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 Tuesday, April 15, 2008
Are You Using Trademarked Words in Your Writing?
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?—AnonymousA: 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. Legal Questions
Tuesday, April 15, 2008 3:37:12 PM (GMT Daylight Time, UTC+01:00)
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 Tuesday, April 08, 2008
i.e. vs. e.g.
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 CollordA: 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. Grammar
Tuesday, April 08, 2008 8:20:42 PM (GMT Daylight Time, UTC+01:00)
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 Tuesday, April 01, 2008
Getting Out of Book Blurbs
Q: How do I get out of writing a blurb for a friend's not-so-good self-published book?—AnonymousA: 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. Ethics
Tuesday, April 01, 2008 8:21:13 PM (GMT Daylight Time, UTC+01:00)
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 Tuesday, March 25, 2008
Conflict of Interest
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. Dealing with Editors | Ethics
Tuesday, March 25, 2008 2:20:09 PM (GMT Standard Time, UTC+00:00)
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 Tuesday, March 18, 2008
When Should You Send Holiday-Themed Queries?
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 HeilA: 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. 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. Publishing | Query Letters
Tuesday, March 18, 2008 1:19:35 PM (GMT Standard Time, UTC+00:00)
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 Tuesday, March 11, 2008
When to Use a Prologue
Q: When should a prologue be used? Is there a difference between prologues for fiction and nonfiction? —Sonya RyanA: 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. 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. Formatting
Tuesday, March 11, 2008 3:04:36 PM (GMT Standard Time, UTC+00:00)
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 Tuesday, March 04, 2008
Where Do Writers Find Experts?
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. Interviewing | Research
Tuesday, March 04, 2008 7:44:46 PM (GMT Standard Time, UTC+00:00)
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 Tuesday, February 26, 2008
What is a Logline?
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. Formatting | Scriptwriting
Tuesday, February 26, 2008 7:19:22 PM (GMT Standard Time, UTC+00:00)
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 Tuesday, February 19, 2008
Dealing with Late (or Missing) Payments
Q: If a writer has jumped through all the hoops (finished the assignment, submitted a proper invoice, etc.) and is not being paid, what steps should he take before resorting to having a lawyer write a letter or taking their case to small claims court, etc. —AnonymousA: Always contact the editor first (second and third) and try to work through the issue. Editors typically aren't out to stiff you. Many of them have been on the freelance side of things, too, so they know how important it is to get you your money. Sometimes it's as simple as the editor nudging the accounting department. Also, don't forget to carefully read your contract. Accounting departments differ with each publisher—some pay 30 days from the day the invoice is submitted, some pay 60 days from the publication date of your piece. Be sure that the proper time period (plus an additional two weeks) has passed before raising the red flag. And remain calm, cool and collected when you send your "checking in" e-mail. If e-mails or phone calls go unreturned, or the editor can't offer a resolution or an acceptable explanation as to why it's taking so long, then it's time to contact a lawyer—and the Better Business Bureau. Keep in mind, once you do that you've burned that bridge with that editor/publisher once and for all, and you may not want to do that. But if they weren't paying you to begin with, what did you really lose?
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. Business | Dealing with Editors
Tuesday, February 19, 2008 4:15:45 PM (GMT Standard Time, UTC+00:00)
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 Tuesday, February 12, 2008
Is Wikipedia an Accurate Source? (And Can Editors Alter Sourced Material?)
Q: I'm a magazine feature writer and one of my editors changed a statistic in my story that I had attributed to Wikipedia. She maintains Wikipedia is an inaccurate source. However, if I attribute my facts properly, does she have a right to alter my statistic?— Lynn M.A: If editors feel uncomfortable with an article's contents, they most certainly can (and should) make changes and alterations. They're supposed to vet and fact-check the information. It's part of the job. It's important to remember that attribution isn't meant as a safety net for reporting false facts. The point of attributing information to a source is two-fold: 1) to give credit where credit is due and 2) to give validity to the information, showing it's coming from reputable person (or organization). If your source isn't reputable, your article isn't. This brings me to Wikipedia. As journalists, we love the site because it offers an excellent starting point to our research (underline, bold, highlight and draw squiggles around the words "starting point"). With a few clicks, you can find leads on nearly anything, along with links to better articles on each subject. But you can't trust Wikipedia. It can be updated and edited by anyone; that's right, anyone—you, me, that neighbor down the street who everyone describes as "sketchy." There's no real due diligence involved to guarantee accuracy and, as a journalist, you can't accept inaccuracy. Again, that doesn't mean that the site isn't useful. Hell, I probably check it several times a day (one can never know enough about the Back to the Future trilogy). Just use it as a starting point to find more reliable sources. Your editors (and audience) will thank you for it. 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. Business | Dealing with Editors | Ethics | Research
Tuesday, February 12, 2008 6:06:38 PM (GMT Standard Time, UTC+00:00)
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