Writer's Digest Questions and Quandaries

Allude vs. Elude

2008-07-22T13:50:38.7760000-04:00

Q: What’s the difference between “allude” and “elude”? Are they interchangeable? —Anonymous

A: “Allude” and “elude” are frequently misused in place of each other, even though they’re about as different as broccoli and ice cream.

“Allude” means to refer to something in a casual or indirect way. Michelle alluded to my tardiness by glancing at her watch when I arrived. My wife alludes to her birthday a week in advance by leaving a Things-I-Want list on the refrigerator.

“Elude,” on the other hand, means to avoid or escape from by quickness or cunning. Justin eludes the police by hiding in a bush. I eluded the school bully—and a wedgie—by ducking behind the principal’s car.

Make sure to use these words correctly in your writing. Otherwise, picky agents and editors may try to elude you.

Brian A. Klems is the online managing 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@fwpubs.com with “Q&Q” in the subject line. Come back each Tuesday as I try to give you more insight into the writing life.

Quotes Within Quotes

2008-07-08T14:19:38.7320000-04:00

Q: When should I use single quotes instead of double quotes?—John Batson

A: Double quotation marks signify the exact words of someone else speaking in your writing. Single quotation marks come into play when the person you’re quoting quotes someone or something else.

Look at this example:

“I’m irritated with Dad right now,” said my sister. “Last week he said to me, ‘Jennie, if you don’t wash your own clothes, I’m going to start throwing them in the backyard.’ Last night I found my favorite shirt hanging from the bird-feeder.”

The writer is quoting his sister, Jennie. She gets the double quote marks credited to her speech. But while Jennie is talking, she quotes her dad. His words (which she’s reciting) get the single marks.

As sentences become more complicated with multiple quotes, the rule is to alternate between double and single marks.

“I talked to Mom last night and she said, ‘I agree with your father. And when he says, “I’m going to throw your clothes in the backyard,” he means it.’ This is laundry war!”

So use single quotes only inside double quotes. And you can quote me on that—as long as you use the correct set of marks.

Brian A. Klems is the online managing 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@fwpubs.com with “Q&Q” in the subject line. Come back each Tuesday as I try to give you more insight into the writing life.

What's Considered Fair Use and What Isn't?

2008-07-01T11:33:10.5120000-04:00

Q: Is it necessary to ask permission to reprint an article if the reprint is used in a strictly academic setting?—Anonymous

A: Title 17, Chapter 1, Section 107 of the U.S. code states that “the fair use of a copyrighted work, including such use by reproduction in copies … for purposes such as criticism, comment, news reporting, teaching (including multiple copies for classroom use), scholarship or research, is not an infringement of copyright.” But not all material is protected for your free use. There are provisions, and our legal expert Amy Cook says the writer must weigh some factors before considering the work fair game.

“If an article on a hot issue was published, and you distribute it to a large class without permission—ostensibly to examine the writing style—those students wouldn’t go buy the magazine,” Cook says, and the magazine would lose sales. “You can’t destroy the market value for the original.”

Courts also take into account whether the original work is more factual (which more readily falls into a fair use) or if it’s more creative (less likely to be a fair use). The amount and substantiality of the portion used in relation to the copyrighted work can come into question, too; so taking an entire article is risky.

“The bottom line is that writers or users should take only the smallest amount they need to comment on it,” she says. “The mere fact that it’s an academic use doesn’t automatically protect you. If in doubt, simply get permission.”

Brian A. Klems is the online managing 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@fwpubs.com with “Q&Q” in the subject line. Come back each Tuesday as I try to give you more insight into the writing life.

What Are First Serial Rights (or FNASR)?

2008-06-24T15:20:28.3900000-04:00

Q: When working out a contract with a magazine, what are first serial rights?—Anonymous

A: When you sell first serial rights to a newspaper, magazine or periodical for a piece of work you’ve written, that media outlet has the right to be the first place to publish the article/story/ poem. After the piece runs, you’re free to resell it to another medium or to package a collection of your work into a book.

Rights can be sold geographic-ally, as well. It’s not uncommon to see article submissions with “offering first North American serial rights (FNASR)” written in the top, right corner of the first page. This limits the buyer’s rights and gives you the opportunity to sell the article in other locations outside the U.S. and Canada—such as England, Russia or Madagascar.

Reprints of your work that previously appeared in another publication are considered second serial rights. These rights are nonexclusive, meaning the author can sell the piece to many publications at the same time.

In the online world, you can sell the electronic rights to your piece. These rights aren’t as clear.
While they cover most of the same rules as first serial rights, the ever-evolving technology can cause some discrepancies between yourself and the publisher—like whether it can archive your work, place it in a database and let young punks download it to their PCs. This process is the least defined, and you may want to specify each right you license to the buyer.

Other rights to consider are simultaneous rights (giving you the ability to sell work to publications that don’t have overlapping circulations) and all rights (which means you sell all the rights to your work to the buyer, and you never get another dime for the piece, no matter how many times they publish it).

And remember, it never hurts to have someone familiar with freelancer contracts glance over your contract before you sign.

Brian A. Klems is the online managing 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@fwpubs.com with “Q&Q” in the subject line. Come back each Tuesday as I try to give you more insight into the writing life.

Are Agents Stealing My Stamps?

2008-06-17T11:16:53.8780000-04:00

Q: Do agents steam off the stamps on self-addressed, stamped envelopes (SASEs) and resell them? The agents demand pages, SASEs, that sort of thing, but—and I know this sounds cynical—many of my queries disappear. In this age, why should we need to use what they call “snail mail” for queries and why do agents never answer?—Don Ballew

A: Of course agents don’t steam off stamps from SASEs and resell them. They steam them off and use the stamps themselves. (Hopefully you know I'm J/K, which is "just kidding" in Internet speak.)

Actually, they don’t steam off anything (as far as I know), and really do try to respond. To gain further insight on the matter, I called Donald Maass, president of Donald Maass Literary Agency. He represents more than 100 fiction writers.

“If you’re certain that you wrote to the agent’s current address and the SASE had sufficient postage, then you can conclude one of three things,” he says. “Either the agent is rude, the agent is busy or the agent just isn’t interested.”

Now, I doubt that agents try to ignore you, as their profession and income are based on finding great writing. With the mounds of submissions they continually receive, they probably don’t have time to respond to everyone (though that would be nice). And they do try to respond, but it's easy for queries to get lost in the shuffle.

“Snail mail” is still a viable form of submitting your query, though e-mail has really become increasingly popular in the last couple of years. There is one ultimate problem with e-mail: All that hard work goes down the drain if the editor accidentally labeled your e-mail address as spam and you’re officially blocked from the system. So it's best to follow the agent's guidelines (which can typically be found online) when deciding whether to send it by the postal service or electronically. But when in doubt, you can always send a hard copy. After all, they are easier for agents to carry around and read while traveling, eating lunch or steaming off stamps.

Brian A. Klems is the online managing 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@fwpubs.com with “Q&Q” in the subject line. Come back each Tuesday as I try to give you more insight into the writing life.

What Should I Charge to Ghostwrite a Book?

2008-06-10T15:54:01.8930000-04:00

Q: A friend approached me about writing her memoir. I don't know how to charge for it, especially since I have no idea how much material I'll have to work with and, therefore, how long it might be. Also, I know I want to share credit, on the one in a million chance that the client gets it published and the book becomes a bestseller. What should I charge? Should I assure a minimum number of pages? What guidelines do you suggest? —Tamara Kort

A: According to guidelines set forth in the 2008 Writer's Market, ghostwriters charge anywhere from $50-100 per hour for "as told to" projects and $30-115 per hour for no credit pieces. “As-told-to” ghostwriting often nets you less money per hour because you get other benefits—such as a byline, an advance and a split of the royalties (up to 50 percent). But if you're willing to skip the byline and future earnings, you can act as a work-for-hire ghostwriter and charge more on the front end.

"Whatever is negotiated needs to be done, agreed upon, on paper and signed before work commences (or continues--if already started)," says Robert Brewer, editor of Writer's Market. "Included should be an estimate on the amount of time or pages expected; how many re-writes/revisions are expected; what constitutes a finished product; how and when payment will be made; and conditions under which the price might escalate."

If charging by the hour makes you (or your counterpart) nervous (Hey, I know I said to write about my first time at Yankee Stadium, but I'm not paying for the three hours you spent catching a game in the bleachers no matter how much 'ambiance' it added to the writing)—you can simplify it by charging per page. When translating hourly rates to pages, it comes out to $4-$25. I know that seems like a large range, but, like with any contracting job, the more experience and success you have, the more you can justify charging a higher price.

Realistically, the best bet for your first time ghostwriting is probably to negotiate a specific page count and price per page, so both you and your counterpart know the total amount that will exchange hands when the book is finished. (Negotiate royalties separately). As you become more comfortable with the process, you can adjust accordingly.

Brian A. Klems is the online managing 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@fwpubs.com with “Q&Q” in the subject line. Come back each Tuesday as I try to give you more insight into the writing life.

Live From LA: Questions from the Writer's Conference

2008-05-29T13:57:11.5690000-04:00

Yesterday was the annual BEA/Writer's Digest Books Writer's Conference, and I was fortunate to be a panelist on the popular Ask the Editors session. The organizer, GLA editor Chuck Sambuchino, told me it was for my in-depth knowledge of the submission and editing processes and my familiarity with inexpensive ways to self-market work, but I think that was just fancy talk for "Brian, you're so good-looking and we need a little eye candy up there for the ladies."

No, I promise you, I have not been drinking.

Others on the panel included such brilliant minds as WD Books Editorial Director Jane Friedman, WD Books Editor Lauren Mosko and Writer's Market Editor (and Poetic Asides blogger) Robert Lee Brewer. Together, we fielded a number of great questions, but one struck me as very unusual and I thought I'd share.

An audience member said that she had read/been advised that her book proposal should include a mention of any personal finances the author planned to use to promote her book, but only if that dollar figure topped $10,000. Her question was, "Is this true?"

The question caught me off guard—mainly because I've never heard this before. While it's definitely smart to provide any information about your self-promotional plans, it doesn't seem wise to place a dollar figure on what you're willing to spend of your own money to promote your work. And it certainly doesn't make sense (to me) to put it in writing.

There's no doubt that offering to spend your own money would be a selling point to publishers; after all, what employer wouldn't be thrilled by an employee that pays for the privilege of making them money. But it's a slippery slope that could lead to publishers demanding writers to spend their own money, which would put a big chunk of writers who live paycheck-to-paycheck at a permanent disadvantage.

Robert also made a great point: What happens when you commit $10,000 of your own money but only can drum up a $5,000 advance? Now I'm no math whiz, but by my calculation you'd be out $5,000 up front with no guarantee you'd ever see that money again. Both Jane and Lauren agreed that it doesn't seem sensible to make that promise, especially when you don't know what the economic times will be like come publication time.

Now this doesn't mean that you shouldn't invest in your book—and yourself—after you get the book contract. But without putting it in writing you give yourself flexibility.

ps- For more highlights and pictures from the conference, check out Chuck's GLA Blog.

Brian A. Klems is the online managing 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@fwpubs.com with “Q&Q” in the subject line. Come back each Tuesday as I try to give you more insight into the writing life.

Can You Copyright a Pseudonym?

2008-05-20T10:59:25.9440000-04:00

Q: Do I need to get a copyright for a pseudonym, or will a copyright for the book under my chosen pen name be sufficient?—Al de Araujo

A: The name H.G. Wells isn’t copyrighted. Neither is Michael Crichton. Why? Under U.S. law you can’t copyright a name, real or fictitious. Copyrights protect authorship, such as short stories, poems or novels.

You can register a manuscript under a pen name at the copyright office ( www.copyright.gov ). You’ll have to provide some information, including your real address. But if you really want to keep your true identity under wraps, set up a post office box and have information from the office sent there.

It’s important to get your pen name on record so the Copyright Office can acknowledge the proper life span of the copyright. Work created by authors not identified by the Copyright Office have a copyright life of only 95 years from publication or 120 years from the work’s creation—whichever comes first. If a writer identifies herself to the copyright office and registers her pen name, the copyright term for the work is the author’s life plus 70 years. Which means if I get hit by a bus tomorrow my work is still protected until 2078.

It’s also important to check with the office first and do online searches to avoid using names of real people or names that have already been taken by other authors. While you can’t copyright a name, you can get sued for identity theft. Also, publishers can get pretty angry if you try to pass yourself off as someone famous like J.K. Rowling or Dean Koontz. Stick with something unique.

Brian A. Klems is the online managing 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@fwpubs.com with “Q&Q” in the subject line. Come back each Tuesday as I try to give you more insight into the writing life.

Can I Use Song Lyrics in my Manuscript?

2008-05-13T13:01:33.0310000-04:00

Q: What are the legal ramifications of reproducing song lyrics in a manuscript? If permission from each copyright holder is necessary, what’s the best way to secure these permissions? Also, can I use a song title as the title of my book?—June Youngblood

A: Song lyrics are copyrighted, which means you need permission to use them. According to our legal expert Amy Cook, there isn’t any specific law about how much you can take under fair use, but it’s common for the music industry to say you need permission for even one line of a song.

“The music industry is pretty vigilant about song lyrics,” Cook says. “This is especially true if you’re using the lyrics in a novel to progress the story or add atmosphere. If you’re a music critic reviewing a CD, you have more leeway under fair use.”

One way you can check to see if the song is still under copyright protection is to visit www.copyright.gov. This online site lists all copyright records dating back to 1978. For anything before that, you’ll need to contact the U.S. Copyright Office and may have to pay to have the records checked for you.

Another way to find the owner of the copyrights is to contact the American Society of Composers, Authors and Publishers (ASCAP) or Broadcast Music, Inc. (BMI). These two major music performance rights organizations don’t grant permission, but they can help you find the publisher of the song you’re looking to use.

Once you find the rights owner, you must ask for his permission. He could offer you the rights for free, completely deny you the rights or ask you to rename your dog after him. The price is completely up to the music publisher.

“As a practical matter, you don’t need to worry about getting permissions until your work is going to be published,” Cook says. “And your publisher may help you in securing permissions. Most publishers provide their authors with their permission guidelines and forms.”

As for song titles, however, titles of any kind (book, song) aren’t copyrightable. But they occasionally can be subject to trademark or unfair competition laws.

“If you used a really famous song title or part of a song as a title —say, ‘Yellow Submarine’— that’s so closely tied to a specific group (or artists), then you’d probably get a letter from their lawyers,” Cook says.

The A's and An's of Grammar

2008-05-06T15:05:15.9190000-04:00

Q: I know “a” goes before words beginning with a consonant and “an” before words that start with a vowel. But it seems like lately it’s become fashionable in print to use “an” with any word beginning with the letter “h.” Try to say “an half an hour”: You’ll wind up with a sprained tongue! What’s the correct rule?—Tad C. Rhoden

A: It’s all about the sound of the first letter of the word following “a” or “an.” While “a” generally is used in front of consonants (a dog, a cat, a purple people-eater), every now and again, it creeps its way in front of words that begin with a “u” or “eu.” The true rule here is when the word following the article begins with a consonant sound, use “a.” For example: People gain knowledge and discipline at a university. I’m planning a European vacation in August. The “u” in “university” and “eu” in “European” make a “y” sound—a consonant sound—therefore, “a” is used.

On the flip side, “an” goes before words starting with a vowel sound (an elephant, an anteater, an obnoxious purple people-eater). Some consonants fall into this category, such as the letter “h.” When the “h” is silent—like in “hour” and “honor”—use “an”: Would you like me to bring an hors d’oeuvre? When you hear the “h,” stick with “a”: I’ll meet you in an hour and a half.

I hope that didn’t sprain your tongue too much.

Brian A. Klems is the online managing 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@fwpubs.com with “Q&Q” in the subject line. Come back each Tuesday as I try to give you more insight into the writing life.

Why Do Authors Use Pseudonyms?

2008-04-29T12:51:11.8060000-04:00

Q: Why do authors use pseudonyms?—Anonymous

A: Authors write under pseudonyms, or pen names, for a variety of reasons. Established authors will do it to cross genres and keep from aggravating their fan bases. Wouldn’t you be a bit ticked off if you bought Stephen King’s next book expecting blood, guts and hair-raising intensity, only to find out it’s a weepy romance novel? King may choose to publish under a different name so he doesn’t disappoint his die-hard horror fans.

Another reason for using a pen name is to switch publishers. When an author is under contract, her publisher may own the rights to any upcoming work under her name. Often authors will take up a new name so they can shop around their work while avoiding legal problems (be sure to read your contract closely, though, because some prohibit this).

But one of the most common reasons authors write under aliases is because their earlier works bombed. If a writer didn’t make money for the publisher the first time, he’s not likely to get a second chance—publishers would prefer to give someone new a shot. Under a pen name, a writer can be reborn.

Brian A. Klems is the online managing 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@fwpubs.com with “Q&Q” in the subject line. Come back each Tuesday as I try to give you more insight into the writing life.

What is a Literary Executor?

2008-04-22T14:07:02.7290000-04:00

Q: I was recently approached by one of my relatives (my father's cousin), who asked if I would be her literary executor. I don't really know what this means and thought you might be able to shed some light on the subject. Do you know what this might entail?—Anonymous

A: Often people choose executors of their will to carry out their wishes and oversee the handling/distribution of their estate. A "literary executor," as defined by Merriam-Webster.com, is a person entrusted with the management of the papers and unpublished works of a deceased author. In other words, a literary executor specifically handles all your literary property, including overseeing your copyrights, contracts with publishers, outstanding royalties, etc.

While you can designate anyone to be your literary executor—your child, your neighbor, your old English sheepdog whom you affectionately call "Tots"—it's best to assign it to someone who knows a thing or two about publishing and copyrights. After all, this person will be in charge of all your published and unpublished writings. You want to be certain that your work is handled with care, so the money generated goes to your heirs and favorite charities instead of being "donated" to the bottom line of the publishing houses (unless, of course, you want the publishers to have all your money).

So where do you find someone with the wherewithal to handle your posthumous publishing affairs? If you have an agent, start with him. If he's 20 years your senior, a heavy smoker and likely to pass on long before you, his agency should be able to handle it. Just ask them how to go about setting it up. If you don't have an agent, turn to a friend who has publishing experience. The more knowledgeable the person is with rights, the better off your literary estate will be. And if both of those options are dead ends, select the family member you trust the most to contact/contract the proper professionals (e.g. lawyers, agents, editors, etc.) as needed.

For a more in-depth breakdown on the subject, you can read Copylaw.com's "Final Drafts: Selecting a Literary Executor" by Lloyd Jassin and Ronald Finkelstein. It's filled with great tips and advice to make sure that the value of your writings stay intact after you type that last word and head to the big writer's lounge in the sky.

Brian A. Klems is the online managing 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@fwpubs.com with “Q&Q” in the subject line. Come back each Tuesday as I try to give you more insight into the writing life.

Are You Using Trademarked Words in Your Writing?

2008-04-15T10:37:12.4510000-04:00

Q: An editor once pointed out that I was using brand names instead of the generic equivalent. How am I to know which words have been trademarked and which aren't? —Anonymous

A: When your character cuts his hand, does he cover it with an adhesive bandage or a Band-Aid? Does his mother use a hand-held vacuum cleaner or a DustBuster? And be sure to blow your protagonist’s nose with a tissue, not a Kleenex.

Many generic-sounding words and phrases are actually trademarked brand names. Some are so common that it can be difficult to tell the difference without looking them up. And the list continually grows, as terms like Netflix and Google are used more generically (e.g. I google my name at least once a week).

Trademarked words aren’t off-limits for writers, but be sure to use them correctly—double-check the spelling, use proper capitalization and refrain from writing out specific product names when you’re using it as a generalized term. And if you want to know which words are legally restricted, you can visit the International Trademark Association (inta.org). They offer an updated (though not complete) list of most trademarked words and phrases.

Several words on INTA’s list that aren’t obvious trademarks include:

Trademark Generic term

Bubble Wrap        (cellular cushioning packaging material)
Cheez Whiz          (processed cheese spread)
Cineplex              (multi-auditorium movie theaters)
Crock-Pot            (electric cooking appliance)
Febreze               (fabric deodorizer)
Frisbee                (toy flying saucer)
Hula-Hoop           (plastic toy hoops)
Jacuzzi                (therapeutic whirlpool baths)
Jell-O                  (gelatin, pudding)
La-Z-Boy             (chairs and ottomans)
Silly Putty            (modeling clay)
Q-Tips                 (cotton swabs)
Xerox                  (photocopiers, printers, copiers, scanners)

Brian A. Klems is the online managing 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@fwpubs.com with “Q&Q” in the subject line. Come back each Tuesday as I try to give you more insight into the writing life.

i.e. vs. e.g.

2008-04-08T15:20:42.2570000-04:00

Q: What's the difference between "i.e." and "e.g."? I thought they were interchangeable, but I was told that this isn't the case. Can you please explain?—Claire Collord

A: I used to have the most difficult time remembering this rule. After all, both of these terms are derived from Latin and I didn't take Latin in school—I opted for the Spanish class that was taught by an exceptionally attractive maestra (which may have explained the C-). But with a little help from a college friend, I was able to burn the i.e./e.g. grammatical law into my brain once and for all.
The rough translation is as follows:

i.e. means "that is." (id est)
e.g. means "for example." (exempli gratia)

The difference here is that i.e. is exclusive while e.g. is a sample. They are not interchangeable because they change the meaning of the sentence. And if you substitute in the definitions, it'll help you determine which letter-combination you need.

Let's take these examples:

I like summer sports (e.g., baseball, softball, ultimate Frisbee). The sports mentioned (baseball, softball, ultimate Frisbee) represent a few of the summer sports that I like, but aren't the only ones I enjoy (I also like fishing, sand volleyball and golf). I'm just offering some examples. If you read this sentence as "I like summer sports (for example, baseball, softball, ultimate Frisbee)" you see what I mean. So the correct choice is e.g.

On the other hand, Sophie likes winter sports, i.e., skiing and hockey. This sentence indicates that Sophie likes the specific winter sports skiing and hockey, but not necessarily any other winter sports. You can read this sentence: Sophie likes winter sports, that is, skiing and hockey. So the choice here is i.e.

To burn these definitions into your memory and help remind you which letter-abbreviation pairs with which definition, you can follow this mnemonic device a college friend once taught me: i.e. is "in essence" while e.g. is "eggs sample."

"Eggs sample" may make me laugh each time I think about it, but I never forget the rule.

Brian A. Klems is the online managing 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@fwpubs.com with “Q&Q” in the subject line. Come back each Tuesday as I try to give you more insight into the writing life.

Getting Out of Book Blurbs

2008-04-01T15:21:13.0940000-04:00

Q: How do I get out of writing a blurb for a friend's not-so-good self-published book?—Anonymous

A: Friends are always asking for favors—May I borrow your leaf blower? Will you watch my dog? Do you mind if I tell the police that we were together last Thursday just past midnight?

As a writer, you're susceptible to getting asked writerly favors from writerly friends, and often it puts you in an awkward predicament, just like when a friend asks you to write a blurb for his boring, poorly edited self-published book. You can't just flat-out say no—after all, it's a friend. But you obviously can't offer an endorsement to a book that isn't up to par, either.

What's a writer to do?

Thankfully, I've come up with a foolproof, 100% guaranteed-to-work "Guide to Getting Out of Book Blurbs" which provides five excellent options:

1. Fake an away message. Every time your friend e-mails the request, quickly send a response that says something like, "Thanks for your e-mail. I will be out of the country for an extended period of time and, unfortunately, they don't have the Internet in Zimbabwe."

2. Explain that you don't believe in book blurbs, but you're willing to take a picture of your hand giving the thumbs up.

3. Ask for outrageous favors in return. "Funny you should call looking for a book blurb, as I'm in a bit of a pickle myself. I need someone to act as a tackling dummy to help train my pet tiger. He keeps gnawing off arms. You free Friday?"

4. Offer to write it, but only under your pseudonym: Don Rita Thisbook.

5. Break your hand. (Just seeing how far you will go to get out of this—and if it's come down to option #5, that book must be bad.)

Of course, I hope you know I am kidding.

In all seriousness, the best way to politely turn down a friend's request for a book blurb on a not-so-good book is to be honest. Tell them you appreciate the thought, but you're uncomfortable being put in that situation. If they persist, explain your reservations about the book as nicely as you can. They shouldn't get mad. After all, if you had a friend who was an accountant and you asked him to sign off on your self-prepared tax return, he wouldn't do so unless he was comfortable with the numbers. You're a professional, too. Be sure to be treated like one.

But I suggest getting your leaf blower back first.

(Happy April Fools' Day!)

Brian A. Klems is the online managing 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@fwpubs.com with “Q&Q” in the subject line. Come back each Tuesday as I try to give you more insight into the writing life.

Conflict of Interest

2008-03-25T10:20:09.5380000-04:00

Q: I volunteer for several organizations that have newsworthy projects. I’d like to write news articles (not press releases) about them for our town’s independent newspaper. Can I sell an article that has to do with a group I’m involved in, even if the organization isn’t paying me?—Lisa Angle

A: Conflict of interest is scary to any media outlet. It can ruin credibility—the key element to the media’s survival. If people can’t trust you to present the news without bias, they won’t read your work. And newspapers and magazines won’t buy it.

You can try to sell an article that has to do with your organization, but you’re obligated to disclose all your ties with the publisher and, more important, the reader. What happens if you don’t? You lose your credibility and, ultimately, harm the news-paper or magazine that printed your work.

A couple of years ago, popular political columnist Armstrong Williams got himself into a big mess (to say it politely) when it was revealed that he’d accepted money from the “No Child Left Behind” pundits to push their agenda in his columns. He never mentioned it to his publisher or readers and, as the news leaked, his credibility disappeared faster than Hanna Montana concert tickets.

So be upfront with your readers and let them decide how much of your information they can trust.

Brian A. Klems is the online managing 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@fwpubs.com with “Q&Q” in the subject line. Come back each Tuesday as I try to give you more insight into the writing life.

When Should You Send Holiday-Themed Queries?

2008-03-18T09:19:35.9080000-04:00

Q: I’d like to publish some holiday stories in magazines. I know magazines typically work on issues months in advance, so if I wanted to submit a proposal for a Christmas-themed story, when should I send it?—Cheryl Heil

A: All magazines work on different timetables—some work three months in advance, while others map out an entire year’s worth of articles in January. Market books, like Writer’s Market, have listings for most magazines that include the average length of time between manuscript acceptance and when it actually gets printed.

No matter what timeframe a magazine’s guidelines give you, always query a month or two before the suggested date to give the editors time to consider, fine-tune and accept your idea. For example, Sports Illustrated for Kids states that it publishes manuscripts an average of three months after acceptance. If you’re looking to write “Elves in the Outfield,” it’s best to query in August or September for the December issue. Some magazines, like The Saturday Evening Post, actually request that you send seasonal material one year in advance, so you really have to plan ahead.

And when in complete doubt, just submit your idea when your query letter has been perfected. It’s better to be too early than too late.

When to Use a Prologue

2008-03-11T11:04:36.5450000-04:00

Q: When should a prologue be used? Is there a difference between prologues for fiction and nonfiction?
—Sonya Ryan

A: A prologue is used when material that you want to include in the opening is out of time sequence with the rest of the story. For example, let’s say you’re writing a book about a woman getting married. While your story focuses on the year leading up to the big day, there’s a funny anecdote from her childhood about her idea of the perfect wedding that foreshadows the actual event. Because this section is seen from her perspective as a child, it’s out of sequence with the rest of the book—which is shown from an adult’s perspective—and might work better as a prologue.

You can use a prologue in fiction and nonfiction, but it’s used only to explain key information that doesn’t follow the time flow of the rest of your book. So if your “prologue” doesn’t fit this criterion, either cut it or change it to Chapter 1.

Where Do Writers Find Experts?

2008-03-04T14:44:46.1850000-05:00

Q: I've read many articles in your magazine and others that advise freelance magazine writers to use quotes from experts on their given subject, but none of the articles tell writers how to go about doing that. Where do writers find experts? How do you approach them? How do you obtain permission to use quotes? This can be intimidating for a new writer. —Theresa Fort

A: Next to cold, hard facts, experts play the most pivotal role in providing journalists with information. They hold knowledgeable opinions that can verify and validate information in the article to readers. And, while at times it may feel like experts are as hidden as Waldo, they really are easier to find than one might think.

Experts are everywhere—universities, doctor’s offices, Taco Bell. But, sometimes you have to do a little digging. Don’t be afraid to hop onto Google or Yahoo and search your topic, clicking on the top 15 to 20 links that come up and keeping an eye out for anyone who could fit your needs.
Another valuable tool is Profnet.com, which is a free service that connects journalists with sources. How it works: You propose your question and Profnet sends it to more than 14,000 experts, attempting to find people who know your subject. These folks are typically happy to help because it gives them more exposure.

Now, when approaching an expert, it’s important to be upfront with her. In any phone or e-mail conversation, immediately state your name, your association (“I’m a Boise-based freelance writer”), your topic and deadline (if you have one). Also, let the expert know that you may use quotes from the interview in your article. If you send an e-mail, let the person know that you want to accommodate her and are willing to conduct the interview however she prefers—e-mail, phone, fax, in person (if local).

Don’t be intimidated by the interviewing process. It’s much easier than it sounds. And, at worst, the expert says no and you move on—or place a curse on him. Not that I’ve ever done that …

Brian A. Klems is the online managing 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@fwpubs.com with “Q&Q” in the subject line. Come back each Tuesday as I try to give you more insight into the writing life.

What is a Logline?

2008-02-26T14:19:22.9830000-05:00

Q: I've recently decided to turn my book into a screenplay and I've read several articles that say you must have a "logline" if you want to sell your script. What's a logline?—Jennifer Bickel

A: Hollywood executives are so busy that they have very little time to spend on anything, including listening to your pitch. So when you have the ear of anyone who has the power to get your script produced, it's important to keep your spiel short, simple and specific. How short? You should be able to sum up your 100-page screenplay in one sentence—you read that right: one sentence.

In the industry, this is called a logline. A logline is a one-sentence summary of your script that consists of three major elements: the character, the character's goal and the antagonistic force. Here are examples of a few strong loglines (can you name the flick?):

After a twister transports a lonely Kansas farm girl to a magical land, she sets out on a dangerous journey to find a wizard with the power to send her home.

I'm sure by now you've guessed that this logline belongs to The Wizard of Oz. It contains all the key elements:

The character: a lonely Kansas farm girl
The character's goal: find a wizard with the power to send her home
The antagonistic force: sets out on a dangerous journey

Here's another example:

A 17th Century tale of adventure on the Caribbean Sea where the roguish yet charming Captain Jack Sparrow joins forces with a young blacksmith in a gallant attempt to rescue the Governor of England's daughter and reclaim his ship.

This one belongs to the mega-hit Pirates of the Caribbean: The Curse of the Black Pearl. While it's a little harder to dissect, you can still see the all the logline essentials:

The character: Captain Jack Sparrow
The character's goal: rescue the Governor of England's daughter and reclaim his ship
The antagonistic force: adventure on the Caribbean Sea

Creating a logline is also a good way to tell if your script has substance. If you spend hours and are still unable to come up with a clear sentence breaking down your movie, you have a hole that needs to be filled. Because if all the variables are there, the logline should practically write itself.

Brian A. Klems is the online managing 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@fwpubs.com with “Q&Q” in the subject line. Come back each Tuesday as I try to give you more insight into the writing life.