15% commission on the earnings on the manuscript, meaning that they don't get paid until you do. If they mention any type of upfront fee (other than sending a self-addressed stamped envelope, or SASE), that should be an immediate red flag that the agent isn't legit.
The Association of Authors' Representatives (AAR), to which many agents belong, has a very strict stance on this, which is mentioned in their Cannon of Ethics:
AAR believes that the practice of literary agents charging clients or potential clients for reading and evaluating literary works (including outlines, proposals, and partial or complete manuscripts) is subject to serious abuse that reflects adversely on our profession. For that reason, members may not charge clients or potential clients for reading and evaluating literary works and may not benefit, directly or indirectly, from the charging for such services by any other person or entity.
All members of the AAR abide by this code, and nearly all non-AAR agents follow it too. About 15 years ago or so, there was a small collection of reputable agents who did charge reading fees, but most have dropped those charges so they aren't confused with scammers. It's also very telling that neither Writer's Market or Guide to Literary Agents (GLA) list agents that charge upfront fees.
"You should never pay any upfront fees just so that your work is read or considered," says Chuck Sambuchino, editor of GLA. "If we find out someone has instituted a reading fee, we disqualify them and remove them from the book."
This is not to say that there aren't capable agents who may charge fees—you certainly may be able to find a few that have sold some books—but be clear that they are willing to bend the (nearly) universal rules to make a buck.
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Agents
Tuesday, February 09, 2010 5:42:53 PM (GMT Standard Time, UTC+00:00) 
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Tuesday, January 26, 2010
Which Word Count Do Agents Want?
Q: Traditionally, a novel's word count was estimated by multiplying the number of pages by 250 words per page (assuming standardized margins, font, double space, etc.) Now, word processors can give exact word counts instantly. When agents ask for a novel's word count, do they want the "traditional" word count or the "word processor" word count? —Guy T.
A: Either number will suffice, but you're always better off going with the more accurate word-processor count. It's important to keep in mind that agents and publishers aren't going to punish you for being a few words off in your query letter. Why? Because the specific number doesn't matter so much. They are basically looking for an accurate ballpark picture of where your work falls in the big number range—is your novel roughly 85,000 words (good) or is it closer to 250,000 words (yikes). Also keep in mind that agents expect you to have electronic versions of your manuscript—if you don't, getting a book deal will be nearly impossible—and any electronic version can get a word-count scan on it. So with the technology at your fingertips it's almost silly not to embrace it.
Your best plan of attack with today's agents is to use a word processor's word-count function to get the exact number and then round up to the nearest thousand (In Microsoft Word, the word-count function is under the "tools" file menu). For example, if your novel Harry Trotter and the Sorcerer's iPhone spits back a word count of 91,437 words, your query letter should read something like: "This 92,000-word satirical novel spoofing the Harry Potter series … "
And if, for some reason, your software doesn't have a word-count option, there are plenty of free websites that will run a word-count for you, like wordcounttool.com and wordcounter.net. Just cut and paste your text into the box and viola!
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Agents | Formatting | Query Letters
Tuesday, January 26, 2010 1:47:45 PM (GMT Standard Time, UTC+00:00)
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Tuesday, January 19, 2010
How to Finish that Novel
Q: I am a working mom and frustrated writer. I have been writing a story for several months, but now find myself stuck. I know what the story is about, I have a very detailed and a clear mental image of the characters in my head. I am currently in the process of fleshing out the story, but what next? I don't know anything about getting into this field, and outside of college, have never written such a long and involved story. What advice and directions can you suggest to a writing virgin? —Val M
A: At one time or another, all writers would probably describe themselves as "frustrated" by the writing process. With writer's block, computer malfunctions, Twitter, kids, and Tetris all clamoring for our attention, it's hard to pen a short story, let alone a novel. But if you're serious about writing you'll make it work. Here are some tips on finishing that novel.
First, evaluate your daily schedule. Find at least 15 minutes of every day—that's right, every day—to dedicate to writing. Whether it means you have to wake up 15 minutes earlier, go to bed 15 minutes later, eat lunch faster, take a notepad into the bathroom—whatever it takes, you have to make time to write. It's the one and only definitive prerequisite to being a writer.
Next, take the first two weeks of that time to organize your notes. Evaluate them. Put them in order. Improve them. Some writers will write the beginning and last lines of each chapter, forcing themselves to have start and stop points. This also can keep you on track and help you forward along your novel. You can make adjustments as necessary, but this way you'll always know where to start and where you need the story to go—which will help keep writer's block at bay (or in the back room playing the Tetris game you're successfully ignoring).
And finally, just write. Don't worry about quality. Don't worry about grammar or style. Don't worry about agents or publishers. Don't worry about anything except telling your story. Second and third drafts are for editing, rewriting and polishing. First drafts are for getting the stories out of your head and onto paper.
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Writing Advice
Tuesday, January 19, 2010 3:23:12 PM (GMT Standard Time, UTC+00:00)
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Tuesday, January 12, 2010
Sneaked vs. Snuck
Q: I say "snuck" all the time (as in, "I snuck some cookies before dinner"), but my grandma is always telling me "snuck" isn't a word and I should be saying "sneaked." I've never heard anyone (other than her) use the word "sneaked." Is she right? –Anonymous
A: "Sneaked" versus "snuck" is one of those classic grammarian conundrums that you'll hear word enthusiasts debate all the time. Many people (like my sister) will say "snuck" without even slight hesitation, while supporters of "sneaked" (like me) will adamantly throw red flags on them, calling them out for improper use of our fine English language. But do we who say "sneaked" really have a case against the "snuck-ers" of the world?
Twenty years ago, maybe. Today, probably not.
"Sneaked" is the standard past tense and past participle form of "sneak." Last night I sneaked into the movie theater. Unfortunately, the ticket taker sneaked in right behind me and tossed me out on my rear. What this means is that "sneaked" has always been accepted as the past tense of "sneak." So if you use it, you will be abiding by the long-time language rules preached by most of our high school English teachers.
Of course, the rules of the English language are always evolving, and "snuck" has sneaked its way into our American lexicon. It's considered the nonstandard past tense—basically meaning that "sneaked" is the preferred word-choice, but "snuck" is also acceptable. (English teachers across the nation just united against me—though if any start a "We Support Sneaked" Facebook page, I promise I'll join.) I snuck into the meeting a few minutes late hoping no one would notice. The next week, my boss snuck a few dollars out of my paycheck. Even Merriam-Webster, who calls itself "America's foremost publisher of language-related reference works," doesn't make the distinction in its online definition and fully recognizes "snuck" as a past tense and past participle of "sneak."
In another 10-to-20 years, "snuck" may even become the preferred past tense form of "sneak"—who knows? But until then I suggest using "sneaked." It will not only make you sound smarter, but it'll also keep the English teachers from hunting me down like a movie-theater ticket-taker.
Brian A. Klems is the online community editor of Writer’s Digest magazine.
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Grammar
Tuesday, January 12, 2010 7:04:41 PM (GMT Standard Time, UTC+00:00)
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Tuesday, January 05, 2010
Querying About a Trilogy
Q: I'm currently finishing the first book in what I plan to be a trilogy and am getting ready to query agents. When I pitch the book, should I mention that this is the first book of a series or not? Do agents want to know it's a series? What's the best way to handle it?—Anonymous
A: Agents (and publishers, for that matter) are big fans of book series. If the first book is strong and flies off bookstore shelves, it's a safe bet that its follow-ups will too. Most who run the publishing industry would practically sell the naming rights to their first-born child to land a Harry Potter or a Twilight. Heck, I'd have sold the naming-rights to both my daughters for a chance to write them.
Luckily for them, I've yet to land that golden ticket.
The key to selling a trilogy is selling the first book first. Without that sale, books two and three (or more, if it's a longer series) are DOA. So focus your query letter on book one. Pitch it as if it weren't in a trilogy—don't mention future books, plots, etc. Stick to the strengths of book one and, if you find you can't without mentioning the others, then book one has major flaws.
Now this doesn't mean you should keep your trilogy a secret, says Guide to Literary Agents editor Chuck Sambuchino. Just save it for a future conversation.
"If you propose your first book and they like it, they'll contact you," Sambuchino says. "One of the first questions they will ask, I promise you, will be, 'What else are you working on or writing?' And that’s when you say, 'Well, I'm halfway through the second book in that series and I've got some outlines for other projects.'"
By following this method, you'll avoid irritating agents who dislike queries about more than one book while doing no harm to ones that don't care either way.
Brian A. Klems is the online community editor of Writer’s Digest magazine.
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Dealing with Editors | Publishing | Query Letters
Tuesday, January 05, 2010 3:52:58 PM (GMT Standard Time, UTC+00:00)
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Tuesday, December 15, 2009
Defining Picture Books, Middle Grade and Young Adult
Q: I'm writing a children's book and I see that most publishers have different classifications within the genre—picture books, middle grade, young adult, etc. What are the differences? –Kara G.
A: Like any genre, there are plenty of subcategories for children's books. Ultimately, though, there are five main classifications that you should know—toddler books, picture books, easy readers, middle grade and young adult—and each are associated with the age group they service.
Toddler books (also known as "board books" because they are printed on hard cardboard for sturdy construction) are published for children 3 years old and younger. They often rhyme or repeat lines, and are generally no longer than 300 words. Examples include Pajama Time! and Barnyard Dance! by Sandra Boynton (my daughters' favorites), Where Is Baby's Belly Button? by Karen Katz and Brown Bear, Brown Bear, What Do You See? by Bill Martin Jr. and Eric Carle.
Picture books are published for children ages 4 to 8 years old, and rely heavily on pictures and illustrations to tell the story. This is a big-tent category, where the definition can vary greatly from publisher to publisher, but picture books are typically about 1,000 words long and centered around one main character. Examples include Where the Wild Things Are by Maurice Sendak, The Carrot Seed by Ruth Krauss and The Polar Express by Chris Van Allsburg.
Easy Readers are published for kids ages 5 to 8 years old, and are geared toward kids who are starting to read on their own. Page length usually falls between 32 to 48 pages (and can even range up to the 64 pages), with a maximum word count of 2,000 words (though most fall well short of that). Examples include Amelia Bedelia by Peggy Parish, Monkey Trouble by David Martin and most Shel Silverstein and Dr. Suess books.
Middle grade books are published for children 9 to 11 years old and are generally 100-150 pages. Stories show a little more complexity, sub-plots and a larger cast of characters.
Young adult books are geared for kids 12 years old and up. They are very complex, often dealing with mature themes and adolescent concerns. Word count ranges from 45,000 to 80,000 (a good number to aim for is 65,000). Young adult is another big-tent category (probably more so than picture books), and houses a wide spectrum of books, so don't be surprised if you see different definitions elsewhere. Examples of YA books include Stephenie Meyer's Twilight series, J.K. Rowling's Harry Potter series and (my all-time favorite YA novel) The Outsiders by S.E. Hinton.
Brian A. Klems is the online community editor of Writer’s Digest magazine.
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Writing for Kids
Tuesday, December 15, 2009 7:06:58 PM (GMT Standard Time, UTC+00:00)
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Tuesday, December 01, 2009
What to Charge for Online Writing
Q: Do you have any suggestions on compensation for writing online? –Jillian L.
A: Unfortunately, there's no easy answer for this question. While there is pay for online writing, there isn't much. Worse yet, it's often hard to come by unless you are an expert in a field that lacks experts or you're writing advertorial text. Even then, I wouldn't count on pulling in big dollars (or even medium dollars).
Magazine and newspaper editors generally don't have a budget for online content (though most are clamoring for one), so they try to compensate writers in ways other than monetary payments—allowing them to plug a book, website or other item; offering writers an advertising spot in a newsletter; etc. These elements (often referred to as "loss-leaders" because you lower your rates up front to make more money on the backend) can be valuable if you have a book to sell or can get people to sign up for a class that you teach. Even if you don't have a product to peddle, at the very least you can gain more credibility as a writer and add to your portfolio of clips. You can also get in good with an editor, making it more likely you can secure print assignment that carry a more significant payout.
If you are looking to quote a price for an editor, WritersMarket.com has a "What to Charge" pay breakdown for several different types of online writing (special thanks to Writer's Market Editor Robert Lee Brewer for allowing me to share this "behind-the-wall" info with you):
• Web page writing: $40-125 per hour (or 21 cents to $2.62 per word)
• E-mail copywriting: $65 -$125 per hour (or $300 per e-mail)
• Online editing: $25-$100 per hour (or $3-4 per page)
While these numbers are a pretty good measure of where to place yourself when given the opportunity to quote a price, they also are by no means a guarantee that you'll get an offer in that range. Much like freelancing for print, it's a market-by-market, assignment-by-assignment type of thing. And far more publishers are offering deals like the ones mentioned at the beginning of this answer (plug a book, gain a clip) than they are offering payment for online content.
Ultimately, the ball will be in your court and you'll have to decide whether the payment you are offered—be it cash or otherwise— is worth your time.
Brian A. Klems is the online community editor of Writer’s Digest magazine.
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Dealing with Editors | Publishing
Tuesday, December 01, 2009 3:31:04 PM (GMT Standard Time, UTC+00:00)
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Tuesday, November 17, 2009
Lead, Lead or Led?
Q: What's the difference between "lead" and "led"?—Jake S.
A: "Lead" has two specific meanings. As a noun, lead (pronounced like "bread") is a metallic element. It's labeled on the periodic table as "Pb" and sometimes found in really old paint. The U.S. government banned lead paint in 1978. Lead pencils aren't actually made out of lead; they are made out of graphite. (A grammar example and a science lesson all in one!) So whenever the word is used as a noun, it's always spelled l-e-a-d.
Used as a verb, "lead" (pronounced like greed) means "to guide or direct." I always try to lead my children by example. Brian A. Klems leads in the voting for Best-Looking Male Grammar Expert. While I can't confirm the validity of the second example statement, I can confirm that "lead" is used properly.
"Led" comes into play as the past tense of the verb "lead." Derek Jeter led the New York Yankees to a World Series victory. I led you to the correct answer of this grammatical conundrum. If you can substitute the words "guided" or "directed" into the sentence, your correct choice is "led."
Brian A. Klems is the online community editor of Writer’s Digest magazine.
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Grammar
Tuesday, November 17, 2009 8:24:44 PM (GMT Standard Time, UTC+00:00)
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Tuesday, October 20, 2009
What is an M.F.A.?
Q: What exactly is an M.F.A. and how is it beneficial to writers? –Matthew G.
A: While the initials M.F.A. sound like an outer-space contraption that the government is trying to hide in the desert, it's actually a very valuable credential earned by some writers.
An M.F.A., or Master of Fine Arts, is one of the highest degrees you can earn in creative writing. Think of it as a graduate program for writers that includes workshops with other writers, instruction from dedicated faculty (including famous/successful writers) and vigorous deadlines. Typically you'll need a bachelor's degree to apply and most M.F.A. programs last about 2 years—though there are many options.
"There are large programs, small programs, full-time ones, part-time and low-residencies/long-distance programs," says M.F.A. Confidential blogger, Kate Monahan. "The key things to consider when picking a school are location, size of the program, on-campus vs. long-distance learning, available funding (many programs offer full-tuition), available faculty members, visiting authors, school’s ranking/reputation and potential teaching fellowships."
As for the benefits, the advantages of M.F.A. programs span from refining your writing skill-set to literary magazine assignments. But the most valuable jewel is that it grants you access to resources that are normally off-limits to writers, specifically research assistants, teaching opportunities and writing workshops with published authors (sometimes there are even one-on-one opportunities). These advantages helped Michael Chabon, Alice Sebold and Elizabeth Kostova—all alumni of M.F.A. programs—land book deals.
And if you're looking for a practical reason to enroll, Monahan has it: "The true importance of an M.F.A. program is finally giving yourself permission to take your writing seriously."
Amen to that.
Brian A. Klems is the online community editor of Writer’s Digest magazine.
Have a question for me? Feel free to post it in the comments section below or e-mail me at WritersDig@fwmedia.com with “Q&Q” in the subject line.
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Visit Writer's Digest Community
Publishing | Research
Tuesday, October 20, 2009 3:55:25 PM (GMT Daylight Time, UTC+01:00)
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Tuesday, October 13, 2009
Can You Copyright a Title?
Q: I've been working on a book and the title is very important—I use it as the URL for my blog, for a weekly column I write, etc., and I want people to identify it with me. Can I copyright a title so others can't use it? –Anonymous
A: Copyrights cover works fixed in a tangible format, but because titles are typically short, they don't fall under copyright protection. So no, you can't copyright a title to a book, song or movie. But you can trademark a title, which may give you the protection you seek.
The U.S. Patent and Trademark Office states that a trademark protects words, phrases, symbols or designs identifying the source of the goods or services of one party and distinguishing them from those of others. Brand names like Pepsi, Xerox and Band-Aid are all protected. So is the Nike "swoosh." But more relevant to us, book titles such as The Da Vinci Code and Harry Potter and the Sorcerer's Stone are trademarked.
Unlike copyright protection, which is granted the minute your work is written down, trademarks aren't handed out so freely. In fact, if the U.S. Patent and Trademark Office doesn't consider your title (or brand) a distinctive mark that is indisputably distinguishable from others, you will not be granted trademark protection. This is why you see so many books with the same—or very similar—titles. Many of the terms are considered too generic or arbitrary to warrant protection.
Trademarks are not only intended to protect the creator, but also the consumer. Trademarks keep others from confusing a well-known work on the bookstore shelves with others. For example, Harry Potter is such a popular, distinguishable character by J.K. Rowling that you'd expect any title with his name in it to be written by her (or, at least, a book approved by her). It's not only her work, but it's become her brand.
So if you use the title of your book as the title of your blog, column, etc., it could be considered your brand identifier. And if you find success, you could qualify for trademark protection.
Brian A. Klems is the online community editor of Writer’s Digest magazine.
Have a question for me? Feel free to post it in the comments section below or e-mail me at WritersDig@fwmedia.com with “Q&Q” in the subject line.
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Copyrights
Tuesday, October 13, 2009 1:43:06 PM (GMT Daylight Time, UTC+01:00)
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