a) When you were beginning your freelance career, how many queries would you send out on a daily basis? b) And did you shop the same query around to several different editors?
a) Ooh, I have no idea what the exact number would be (and that was two computers ago, so I really can't check my archived emails), but I can tell you that it was A LOT. I was incessant about pitching. That one didn't work? How about this? No? I got more. My husband would joke that I was a master hustler because I was always, always, always vying for more work.
While I can't give you an exact number, I can say that the best way to get out as many queries as possible - and potentially land assignments - is to keep your eyes out for great stories. Brilliant advice, right? Well, guess what? It is! :) What I mean by this is that great story ideas aren't going to just fall in your lap. Part of my job is to read every last thing that I can: health research, new trends, medical reports, local papers, national news, pop culture blogs, etc, etc. These are the things that are going to generate ideas and nab you assignments. If you keep your fingers on the pulse of what's going on in the world, you're probably not going to lack for ideas. And once you have ideas, the number of queries that you send is limitless.
Why not try setting a goal for yourself? My writers group has a query challenge every couple of months, in which people see how many possible queries they can get out each week. I've seen people shoot off 20+. Remember that, especially as a new writer, very few of these are going to pan out. (Cold, harsh truth. Sorry.) So you're not going to be too swamped to handle the work. But you'll be getting your name in front of an editor, and ideally, making a great impression, and that will lead to future work. Freelancing is a constant work-in-process. Getting on the query wagon is a smart first step.
b) As far as simultaneous submissions, gulp, well, freelancers and editors have very different takes on this. These days, I'd never, ever do it because a) I know my editors personally, and I feel like I owe them something and b) because I do know them, I also know what they're looking for, so have a greater chance of landing a pitch. BUT, as I mentioned above, the reality of the situation is that as a newbie, it is very, very unlikely that you'll land a ton of initial assignments. So, the logic follows that you should cast your net as wide as possible. And many freelancers I know - including myself at one point - do. Not often. Not with every pitch. But yeah, occasionally. I'm not advocating this as a practice, but is it done? Yes. Freelancing is a business: why would you commit yourself to one editor (whom you don't know and who doesn't know you), when there are so many other possibilities out there? So yes, early in my career, I definitely submitted to multiple places. And let me tell you: never once did more than one editor beat down my door for a story. In fact, I hear of this situation very, very rarely.
Of course, there are ways to make everyone happy. The most obvious is to tweak the query so that it's slightly different for each magazine. For example, if I had a great metabolism-related idea, maybe I'd pitch a straight exercise angle to FITNESS, a diet/food angle to COOKING LIGHT, and something on kids and obesity to PARENTS. Do note that none of these magazines are competitors. These days, I'd never pitch the same idea to FITNESS, SELF and SHAPE, but again, that's because I have pre-established relationships with these editors. Plenty of other freelancers do indeed fire off the same query and see who bites (if at all) first. Note that should more than one editor want the idea, you most likely will find yourself in hot water (with the steaming mad snubbed editor) and might burn a bridge. I guess you have to decide upon the likelihood of more than one person vying for it, and if they do, if you'd care.
Another solution is to send in a query, wait a reasonable amount of time - a week or two - then send it elsewhere, all the while following up with the original magazine. This way, you know that you've given them first crack, but you're also covering all bases by pursing other options. This is usually how I handled things when I did occasionally simultaneously submit - I'd assume that if an editor were really salivating for an idea, she'd let me know pretty quickly, and if she were ho-hum, then she wouldn't balk if I sold it elsewhere.
A third solution is to send the query with a comment stating, "if I don't hear from you by October 1st, I'll assume you're not interested." I know several writers who do this, though I might wait until the follow-up email to set a deadline. Then, at the set date, you know that it's safe to move on, and should the editor eventually get back to you with a yes, it's not as if you haven't said, "hey, I'm not waiting around forever."
Look, the bottom line is that you have to do what's right for you. When I was just starting out, what was right for me was building my database of clips and landing assignments. And sometimes, that meant sending out simultaneous submissions. Not often, but when it was a really timely or hot idea. These days, what's important to me is honoring and preserving the relationships that I have. I adore my editors and wouldn't in any way want to tarnish those ties. Period.
On another note, I'll be dealing with queries again later this week. Only this time, I've surveyed a slew of my editors to garner their dos and don'ts. And guess what? They had a lot to say! So tune back in!
Wednesday, August 23, 2006
Tuesday, August 22, 2006
Mucking Through the Writing Process
You mentioned that the plot of The Department of Lost and Found was easy to write because it was based on something you had experienced in life. a) How did you come up with the plot for what you are working on now? b) Did you run the idea by your agent and ask for her advice before you started writing it? c) What is the process for coming up with a book? Also, when you wrote DEPARTMENT, did you outline it first or just dive right in?
a) The plot of my current WIP also stems from some real life experiences, but only very tangentially. I touched on this in another post, but I really think it helps to have some personal or emotional connection with some aspect of your story idea: it gives your writing heft and believability. The WIP explores female friendships, and the concept of why we're drawn to various people in our lives...and why we stay attached to them long after the relationship has dwindled to an end, which are questions that I've long wondered about. I guess the idea took its roots from several friendships that I've had over the years, and what these relationships gave me: the incredible bonds, but also the complications that some of those bonds have brought.
b) As I've mentioned before, this was actually the first ms I completed, which never sold. I've completely gutted that ms, leaving only traces of what it once was and am rebuilding. So my agent, who had read that ms after she signed me for DEPARTMENT, already had an idea of what I was going to write about. I'm lucky: she trusts me. I think, for her, she loves my writing style and believes in me enough that she'll let me do my thing and only step in if I veer wildly off-course. (If say, I wanted to write a backpacking guide to Nepal, which really wouldn't address my strengths.) That doesn't mean, however, that I fully trust myself. Thus, I bounced the first 10k words off of her and am about to send her the first 40k words. Just to ensure that I'm on track.
c) This ms is much slower-going than DEPARTMENT. With both of them, however, my writing process is much the same. I tend to map out the next three or so chapters from where I am in my writing, and don't plan a big outline from the get-go. The books start with an overall concept or question or character - something or someone whom I can clearly see in my mind and that I know I want to explore - and I spin from there. For DEPARTMENT, I had a very clear vision of my heroine right away. I knew who she was, what drove her and where her faults could be found. I didn't know exactly where she was going to take me (or where the book was going to go), but by starting with a clear understand of her, I let her lead me.
Some authors definitely set up the entire story arc before they begin. But I know that I'd feel too constrained by this. I know that this sounds weird (and I say this b/c I've read similar things from other authors and always think that it sounds a little touchy-feely, but it's true!), but I really let my characters take over and dictate where they want to go. In DEPARTMENT, for example, one of the men who becomes a critical part of my heroine's life was never intended to be more than a bit player! But as soon as I started writing his scenes, it became obvious that he was a great potential match for her. If I'd established all of these preconceived notions about exactly who he was and the role he needed to play, the book would have taken on an entirely different angle. And, needless to say, wouldn't have been as good.
So basically, I keep a piece of paper beside me as I go, and when I'm done with a chapter or a chunk of the writing, I'll jot down the next few entanglements and scenes. It's worked pretty well for me so far. That's it. Nothing fancy at all.
So that's my process. What's yours?
a) The plot of my current WIP also stems from some real life experiences, but only very tangentially. I touched on this in another post, but I really think it helps to have some personal or emotional connection with some aspect of your story idea: it gives your writing heft and believability. The WIP explores female friendships, and the concept of why we're drawn to various people in our lives...and why we stay attached to them long after the relationship has dwindled to an end, which are questions that I've long wondered about. I guess the idea took its roots from several friendships that I've had over the years, and what these relationships gave me: the incredible bonds, but also the complications that some of those bonds have brought.
b) As I've mentioned before, this was actually the first ms I completed, which never sold. I've completely gutted that ms, leaving only traces of what it once was and am rebuilding. So my agent, who had read that ms after she signed me for DEPARTMENT, already had an idea of what I was going to write about. I'm lucky: she trusts me. I think, for her, she loves my writing style and believes in me enough that she'll let me do my thing and only step in if I veer wildly off-course. (If say, I wanted to write a backpacking guide to Nepal, which really wouldn't address my strengths.) That doesn't mean, however, that I fully trust myself. Thus, I bounced the first 10k words off of her and am about to send her the first 40k words. Just to ensure that I'm on track.
c) This ms is much slower-going than DEPARTMENT. With both of them, however, my writing process is much the same. I tend to map out the next three or so chapters from where I am in my writing, and don't plan a big outline from the get-go. The books start with an overall concept or question or character - something or someone whom I can clearly see in my mind and that I know I want to explore - and I spin from there. For DEPARTMENT, I had a very clear vision of my heroine right away. I knew who she was, what drove her and where her faults could be found. I didn't know exactly where she was going to take me (or where the book was going to go), but by starting with a clear understand of her, I let her lead me.
Some authors definitely set up the entire story arc before they begin. But I know that I'd feel too constrained by this. I know that this sounds weird (and I say this b/c I've read similar things from other authors and always think that it sounds a little touchy-feely, but it's true!), but I really let my characters take over and dictate where they want to go. In DEPARTMENT, for example, one of the men who becomes a critical part of my heroine's life was never intended to be more than a bit player! But as soon as I started writing his scenes, it became obvious that he was a great potential match for her. If I'd established all of these preconceived notions about exactly who he was and the role he needed to play, the book would have taken on an entirely different angle. And, needless to say, wouldn't have been as good.
So basically, I keep a piece of paper beside me as I go, and when I'm done with a chapter or a chunk of the writing, I'll jot down the next few entanglements and scenes. It's worked pretty well for me so far. That's it. Nothing fancy at all.
So that's my process. What's yours?
I Don't Have the Slightest Clue
I know that published authors can declare all of their expenses (mailings, phone calls,
editing, copies of manuscripts, etc), but, can an unpublished author do the same? What I mean is, I have written a manuscript, unpublished, but can I still declare all of my expenses in my taxes?
Truly, I'm stumped. Part of me wants to say, of course, because there are a million waiters/aspiring actors out there who have yet to land a part, but who, I'm sure deduct their headshots, but part of me also thinks that this is a slippery-slope. I mean, what if I wanted to become a professional hang-glider? Can I deduct the purchase of said hang-glider? I doubt it.
So, really, I don't know. I went here: http://www.irs.gov/faqs/index.html#12, but couldn't find any clear answers.
Thus, I'm putting this up on the board in case someone has a wise answer. My wisest advice? Speak with your accountant. Because God knows, you don't want the IRS chasing you down over the cost of a stapler when you should have just forked over the money in the first place.
editing, copies of manuscripts, etc), but, can an unpublished author do the same? What I mean is, I have written a manuscript, unpublished, but can I still declare all of my expenses in my taxes?
Truly, I'm stumped. Part of me wants to say, of course, because there are a million waiters/aspiring actors out there who have yet to land a part, but who, I'm sure deduct their headshots, but part of me also thinks that this is a slippery-slope. I mean, what if I wanted to become a professional hang-glider? Can I deduct the purchase of said hang-glider? I doubt it.
So, really, I don't know. I went here: http://www.irs.gov/faqs/index.html#12, but couldn't find any clear answers.
Thus, I'm putting this up on the board in case someone has a wise answer. My wisest advice? Speak with your accountant. Because God knows, you don't want the IRS chasing you down over the cost of a stapler when you should have just forked over the money in the first place.
Monday, August 21, 2006
Tally Ho! The Writing Challenge Continues...
So, how'd you do this week? List your progress here.
If you're just tuning in, please feel free to join us. Here's the deal: each week, we publicly commit to a writing goal for the next seven days. On Monday, we report.
I added another 5k - more or less - this week. My goal for the next week is to get to a break in the action (one that I already have mapped out in my mind), at which point, I'll be sending the ms to my agent for a quick review. I imagine this will take me less than 5k words, but I dunno. We'll see.
So how'd you do?
If you're just tuning in, please feel free to join us. Here's the deal: each week, we publicly commit to a writing goal for the next seven days. On Monday, we report.
I added another 5k - more or less - this week. My goal for the next week is to get to a break in the action (one that I already have mapped out in my mind), at which point, I'll be sending the ms to my agent for a quick review. I imagine this will take me less than 5k words, but I dunno. We'll see.
So how'd you do?
Query Virgins
When you query an editor for the first time, how much information do you give about yourself? I have heard that you are selling yourself. What is the right approach without coming across too strong, or tacky? And any other tips for first time contact with magazine editors?
First of all, you're on the right track from the get-go: I love that you already realize that you're selling yourself. I can't tell you how many writers lose track of this and don't understand that they're marketing themselves and that they are a commodity. It would be lovely and fine and dandy to think that writers can simply wile the way away smoking hash pipes and scribbling down prose whenever the mood strikes them, but let me tell you, if that's your attitude, you ain't making any money in this business.
The last word in the previous paragraph is a good lead-in to answering your questions. Business. Conduct your writing career as you would a business. To that end, I promote myself as I would a product. I try to be approachable and warm, yet still smart and professional. And I do this in a few ways:
1) The tone of my writing. I've already posted several examples of old query letters, and I think that you can see that none of the writing comes off as stiff or overly formal, but I also don't cross the line into assuming that I'm IM-ing with my best friend.
2) My queries are mistake free. I can't tell you how simplistic this sounds, and yet I have so many editor friends who complain that they receive emails littered with poor grammar, poor spelling, poor writing. So for the love of God, proof read your emails and spell-check them too!
3) Explain why YOU are the one who should write this article. I write a lot of parenting articles these days, and one of the reasons why is because I'm living and breathing the research and ideas behind my pieces. So, maybe I'll start out a query saying, "this past week, my son became a fashion diva: no more allowing mommy to pick out his clothes for him. While I was thrilled at this sign of independence, the allure quickly faded when he insisted on wearing his (dirty) fire-truck shirt three days in a row. So how do parents cope with the burgeoning independence that comes along with toddler-hood? This article would explore how...blah, blah, blah." I just made that up, but you get the point: I'm giving an editor a reason to hire ME over some schmo who hasn't dealt with this personally. Another example: I've been actively pursuing several stories on breast cancer. My link to it - via my late friend - has really expanded my interest in the subject, and when I tell editors why I'm so invested, they're much more invested in ME, and in me writing it. Or maybe you have an inside-edge with an interesting interviewee or hot tickets to a sold-out concert that you want to cover. I don't know - the point is, sell the editor on why YOU should write this piece.
4) Don't threaten, beg, or brag. Again? This is a business. Any query letter that says something along the lines of, "your magazine is really going to miss out without me," "please, people keep saying 'no,' and I'm desperate to break in," or "you'll never find a better writer than me," is just asinine. No editor wants to work with a narcissist or whiner, so don't present yourself as one from the get-go. Again, you'd be amazed at what people include in their queries. (This goes for book queries too!)
5) Do list your credits and list them proudly! If this is a new-to-you editor, you might try listing them in the opening paragraph. Not a necessity, and everyone has his or her own preferences, but part of me thinks that an editor is more likely to keep reading if she's impressed by what you've done than if she's not yet aware of what you've done (and thus might only skim your email and glance at your credentials at the bottom of the query). So you might say, "Dear Fabu Editor, I'm a freelance writer and have written for XX, XY, XZ. Did you know that recent research shows that the world is set to implode in approximately 423 days? Here's why. Etc, etc, etc."
6) Follow up! Writers are waaaay to intimidated by editors. They're people just like us! And if you're new-to-them, they might not give your query top priority. So for God's sake, follow up!! You're not being pushy, you're running your business. Period. You have every right to check in with an editor if you haven't heard back. I'd wait two weeks from when you sent your initial email, then send a quick note (I usually just forward the original query) saying, "I just wanted to follow up to the below email. Please let me know if you're interested." Or whatever. True story: I landed my first assignment at SELF after three follow-ups. If I'd been more shy or more lazy, I'd never have broken in. I'm still writing for them today and have a piece coming out in the November issue.
Whew! I think I've listed most of the nitty-gritty here. Any questions? Anyone want to add his or her own advice?
First of all, you're on the right track from the get-go: I love that you already realize that you're selling yourself. I can't tell you how many writers lose track of this and don't understand that they're marketing themselves and that they are a commodity. It would be lovely and fine and dandy to think that writers can simply wile the way away smoking hash pipes and scribbling down prose whenever the mood strikes them, but let me tell you, if that's your attitude, you ain't making any money in this business.
The last word in the previous paragraph is a good lead-in to answering your questions. Business. Conduct your writing career as you would a business. To that end, I promote myself as I would a product. I try to be approachable and warm, yet still smart and professional. And I do this in a few ways:
1) The tone of my writing. I've already posted several examples of old query letters, and I think that you can see that none of the writing comes off as stiff or overly formal, but I also don't cross the line into assuming that I'm IM-ing with my best friend.
2) My queries are mistake free. I can't tell you how simplistic this sounds, and yet I have so many editor friends who complain that they receive emails littered with poor grammar, poor spelling, poor writing. So for the love of God, proof read your emails and spell-check them too!
3) Explain why YOU are the one who should write this article. I write a lot of parenting articles these days, and one of the reasons why is because I'm living and breathing the research and ideas behind my pieces. So, maybe I'll start out a query saying, "this past week, my son became a fashion diva: no more allowing mommy to pick out his clothes for him. While I was thrilled at this sign of independence, the allure quickly faded when he insisted on wearing his (dirty) fire-truck shirt three days in a row. So how do parents cope with the burgeoning independence that comes along with toddler-hood? This article would explore how...blah, blah, blah." I just made that up, but you get the point: I'm giving an editor a reason to hire ME over some schmo who hasn't dealt with this personally. Another example: I've been actively pursuing several stories on breast cancer. My link to it - via my late friend - has really expanded my interest in the subject, and when I tell editors why I'm so invested, they're much more invested in ME, and in me writing it. Or maybe you have an inside-edge with an interesting interviewee or hot tickets to a sold-out concert that you want to cover. I don't know - the point is, sell the editor on why YOU should write this piece.
4) Don't threaten, beg, or brag. Again? This is a business. Any query letter that says something along the lines of, "your magazine is really going to miss out without me," "please, people keep saying 'no,' and I'm desperate to break in," or "you'll never find a better writer than me," is just asinine. No editor wants to work with a narcissist or whiner, so don't present yourself as one from the get-go. Again, you'd be amazed at what people include in their queries. (This goes for book queries too!)
5) Do list your credits and list them proudly! If this is a new-to-you editor, you might try listing them in the opening paragraph. Not a necessity, and everyone has his or her own preferences, but part of me thinks that an editor is more likely to keep reading if she's impressed by what you've done than if she's not yet aware of what you've done (and thus might only skim your email and glance at your credentials at the bottom of the query). So you might say, "Dear Fabu Editor, I'm a freelance writer and have written for XX, XY, XZ. Did you know that recent research shows that the world is set to implode in approximately 423 days? Here's why. Etc, etc, etc."
6) Follow up! Writers are waaaay to intimidated by editors. They're people just like us! And if you're new-to-them, they might not give your query top priority. So for God's sake, follow up!! You're not being pushy, you're running your business. Period. You have every right to check in with an editor if you haven't heard back. I'd wait two weeks from when you sent your initial email, then send a quick note (I usually just forward the original query) saying, "I just wanted to follow up to the below email. Please let me know if you're interested." Or whatever. True story: I landed my first assignment at SELF after three follow-ups. If I'd been more shy or more lazy, I'd never have broken in. I'm still writing for them today and have a piece coming out in the November issue.
Whew! I think I've listed most of the nitty-gritty here. Any questions? Anyone want to add his or her own advice?
Friday, August 18, 2006
The (News)Paper Chase
I would like to do some freelance writing for the local paper back home here. I was wondering two things.
1) Should I have my article written before I query the editor? Or should I wait to see if they're interested?
2) How much do I charge for that?
1) I touched on this earlier in the week in one of the "comments" sections, but I thought I'd reiterate this here. Never, ever, EVER send in a completed story before you've received an assignment. Never. (Was that clear enough?) The only exceptions to this rule are essays and some travel pieces.
Why not? Wouldn't this save everyone some time? No. Here's why.
An editor is there for a reason. Part of his job is to choose which stories will work in his magazine (or paper) and why. Thus, when you send him a germ of an idea, it's only a germ. He's the one who gets to choose the angle, advise you how to write it, and assess how it can best blend into the rest of the magazine. If you've already written the whole piece, how on earth can he do this? Believe it or not, every magazine strives to differentiate itself from its competitors. You might think that SELF, SHAPE, FITNESS, WOMEN'S HEALTH, and HEALTH are interchangeable, but trust me, the editors at each magazine do not. (And as a writer for these mags, neither do I.) In fact, a story works for SELF might not work for FITNESS...I'm not talking about the story idea, I'm talking about the completed story. Yes, they're both going to cover weight loss, but SELF might do it by running a piece that features tips from real women, while WOMEN'S HEALTH might do it by featuring top experts in the field and breaking it up into body type. See where I'm going with this? Unless you've permeated your editor's brain, there's no way that you can know how they want a piece covered. Maybe they like your story idea but have recently covered a similar angle - they'll want to take that story idea and come up with something fresh. Or maybe the angle is working, but they'll want you to list which experts you'll interview before they give you the green light. Who knows? There are a million variations on these hypotheticals...the bottom line is that if you've already sent in the completed story, you're not giving the editor a chance to make the piece fit his particular niche. And he'll shoot you down faster than you can say, "Jack Bauer."
Finally, I should note that sending in a completed piece is a blatent sign of a newbie. Because it's so verboten, seasoned writers would simply never do it...and those who do wave their beginner flag all too clearly. So take my advice: draft a kick-ass query - detailed enough to grab the editor's attention, complete with why this story is right for him, why it needs to be told now, how you would tell it, and why you're the one to tell it, then send it off. That should impress him just fine.
2) Payment. You don't tell him how much you charge, he tells you how much he pays. Which doesn't mean that there isn't room for negotiation, only that the editor/paper/magazine sets the standard and you use this as a launching point. (There are some exceptions for this - start-ups might ask me how much I usually get paid, but again, they're the exception, and I'd never pitch a story and add in, "I expect $XX for this piece.") Newspapers don't pay that well - I'll be blunt. I don't write for them, but I'd guess that you'll get a couple hundred bucks for a story - max, somewhere in the ballpark of, say, 10-35 cents a word. But that's not the point for you right now. You want to build clips, as well as your portfolio, and local papers are a great way to start.
Anyone out there write for papers and want to share his or her general rates?Thursday, August 17, 2006
Co-authoring Conundrums
I am working on a book with a famous beauty expert. We are only at the proposal stage (still doing some revisions)... We just got an agent (both have the same one), and I have not signed any sort of collaborative agreement yet. Was just wondering if you might know the answers to the following:
a) If I need to get a lawyer
b) How much an advance for a non-fiction book might be (any sort of ballpark number??)
c) As a "writer-for-hire" how much % should I consider asking for without looking like a idiot?
a) Do you need a lawyer? Hmmm, it's not a bad idea, but I guess it depends on what you want to use him for. If you want the lawyer to look over the collaboration agreement between you and your collaborator, then yes. I'd do it. But your agent will be the one who can look over the contract from the publisher, so you wouldn't need a lawyer for that. I guess it depends on how well you know your collaborator and how much you trust him. Even so...it never hurts to have a lawyer look over the fine print and make sure that you're not getting screwed. You can never protect yourself enough. (I speak from personal experience here.)
b) The advance question is SO tough - and I'm really just guessing here. So take all of this with a grain of salt. Depending on the size and scope of your collaborator's platform, the advance could be anywhere from 10k to six-figures. It also depends on how many offers you get: this seems obvious, but if you're able to generate an auction, the $$ is obviously going to be bigger than if you can't.
I just did a quick search the deal section on Publishers Marketplace for books that would be similar to yours, and it looks like most of the deals are for less than 50k. But that doesn't mean that yours couldn't go for more, especially because of your job (note to readers: this email came in from a writer with a good platform, so that's what I'm to referring to here). I'm not sure what the average non-fiction advance is, but the average fiction advance is very small - around four figures small, and certainly no bigger than 10k. But because you guys have a platform, you'll probably get more...I certainly did for my novel and this was in no small part thanks to my platform and the auction.
But you just can't count on it, you know? When I was younger (and stupid), I agreed to collaborate on a book (more about this below), because the agent promised me that it would sell for at least 75k. Ha! Looking back on it today and now that I'm better versed in what is and isn't industry standard, she had no idea what she was talking about. (More on that below!) Not only did the book NOT get 75k, it never even sold!! So...I'm just wary about shooting off numbers, and any decent agent would be too.
c) Ok, the terms of the contract are where I REALLY went askew in my collaboration agreement. The above agent strong-armed me into a 60-40 advance agreement (with me getting 40%), and NO royalties. I argued with her, but she wouldn't budge, and I didn't know any better. I rationalized that doing the book was more important than the money. Now, in your case, it sounds like your collaborator is bringing a lot to the table, in terms of name recognition, but in my case, this was simply an unknown (more or less) M.D., and in retrospect, I was the one bringing all of my contacts and my platform to the table. After doing some research in the past few years, I probably should have gotten 75-100% of the advance and then some portion - up to 50% - of the royalties. Yep, I know that sounds like a lot, but most of the other writers I know who have co-authored books with (unknown) experts have gotten something around that...not least because the bulk of the work of writing the book falls on the writer. Now, in your case, you both have a lot to offer, so I wouldn't settle for less than 50% of the advance and 50% of the royalties. I'd think that you wouldn't feel short-changed with this agreement.
Two other quick thoughts: You can also specify that you won't write the book for less than a certain amount: if, say, you expect the advance to be 75k, and the offers dribble in at about 20k, you're not tied to a lot of work for not a lot of money. OR, and many writers do this as well, you can insist that you're paid for writing the proposal, regardless of if it sells. I can't tell you how much I regret not doing this in the aforementioned situation. I simply didn't know any better, but it's actually pretty standard. After all, why should you work for free?
Has anyone out there co-authored a book? Want to weigh in on your contract terms or have any other advice for this writer?
Wednesday, August 16, 2006
The Who, What, Where, When and Why, Or...How the Hell Does a Book Get Sold Anyway?
Everyone says that getting your book published is nearly impossible, but I'm curious why. Once you have an agent, shouldn't this be an easy process? Don't they just have to find an editor who likes it too?
Ha! Excuse me while my husband breaks out the defibrillators because I just nearly died laughing.
***insert zapping sounds here****
Okay, now that I've fully (or nearly) recovered, let me explain how the process works, taking you from pitch to (hopefully) sale. Sure, to answer your first question: having an agent helps. No doubt. Without an agent, you're swimming upstream and likely to drown. With an agent, you're lucky enough to be in a boat, but you're still heading upstream, and who knows if your boat has paddles. Which is to say, that representation aside, selling your book is still damn hard. Here's why.
Once your agent deems the ms ready to go out, she (or he) compiles a list of editors whom she suspects will adore your book. She calls them and pitches the book. Some of these editors might not adore your book at the very sound of the premise and will decline the ms, but most - if your agent has done her homework - will say, "send it on over. I wait with baited breath." So she sends it on over within the next few days.
From there, you'll wait anywhere from several days to several months for feedback. The rate at which you hear answers largely depends on a) how well your agent pitched the book (i.e, if they're frothing at the mouth, they'll most likely read it asap) and b) how much other interest is generated and how quickly that comes in. For example: when we sold TDLF (The Department of Lost and Found, my novel, for newbies), we were lucky enough to have a few editors request a sneak peek over the Christmas holidays, and when everyone returned to their desks on January 3, we already had really positive feedback. You can bet your butt that my agent was then on the phone letting all of the other editors know this...which meant that everyone else read within a week.
Regardless of when your ms gets read, if the initial editor likes it, that's just the first step. Getting published is not unlike a hurdle race: you have to jump over a hell of a lot of them before you reach the finish line. From there, this editor sends it to 2-4 (on average) "second reads:" other editors at her imprint who have to agree with her enthusiasm in order for the book to move on. Additionally, if this editor is a hardcover editor, she needs to get the paperback editor to adore the book as well. (Though the paperback editor might also be one of the second readers.) So...as of now, we have anywhere from say, 3-5 people who all have to greet your book with unbridled passion. Don't believe me? Here's an example: we got a very positive first read from an editor at a huge imprint at a huge house. From the get-go, both my agent and I thought she'd be perfect. Her second reader agreed. Her third reader agree. Her fourth reader, "liked it, but found it a little depressing." Guess what? Ding! The buck stopped there. Do not pass go. Do not collect $200.
Okay, but assuming all of the second reads fawn and flutter over your ms, what happens next? An offer, right? Nope. From there, the ms or concept (as well as your platform - remember, we discussed this last week?) is run by marketing, who assess how likely your book is to actually sell and if it will sell, how well it will sell. If you've written about a lesbian Eskimo who decides to venture to the mainland and have a sex change, and marketing decides that no one wants to read the saga of a lesbian Eskimo who decides to venture to the mainland and have a sex change, then...ding! After all, money talks in this industry. (You might not actually know that they've dinged you immediately, however, because - and I'm not 100% clear on this - I believe that the marketing team presents their opinions at...the all important acquisition meeting, which we're moving on to below.)
So...now, we're up to what? At least half a dozen folks who have to be smitten with the book. See how this gets tricky? And now, we're into the all important acquisition meeting. You've cleared all the aforementioned hurdles, and this is where the original editor lobbies to buy the book. Should be a breeze, right? Ah, not so much. See, publishers only buy so many books and they only have so much money to spend, so they literally go in front of their peers and argue why the imprint must. have. this. book. now. If this editor is armed with strong second reads and positive marketing feedback, she'll likely get the green light. But not always. Again, real life example. A few days before my offer deadline (the day that my agent had set for all offers to be on the table), one editor insisted on calling me to "woo me" to her imprint. She was rabid for the book. Her second readers backed her up. Marketing was on board. Slam dunk. My agent was hesitant - normally, you don't speak with editors until they've decided to definitely offer - but this editor's enthusiasm spoke for itself, so my agent passed her my number. The convo went swimmingly. I was elated - this imprint would be my new home! I was sure of it.
Guess what? Said editor (for whom I harbor no ill-will - this really wasn't her fault!) got into the acquisition meeting and couldn't get her boss - the head of the imprint - to sign off. He "didn't want to publish a book about cancer." Ding!
The good news is that if your editor can push your book through the acquisition meeting, you'll get a call or email from your editor with a formal offer. And there's nothing sweeter.
Whew! I'm exhausted just posting about this whole process. You can see how tough it is, and why, in my opinion, most books that get published really do deserve some respect - it's not an easy road to navigate. (Which doesn't explain your next question: how does so much crap slip through the cracks? I dunno. But there must be a market for it, so maybe some editors buy crap because they know that crap sells.) Frankly, it's hard to imagine, given the diligence of this process, that anyone gets published at all! I mean, what are the chances that everyone at a given imprint is going to love your book? Slim, right? Right.
How TDLF got four offers is beyond me. Truly. I mean, I love, love, love my book, but really, I feel very fortunate. One offer is a blessing. Anything beyond that - which means that your agent gets to conduct an auction - is a miracle. I'm not even kidding. Up there with the parting of the red seas.
I didn't write all of this to intimidate you guys or daunt you! Only to inform. It can be done. Just walk into Barnes and Noble if you don't believe me: all of those authors went through similar processes (though, I'm sure, there's some variance from house to house and book to book, etc...I'm not claiming that what I wrote here is set in stone, just a general idea), and hey, they came out on the other side. You can too.
Did I scare you off? Or was this educational? It's good for me to know for future posts!
Ha! Excuse me while my husband breaks out the defibrillators because I just nearly died laughing.
***insert zapping sounds here****
Okay, now that I've fully (or nearly) recovered, let me explain how the process works, taking you from pitch to (hopefully) sale. Sure, to answer your first question: having an agent helps. No doubt. Without an agent, you're swimming upstream and likely to drown. With an agent, you're lucky enough to be in a boat, but you're still heading upstream, and who knows if your boat has paddles. Which is to say, that representation aside, selling your book is still damn hard. Here's why.
Once your agent deems the ms ready to go out, she (or he) compiles a list of editors whom she suspects will adore your book. She calls them and pitches the book. Some of these editors might not adore your book at the very sound of the premise and will decline the ms, but most - if your agent has done her homework - will say, "send it on over. I wait with baited breath." So she sends it on over within the next few days.
From there, you'll wait anywhere from several days to several months for feedback. The rate at which you hear answers largely depends on a) how well your agent pitched the book (i.e, if they're frothing at the mouth, they'll most likely read it asap) and b) how much other interest is generated and how quickly that comes in. For example: when we sold TDLF (The Department of Lost and Found, my novel, for newbies), we were lucky enough to have a few editors request a sneak peek over the Christmas holidays, and when everyone returned to their desks on January 3, we already had really positive feedback. You can bet your butt that my agent was then on the phone letting all of the other editors know this...which meant that everyone else read within a week.
Regardless of when your ms gets read, if the initial editor likes it, that's just the first step. Getting published is not unlike a hurdle race: you have to jump over a hell of a lot of them before you reach the finish line. From there, this editor sends it to 2-4 (on average) "second reads:" other editors at her imprint who have to agree with her enthusiasm in order for the book to move on. Additionally, if this editor is a hardcover editor, she needs to get the paperback editor to adore the book as well. (Though the paperback editor might also be one of the second readers.) So...as of now, we have anywhere from say, 3-5 people who all have to greet your book with unbridled passion. Don't believe me? Here's an example: we got a very positive first read from an editor at a huge imprint at a huge house. From the get-go, both my agent and I thought she'd be perfect. Her second reader agreed. Her third reader agree. Her fourth reader, "liked it, but found it a little depressing." Guess what? Ding! The buck stopped there. Do not pass go. Do not collect $200.
Okay, but assuming all of the second reads fawn and flutter over your ms, what happens next? An offer, right? Nope. From there, the ms or concept (as well as your platform - remember, we discussed this last week?) is run by marketing, who assess how likely your book is to actually sell and if it will sell, how well it will sell. If you've written about a lesbian Eskimo who decides to venture to the mainland and have a sex change, and marketing decides that no one wants to read the saga of a lesbian Eskimo who decides to venture to the mainland and have a sex change, then...ding! After all, money talks in this industry. (You might not actually know that they've dinged you immediately, however, because - and I'm not 100% clear on this - I believe that the marketing team presents their opinions at...the all important acquisition meeting, which we're moving on to below.)
So...now, we're up to what? At least half a dozen folks who have to be smitten with the book. See how this gets tricky? And now, we're into the all important acquisition meeting. You've cleared all the aforementioned hurdles, and this is where the original editor lobbies to buy the book. Should be a breeze, right? Ah, not so much. See, publishers only buy so many books and they only have so much money to spend, so they literally go in front of their peers and argue why the imprint must. have. this. book. now. If this editor is armed with strong second reads and positive marketing feedback, she'll likely get the green light. But not always. Again, real life example. A few days before my offer deadline (the day that my agent had set for all offers to be on the table), one editor insisted on calling me to "woo me" to her imprint. She was rabid for the book. Her second readers backed her up. Marketing was on board. Slam dunk. My agent was hesitant - normally, you don't speak with editors until they've decided to definitely offer - but this editor's enthusiasm spoke for itself, so my agent passed her my number. The convo went swimmingly. I was elated - this imprint would be my new home! I was sure of it.
Guess what? Said editor (for whom I harbor no ill-will - this really wasn't her fault!) got into the acquisition meeting and couldn't get her boss - the head of the imprint - to sign off. He "didn't want to publish a book about cancer." Ding!
The good news is that if your editor can push your book through the acquisition meeting, you'll get a call or email from your editor with a formal offer. And there's nothing sweeter.
Whew! I'm exhausted just posting about this whole process. You can see how tough it is, and why, in my opinion, most books that get published really do deserve some respect - it's not an easy road to navigate. (Which doesn't explain your next question: how does so much crap slip through the cracks? I dunno. But there must be a market for it, so maybe some editors buy crap because they know that crap sells.) Frankly, it's hard to imagine, given the diligence of this process, that anyone gets published at all! I mean, what are the chances that everyone at a given imprint is going to love your book? Slim, right? Right.
How TDLF got four offers is beyond me. Truly. I mean, I love, love, love my book, but really, I feel very fortunate. One offer is a blessing. Anything beyond that - which means that your agent gets to conduct an auction - is a miracle. I'm not even kidding. Up there with the parting of the red seas.
I didn't write all of this to intimidate you guys or daunt you! Only to inform. It can be done. Just walk into Barnes and Noble if you don't believe me: all of those authors went through similar processes (though, I'm sure, there's some variance from house to house and book to book, etc...I'm not claiming that what I wrote here is set in stone, just a general idea), and hey, they came out on the other side. You can too.
Did I scare you off? Or was this educational? It's good for me to know for future posts!
Tuesday, August 15, 2006
I Want My FOBs
Could you talk about FOB pitches and how you approach those? Samples (if not too much?)
Sure thing. I don't pitch FOBs that often anymore - really just because I don't have the time - but as I mentioned in a previous post, I used to tackle them all the time, and not only are they a great way to break into a new market, they're a great way to prove to a new-to-you editor that you're the real deal.
(Sidenote for newcomers to the blog: FOB stands for front-of-book, and an FOB is one of those shorter stories/blurbs that you'll read in the literal front of the magazine. Thus, the name.)
In the past, I often used new research, studies or books to develop FOB ideas. Since I cover health and lifestyle (and everything that falls underneath those vast umbrellas), I'd troll websites such as newswise, medlineplus, and intelihealth for the latest research. When I'd hit a study that I thought could be spun into a short piece, I'd whip up a fun little blurb and send it into a targeted editor. I'd usually aim to send about 4-5 at a time, knowing that most likely, 1-2 would hit. Another good place to look for ideas is the "upcoming release" section of Amazon or Barnes and Noble. Keeping in mind that most major mags work about six months out, I could often find future books (and their authors) that could be profiled in 200 word FOBs.
Here are a few examples that I sent in a few years ago. I really don't save the published FOBs, so I can't remember which of these made the cut, but regardless, you'll get a good idea of how to write them up and grab an editor's attention.
1. If you can't pass on the ice cream, try the gym. The American Physiological Association reports that after exercise, athletes would rather indulge in salty, not sweet, treats, and that their perception of the sweetness of an item had diminished. You'll reap two benefits: one, you've burned calories and two, the Ben and Jerry's might not be as tempting!
2. Researchers state that volunteering or giving to charity is a great way to reduce stress and improve your happiness. Yet while many of us think it's a great idea in theory, few of us put it into practice. How about, just in time for the holidays, tips on becoming more involved in charity and websites where people can donate to their favorite organizations. (There are some great ones out there that list thousands of charities; you only have to enter a credit card number.) Both December and January are great times to get into the giving spirit and start the year off right.
3. Fast Food Nation: too good to be true? This week, McDonalds announced plans to launch a healthy happy meal, and KFC and other joints have already implemented supposedly "lite" items on their menus. But are they for real? I was shocked to read that the "low-fat" blueberry muffin at Dunkin' Donuts actually has 15 grams of fat. Sheesh, that's hardly good for me! So which items to experts give the thumbs up to, and which are only clever marketing tools? This could be done in the form of a chart.
4. Social Drinking isn't Fun After All: At least not for your brain. Vanderbilt University researchers report that heavy social drinkers, those who consume more than 100 drinks a month, 80 for women, (which given portion size at some bars, may not be that hard and can be deceiving), show the same brain impairments as alcoholics. Only because they're not drinking "heavily," they don't recognize the symptoms. I'd speak with the researchers and get their tips on curbing alcohol intake and recognizing signs of impairment and problems.
Sure thing. I don't pitch FOBs that often anymore - really just because I don't have the time - but as I mentioned in a previous post, I used to tackle them all the time, and not only are they a great way to break into a new market, they're a great way to prove to a new-to-you editor that you're the real deal.
(Sidenote for newcomers to the blog: FOB stands for front-of-book, and an FOB is one of those shorter stories/blurbs that you'll read in the literal front of the magazine. Thus, the name.)
In the past, I often used new research, studies or books to develop FOB ideas. Since I cover health and lifestyle (and everything that falls underneath those vast umbrellas), I'd troll websites such as newswise, medlineplus, and intelihealth for the latest research. When I'd hit a study that I thought could be spun into a short piece, I'd whip up a fun little blurb and send it into a targeted editor. I'd usually aim to send about 4-5 at a time, knowing that most likely, 1-2 would hit. Another good place to look for ideas is the "upcoming release" section of Amazon or Barnes and Noble. Keeping in mind that most major mags work about six months out, I could often find future books (and their authors) that could be profiled in 200 word FOBs.
Here are a few examples that I sent in a few years ago. I really don't save the published FOBs, so I can't remember which of these made the cut, but regardless, you'll get a good idea of how to write them up and grab an editor's attention.
1. If you can't pass on the ice cream, try the gym. The American Physiological Association reports that after exercise, athletes would rather indulge in salty, not sweet, treats, and that their perception of the sweetness of an item had diminished. You'll reap two benefits: one, you've burned calories and two, the Ben and Jerry's might not be as tempting!
2. Researchers state that volunteering or giving to charity is a great way to reduce stress and improve your happiness. Yet while many of us think it's a great idea in theory, few of us put it into practice. How about, just in time for the holidays, tips on becoming more involved in charity and websites where people can donate to their favorite organizations. (There are some great ones out there that list thousands of charities; you only have to enter a credit card number.) Both December and January are great times to get into the giving spirit and start the year off right.
3. Fast Food Nation: too good to be true? This week, McDonalds announced plans to launch a healthy happy meal, and KFC and other joints have already implemented supposedly "lite" items on their menus. But are they for real? I was shocked to read that the "low-fat" blueberry muffin at Dunkin' Donuts actually has 15 grams of fat. Sheesh, that's hardly good for me! So which items to experts give the thumbs up to, and which are only clever marketing tools? This could be done in the form of a chart.
4. Social Drinking isn't Fun After All: At least not for your brain. Vanderbilt University researchers report that heavy social drinkers, those who consume more than 100 drinks a month, 80 for women, (which given portion size at some bars, may not be that hard and can be deceiving), show the same brain impairments as alcoholics. Only because they're not drinking "heavily," they don't recognize the symptoms. I'd speak with the researchers and get their tips on curbing alcohol intake and recognizing signs of impairment and problems.
Thickening Your Skin
Just a quick follow-up to yesterday's post. Larramie asked, "How do you let the "nos," not bother you?," and I think she got some great answers in the comments section.
I just wanted to add my own two cents. I do believe that certain people are born with thicker skin than others (or develop it as they grow up). In fact, studies have shown that some people are inherently more resilient than others - recovering more quickly from illnesses and events that might leave them grief-stricken. So, for starters, I really think that some of us - perhaps armed with false confidence or I don't know what - simply let rejection roll of our backs easier than others. This isn't better or worse than any other personality trait; it's simply a fact of life. The exact same agent rejection will quickly be forgotten by one writer and internalized for days by another. No real explaining it other than genetic make-up or upbringing.
But if you're not naturally one of those people, I do think, as MTV reiterates in the comments section, that repeating the phrase, "it's just business," can help. Because at the end of the day (or the beginning or the middle), that's all it is. And editor (or agent) isn't rejecting YOU; she's saying, "this idea or this story or this book doesn't work for me." She's not saying that your writing sucks or that you'll never amount to anything or whatever all of those other voices in your head are telling you. She's saying, "hey, for my business, this doesn't cut it." Interestingly enough, I once interviewed a Ph.D. who told me that women are much more likely to personalize business dealings compared to men. And, I mean, isn't that so easy to believe? My husband would never come home from a shitty day at the office and say, "A deal blew up today, and it was clearly because the CEO didn't like me." No, he'd say, "A deal blew up today," and then proceed to list all of the reasons why - that he knew of - that it had. And trust me, none of them would be about him.
Think about this the next time you get rejected. There are a MILLION reasons why a magazine editor, for example, will turn down an idea. Here are some: they recently ran something similar, a competitor recently ran something similar, it doesn't fit their demographic, they've already filled the issue for which you're pitching, another writer has already been assigned the story, she's having a crappy day, her boyfriend just left her, her boss just chewed her out, she never got your email, the study you're basing the idea on has been disproven, her shoes hurt, her mother is driving her crazy...who the hell knows? I could go on for days.
The point is that rejection is almost never about you. And even if it IS about you, you'll probably never know. So why not chalk it up to any of the above reasons and enjoy your day instead?
I just wanted to add my own two cents. I do believe that certain people are born with thicker skin than others (or develop it as they grow up). In fact, studies have shown that some people are inherently more resilient than others - recovering more quickly from illnesses and events that might leave them grief-stricken. So, for starters, I really think that some of us - perhaps armed with false confidence or I don't know what - simply let rejection roll of our backs easier than others. This isn't better or worse than any other personality trait; it's simply a fact of life. The exact same agent rejection will quickly be forgotten by one writer and internalized for days by another. No real explaining it other than genetic make-up or upbringing.
But if you're not naturally one of those people, I do think, as MTV reiterates in the comments section, that repeating the phrase, "it's just business," can help. Because at the end of the day (or the beginning or the middle), that's all it is. And editor (or agent) isn't rejecting YOU; she's saying, "this idea or this story or this book doesn't work for me." She's not saying that your writing sucks or that you'll never amount to anything or whatever all of those other voices in your head are telling you. She's saying, "hey, for my business, this doesn't cut it." Interestingly enough, I once interviewed a Ph.D. who told me that women are much more likely to personalize business dealings compared to men. And, I mean, isn't that so easy to believe? My husband would never come home from a shitty day at the office and say, "A deal blew up today, and it was clearly because the CEO didn't like me." No, he'd say, "A deal blew up today," and then proceed to list all of the reasons why - that he knew of - that it had. And trust me, none of them would be about him.
Think about this the next time you get rejected. There are a MILLION reasons why a magazine editor, for example, will turn down an idea. Here are some: they recently ran something similar, a competitor recently ran something similar, it doesn't fit their demographic, they've already filled the issue for which you're pitching, another writer has already been assigned the story, she's having a crappy day, her boyfriend just left her, her boss just chewed her out, she never got your email, the study you're basing the idea on has been disproven, her shoes hurt, her mother is driving her crazy...who the hell knows? I could go on for days.
The point is that rejection is almost never about you. And even if it IS about you, you'll probably never know. So why not chalk it up to any of the above reasons and enjoy your day instead?
Monday, August 14, 2006
How YOU Doin'?
Okay, 'fess up: now's the time to detail your progress in the writing/fiction challenge. I'll start. I'm happy to report that I added about 5k words to my WIP since Tuesday. I definitely wouldn't have added anything if not for the challenge, so I'm really pleased with how things are ticking along. Even better, I've started to think about my characters and plot outside of my office, which means that things will really start kicking into gear for me. There's nothing like being at the gym or walking down the street and suddenly realizing exactly what you want to write next.
So, as Joey Tribbiani would say, "how you doin'?"
So, as Joey Tribbiani would say, "how you doin'?"
Taking the Plunge
I totally feel you on the soul sucking office - the bleak beige cubicle make me want to run the other way, but here i am sitting in one, writing you! So here's my question how did you transition from the office to writing full time? Can you talk about how, when, and why you started your career? For me that transition is the most daunting part.
I totally understand: leaving the security of a regular salary and health insurance for a career in which there are no guarantees of success sounds inane. When put that way, why would anyone take the leap? Well, I don't have any better answer other than to say that I've found enormous satisfaction in what I do...but I also recognize that I'm tremendously lucky in the level of success that I've achieved. As I've mentioned before, for every writer in my position, there are plenty of those with similar talent (or whatever word you want to use to describe what I do) who just aren't as successful.
So...how did I get here? I'm not sure that my story will be entirely helpful to tell, but I'll tell it anyway. I never intended to be a full-time writer. There, I said it. Not that I wouldn't have LOVED to be a full-time writer - there's a difference - I just never imagined how someone actually made a living at it. I'd always written for high school and college papers, had teachers and professors encourage me to keep at it, etc, etc, etc, but for a living...it seemed too ridiculously hard. I mean, seriously? People paying you to write? Ha! As if. In fact, at one point during my senior year in college, a few people suggested that I should pursue it (back when we were brushing off our finest suits and interviewing for jobs that would eventually bore us all to tears), and to this day, I remember thinking, "What an esoteric and unfeasible dream."
So, what I did instead, was act. :) I'm not kidding! You know, because breaking into the acting world is sooooo much easier than breaking into the writing world. Hee. Actually, first, immediately after graduating from college, I worked in PR. Hated it. Hated every freakin' second of it. That was probably because I spent most of my time stuffing gift bags and calling editors to push products that I thought sucked ass, but still, I hated it. I'd always loved to act and done a lot of it all my life...so...I quit my job (insert heart attack from parents), and hit the boards of NYC. I temped to pay the bills (and, after my parents recovered from their disappointment - I mean, they wanted me to be a banker at Goldman Sachs, not a secretary at Goldman Sachs, they generously offered to be of some financial help), and I eventually found some success in theater and commercials (hello, SAG card!). I'd made my way to Los Angeles and was busy draining my brain out there, when a college friend called and asked for some help launching a website. Maybe I was just fried from the LA sunshine or maybe I just needed to reverse the mental atrophy that had set in, but either way, I packed my bags and moved back to New York to help found and run the site. (This was during the internet boom.)
I wrote all of the web copy and press releases/kits for the site, as well as many of the articles that we had in the on-line magazine, and we got a lot of coverage in numerous national magazines (Self, InStyle, People, etc), so as it happened, a lot of our partners on the site approached me to write their web copy and press releases. So when the site was sold, I'd already built up a list of clients...and never really considered returning to the 9-5 grind. From there, I was fortunate to be hired at Rubenstein PR - a huge PR firm here in NYC - as their lead consumer writer and celeb ghostwriter, but on a freelance basis. So I had a built-in salary from Rubenstein (they paid me for three full days of work per week), plus my outside clients. (And this time, all I was doing was writing, which was 1000000000 times better than my first PR job.)
Ok, so, at the same time, my then-boyfriend finally came to his senses and proposed. I took this opportunity to begin to pitch bridal magazines and sites. I knew that I didn't want to write web copy/press releases forever, so I fired off some story ideas based on what I was going through with my wedding planning. As luck - and I do mean luck - would have it, The Knot was looking for a writer with ghostwriting experience to pen their second book, The Knot Book of Wedding Flowers. They liked my style, so had me draft a few chapters, and then they hired me. To write a freakin' book! I almost died.
The pay was crap and the situation itself turned out to be less than ideal (for long and varied reasons), but with that credit under my belt, I was taken a lot more seriously at the national mags. I landed my first feature at Bride's almost immediately, and from there, worked my way up to where I am now.
See...I told you that my story wouldn't necessarily help because there wasn't an exact moment when I took the leap. However, I still think that there are a few things to be gleaned. 1) I wouldn't leave your day job unless you had a plan - both financial and career - for the future. 2) To this end, I'd attempt to gather a few clips (or clients) before telling your boss to kiss your ass. This ensures that you'll at least have a little work (and some clout when pitching new places) and you won't be sitting on your couch for the next nine months wondering what the hell you were smoking. 3) There's probably never an ideal time to take this type of leap. At a certain point, you just have to jump. 4) Certain personalities thrive in the freelance world; certain do not. I say this not condescendingly; I say it from experience. I belong to a large writers group, and inevitably, the writers - talented as they may be - who deal poorly with rejection, with the ebbs and flows of the marketplace, with self-motivation, and with personalizing business when it's just business, are miserable...and don't succeed. Think about who you are before you hand in your resignation. If rejection bothers you, this isn't the route for you. I can't emphasize that enough. You will get 100 "nos" (at least) for every "yes" you get. That's a lot of "nos"...and each one can eat away at your self-esteem if you allow it to. By the time you've gotten 20 "nos," you're wondering what on earth made you ever think that you'd be successful at this - and you still have a lot more "nos" to go before you hit a "yes." I'm not trying to be grim: I'm being honest. If this is you, there's no shame in it. Not at all. I'd just suggest finding a way to work your love of writing into other aspects of your life, rather than ditching a safer path for something that will likely make you miserable (and chip away at your confidence).
All of that said, I count my blessings every day. And if you're the type of gal (or guy) who lets those nos roll right off of her back and then keeps chugging away, by all means...come join me!
So...who else is thinking of taking the leap? And how did others get their starts?
I totally understand: leaving the security of a regular salary and health insurance for a career in which there are no guarantees of success sounds inane. When put that way, why would anyone take the leap? Well, I don't have any better answer other than to say that I've found enormous satisfaction in what I do...but I also recognize that I'm tremendously lucky in the level of success that I've achieved. As I've mentioned before, for every writer in my position, there are plenty of those with similar talent (or whatever word you want to use to describe what I do) who just aren't as successful.
So...how did I get here? I'm not sure that my story will be entirely helpful to tell, but I'll tell it anyway. I never intended to be a full-time writer. There, I said it. Not that I wouldn't have LOVED to be a full-time writer - there's a difference - I just never imagined how someone actually made a living at it. I'd always written for high school and college papers, had teachers and professors encourage me to keep at it, etc, etc, etc, but for a living...it seemed too ridiculously hard. I mean, seriously? People paying you to write? Ha! As if. In fact, at one point during my senior year in college, a few people suggested that I should pursue it (back when we were brushing off our finest suits and interviewing for jobs that would eventually bore us all to tears), and to this day, I remember thinking, "What an esoteric and unfeasible dream."
So, what I did instead, was act. :) I'm not kidding! You know, because breaking into the acting world is sooooo much easier than breaking into the writing world. Hee. Actually, first, immediately after graduating from college, I worked in PR. Hated it. Hated every freakin' second of it. That was probably because I spent most of my time stuffing gift bags and calling editors to push products that I thought sucked ass, but still, I hated it. I'd always loved to act and done a lot of it all my life...so...I quit my job (insert heart attack from parents), and hit the boards of NYC. I temped to pay the bills (and, after my parents recovered from their disappointment - I mean, they wanted me to be a banker at Goldman Sachs, not a secretary at Goldman Sachs, they generously offered to be of some financial help), and I eventually found some success in theater and commercials (hello, SAG card!). I'd made my way to Los Angeles and was busy draining my brain out there, when a college friend called and asked for some help launching a website. Maybe I was just fried from the LA sunshine or maybe I just needed to reverse the mental atrophy that had set in, but either way, I packed my bags and moved back to New York to help found and run the site. (This was during the internet boom.)
I wrote all of the web copy and press releases/kits for the site, as well as many of the articles that we had in the on-line magazine, and we got a lot of coverage in numerous national magazines (Self, InStyle, People, etc), so as it happened, a lot of our partners on the site approached me to write their web copy and press releases. So when the site was sold, I'd already built up a list of clients...and never really considered returning to the 9-5 grind. From there, I was fortunate to be hired at Rubenstein PR - a huge PR firm here in NYC - as their lead consumer writer and celeb ghostwriter, but on a freelance basis. So I had a built-in salary from Rubenstein (they paid me for three full days of work per week), plus my outside clients. (And this time, all I was doing was writing, which was 1000000000 times better than my first PR job.)
Ok, so, at the same time, my then-boyfriend finally came to his senses and proposed. I took this opportunity to begin to pitch bridal magazines and sites. I knew that I didn't want to write web copy/press releases forever, so I fired off some story ideas based on what I was going through with my wedding planning. As luck - and I do mean luck - would have it, The Knot was looking for a writer with ghostwriting experience to pen their second book, The Knot Book of Wedding Flowers. They liked my style, so had me draft a few chapters, and then they hired me. To write a freakin' book! I almost died.
The pay was crap and the situation itself turned out to be less than ideal (for long and varied reasons), but with that credit under my belt, I was taken a lot more seriously at the national mags. I landed my first feature at Bride's almost immediately, and from there, worked my way up to where I am now.
See...I told you that my story wouldn't necessarily help because there wasn't an exact moment when I took the leap. However, I still think that there are a few things to be gleaned. 1) I wouldn't leave your day job unless you had a plan - both financial and career - for the future. 2) To this end, I'd attempt to gather a few clips (or clients) before telling your boss to kiss your ass. This ensures that you'll at least have a little work (and some clout when pitching new places) and you won't be sitting on your couch for the next nine months wondering what the hell you were smoking. 3) There's probably never an ideal time to take this type of leap. At a certain point, you just have to jump. 4) Certain personalities thrive in the freelance world; certain do not. I say this not condescendingly; I say it from experience. I belong to a large writers group, and inevitably, the writers - talented as they may be - who deal poorly with rejection, with the ebbs and flows of the marketplace, with self-motivation, and with personalizing business when it's just business, are miserable...and don't succeed. Think about who you are before you hand in your resignation. If rejection bothers you, this isn't the route for you. I can't emphasize that enough. You will get 100 "nos" (at least) for every "yes" you get. That's a lot of "nos"...and each one can eat away at your self-esteem if you allow it to. By the time you've gotten 20 "nos," you're wondering what on earth made you ever think that you'd be successful at this - and you still have a lot more "nos" to go before you hit a "yes." I'm not trying to be grim: I'm being honest. If this is you, there's no shame in it. Not at all. I'd just suggest finding a way to work your love of writing into other aspects of your life, rather than ditching a safer path for something that will likely make you miserable (and chip away at your confidence).
All of that said, I count my blessings every day. And if you're the type of gal (or guy) who lets those nos roll right off of her back and then keeps chugging away, by all means...come join me!
So...who else is thinking of taking the leap? And how did others get their starts?
Friday, August 11, 2006
Perfecting the Magazine Query Letter
Can you show us a sample query letter that you used to pitch freelance articles?
Sure. I'll go one better: I'll show you two examples. Now, keep in mind that I already knew these editors, so I didn't have to list my credits and to be honest, I probably kept them a little more casual than if this were a first-time pitch. I tried to track down a really detailed query to give you a more introductory example but couldn't find one in my files. (I delete them after a while.) But I'll keep looking. These days, I don't send query letters that often - usually, I'm fortunate enough to be able to rattle off a few sentences and the editor will either ask me for more details or tell me that why it doesn't work for her - but when I DO draft query letters, especially to new-to-me editors, I try to include solid facts or quotes, give a clear sense of my writing style, as well as ensure that this writing style still meshes with the magazine's overall tone and vision.
So, here you go:
Parents Magazine Pitch:
Dear XX:
When my son was born eight weeks ago, he was blessed with my gorgeous mug (ahem), but not so blessed to have inherited his daddy's stomach. Namely, if I were to put it less delicately, his gas. Cam is a perfectly behaved angel (if I do say so myself) with the sole exception of when he scrunches up his legs and screams his face off...and then he makes up for all of his other good behavior as his temper tantrums and discomfort spiral downhill.
I'd like to propose a story for the 0-12 months column on how to help your little one combat these bubbly situations. I know that it might sound silly, but in the hospital, they literally hand you your babe and say, "be sure to burp him after you nurse." Well, okay. But I've never had a baby before, so other than swatting him on the back, just how the hell do I get him to belch?? And once I'd master the rub-and-pat, what are the other remedies to get him to, well, let's just put it out there, fart? And what can I do to prevent it to begin with, if anything? How much Mylacon is too much? What about Gripe Water or prune juice? And will I ever be able to eat broccoli or beans again?
I know that Cam isn't alone with this ailment, and I think it would be a "explosive," not to mention helpful story for new mommies! And one that you have to approach with a touch of good humor. :) Let me know if you have any interest.
Sincerely,
Allison
The above pitch was assigned and became this story: The Gas Crisis. I've since written numerous articles for Parents - I'm working on one right now, just filed another, and have yet others in the Sept and Nov issues.
Prevention Magazine Pitch: How To Boost Your Dog's Brain Power
Dear XX:
Guess what? Just as humans prefer to exercise their most powerful muscle - namely, their brain - so too do animals. According to a recent study published in Science magazine, highly intelligent dogs have the mental aptitude of three-year old toddlers, and can understand well over 200 words.
But whether or not your dog was born a natural Einstein (really, whose wasn't?), there are definite ways to increase his intelligence, according to Dr. Stanley Coren, Ph.D, author of How Dogs Think. "There are two types of intelligence," he says. "'Fluid', which is native smarts, and 'crystallized,' which is the sum of everything you've learned. When you take an SAT test, there are measures of both, though most are the latter. They test how well you apply all of your knowledge. While you can’t change your dog’s fluid intelligence much, but you can effectively increase his crystallized intelligence by constantly teaching him new things."
In this story, we'll discuss ways - whether it is altering his daily walk route, finding new ways to communicate with him, or introducing new toys - to boost your pooch's brain power. And this doesn't just do your dog's ego good; it also helps his health. Studies show that dogs who are intellectually stimulated ward off the effects of Canine Cognitive Dysfunction, also known as "doggie Alzheimer's." Finally, not all breeds thrive when stimulated, so we'll also discuss which techniques work best for which breeds.
Let me know if this is of interest. Looking forward to speaking with you soon!
Allison
This story, Brain Training, was one of three Pet columns that I wrote for Prevention in 2005.
So there you have it. Now who's got questions about the magazine query process?
Thursday, August 10, 2006
So...Just What Do you Do All Day?
Update: I'm so glad that we have some readers who are on board for a little fiction challenge Hey, all you lurkers, don't be shy! Join us! Whatever your goal: revisions, queries, WIPs, be prepared to post them every Monday. I'll do the same.
Question of the day: I've always wondered what it's like to be a freelancer - I suspect that I wouldn't have the discipline to get anything done. What's your typical day like? How do you actually get things done?
You know, my husband doesn't really understand how I do it either. He's one of those guys who needs the structure of going into an office every day - or else he'd be parked on our couch watching Food Network from dawn until dusk, with random baseball games thrown in when he's already seen the FN show. (Oh, how I haaaaaaaate baseball season. He'll watch ANY game on air EVER.)
I, on the other hand, would wither up and die if I had to go into an office every day. I did it early on in my career, post-college, and I felt the literal life being sucked from me. Which is my way of saying that freelancing is definitely not for everyone. Not only do you have to be incredibly self-motivated (the lure of the TV beckons in the background), but you have to be cool spending a lot of time by yourself. No Grey's Anatomy water-cooler discussions (though that's why I love Television Without Pity!), no grabbing lunch with your gal pal co-worker, no happy hour cocktails with your cube-mates.
So...what's my typical day like? Here's how it usually breaks down:
8:00 - Nanny arrives.
8:15 - I head out the door with our pooch, Pedro, for a romp in the park. (For him, not me.)
9:15-9:30 - Return home, chat with son, pour coffee (YES, I'M PREGNANT - I KNOW! It's only half-caffeinated, so don't send me admonishing emails. The world is dead to me without coffee.)
9:30-10:00 - Catch up on all of the websites and blogs I like to visit.
10:00 - Cereal! Yum!! (I've mentioned that before.)
10:15 - Start my work. I've found that I write my best at this point in the morning. I start every day with a "to do" list, and I love, love, love crossing things off. So by tackling the list right away, I'm ensured that I'll at least accomplish something in my day before lunch.
1:00ish - Take a break from my work - whether the work was drafting a story, interviewing experts, following up with editors, etc - and head to the gym for an hour, and run errands afterward.
2:30 - Back at my desk, where I surf around the web while eating lunch.
3:00 - Run pooch out to the dog run for his second romp of the day.
3:45 - Pick up work wherever I left off. This usually revolves around the straggling items on my to-do list. As I said, I think that I write my best earlier in the day, so this stuff might be more busy-work than real, actual writing. But if I'm coming up on a deadline, I'll write whenever I have to.
6:00 - Nanny leaves, and I make darling son dinner, most of which he then proceeds to throw to Pedro and giggle maniacally while doing so.
7:30 - Darling son conks out. (Or so I hope.)
Evening - If my husband is out, I'll head back to the computer for a little more work or deal with West Coast interviews/contacts. That's the problem with working from home - you never really get to leave the office.
So that's my typical day. The beauty of freelancing is that, quite obviously, you have the freedom to shift all of these elements as they best suit your schedule. The downside to all of this is that if you're not disciplined, you'll shift it to the point where you're entirely unproductive. Thus, the critical importance of really having a schedule and sticking to it. This is also why I really make my mornings work for me: if all crap hits the fan in the afternoon or my motivation takes a total nosedive, and I can't manage to get anything done, I've still accomplished a lot.
I imagine that these floating schedules are the reason freelance writers get a bad rap. Most people hear "freelance writer," and they raise their eyebrows, silently thinking to themselves that what this really means is a couch-loafing, pajama-wearing, unemployed, perhaps talentless, lazy ass, and to be fair, I'm sure that there are plenty of them out there. I can't tell you how many times people have asked what I do, and upon hearing that I'm a writer, say, "oh, whom do you write for," never expecting that I've actually been published or, gasp, really truly earn a good living at this. Which both pisses me off and brings me great vindictive joy.
Anyway, the point of this post wasn't for me to ramble on about other peoples' judgments, rather just to say that freelancing requires a lot of discipline - in some ways, it might be harder than going into an office because you don't have a boss breathing down your neck. You're your own boss, and if you screw up, fail or just end up with your ass on the couch the entire day, you can point the finger only at yourself.
Anyone else have good discipline or scheduling tips? Or just want to rant about the labels (and stereotypes) that go along with being a writer?
Question of the day: I've always wondered what it's like to be a freelancer - I suspect that I wouldn't have the discipline to get anything done. What's your typical day like? How do you actually get things done?
You know, my husband doesn't really understand how I do it either. He's one of those guys who needs the structure of going into an office every day - or else he'd be parked on our couch watching Food Network from dawn until dusk, with random baseball games thrown in when he's already seen the FN show. (Oh, how I haaaaaaaate baseball season. He'll watch ANY game on air EVER.)
I, on the other hand, would wither up and die if I had to go into an office every day. I did it early on in my career, post-college, and I felt the literal life being sucked from me. Which is my way of saying that freelancing is definitely not for everyone. Not only do you have to be incredibly self-motivated (the lure of the TV beckons in the background), but you have to be cool spending a lot of time by yourself. No Grey's Anatomy water-cooler discussions (though that's why I love Television Without Pity!), no grabbing lunch with your gal pal co-worker, no happy hour cocktails with your cube-mates.
So...what's my typical day like? Here's how it usually breaks down:
8:00 - Nanny arrives.
8:15 - I head out the door with our pooch, Pedro, for a romp in the park. (For him, not me.)
9:15-9:30 - Return home, chat with son, pour coffee (YES, I'M PREGNANT - I KNOW! It's only half-caffeinated, so don't send me admonishing emails. The world is dead to me without coffee.)
9:30-10:00 - Catch up on all of the websites and blogs I like to visit.
10:00 - Cereal! Yum!! (I've mentioned that before.)
10:15 - Start my work. I've found that I write my best at this point in the morning. I start every day with a "to do" list, and I love, love, love crossing things off. So by tackling the list right away, I'm ensured that I'll at least accomplish something in my day before lunch.
1:00ish - Take a break from my work - whether the work was drafting a story, interviewing experts, following up with editors, etc - and head to the gym for an hour, and run errands afterward.
2:30 - Back at my desk, where I surf around the web while eating lunch.
3:00 - Run pooch out to the dog run for his second romp of the day.
3:45 - Pick up work wherever I left off. This usually revolves around the straggling items on my to-do list. As I said, I think that I write my best earlier in the day, so this stuff might be more busy-work than real, actual writing. But if I'm coming up on a deadline, I'll write whenever I have to.
6:00 - Nanny leaves, and I make darling son dinner, most of which he then proceeds to throw to Pedro and giggle maniacally while doing so.
7:30 - Darling son conks out. (Or so I hope.)
Evening - If my husband is out, I'll head back to the computer for a little more work or deal with West Coast interviews/contacts. That's the problem with working from home - you never really get to leave the office.
So that's my typical day. The beauty of freelancing is that, quite obviously, you have the freedom to shift all of these elements as they best suit your schedule. The downside to all of this is that if you're not disciplined, you'll shift it to the point where you're entirely unproductive. Thus, the critical importance of really having a schedule and sticking to it. This is also why I really make my mornings work for me: if all crap hits the fan in the afternoon or my motivation takes a total nosedive, and I can't manage to get anything done, I've still accomplished a lot.
I imagine that these floating schedules are the reason freelance writers get a bad rap. Most people hear "freelance writer," and they raise their eyebrows, silently thinking to themselves that what this really means is a couch-loafing, pajama-wearing, unemployed, perhaps talentless, lazy ass, and to be fair, I'm sure that there are plenty of them out there. I can't tell you how many times people have asked what I do, and upon hearing that I'm a writer, say, "oh, whom do you write for," never expecting that I've actually been published or, gasp, really truly earn a good living at this. Which both pisses me off and brings me great vindictive joy.
Anyway, the point of this post wasn't for me to ramble on about other peoples' judgments, rather just to say that freelancing requires a lot of discipline - in some ways, it might be harder than going into an office because you don't have a boss breathing down your neck. You're your own boss, and if you screw up, fail or just end up with your ass on the couch the entire day, you can point the finger only at yourself.
Anyone else have good discipline or scheduling tips? Or just want to rant about the labels (and stereotypes) that go along with being a writer?
Wednesday, August 09, 2006
Show Me the Money
Whoo-hoo! That's me celebrating after diving back into my WIP. Per my stated goals, I logged in 1k words yesterday, and intend to do so every day (barring weekends or emergencies) until it's completed. The thing about writing fiction - at least for me - is that I dread doing it, but once I'm actually doing it, I find that I love it. So it's just a matter of forcing myself to sit down and write the damn thing. Sort of like going to the gym. Once you get in the habit of it, it merely becomes part of your routine.
Anyone else want to set some goals here? We can hold a weekly tally (on, say, Mondays) and fill each other in on how we did.
Question of the day: You've convinced me on the necessity of an agent. So let me ask a totally newbie question -- forgive me if you've addressed it. How does the $$ relationship work out? They get paid if your book sells? Or what?
First of all, there are no newbie questions here! That's the whole point of this blog!! No question is too dumb. (Well, that's not true. I'm sure that there are plenty of questions that are too dumb, but if you're reading this blog, you're already smart enough that I'm sure you've passed the point of being capable of asking truly moronic questions.)
Yes, the agent ONLY gets paid if she sells your book. Thus, it's in her best interest to work her tail off for you. It goes without saying that you should NEVER pay an "agent" an upfront fee - that's a blaring sign of a scam.
Here's how the whole money thing breaks down: most agents (in fact, I think nearly all of them), reap 15% of whatever you make from your book. So, for easy math, if you get a 10k advance, your agent pockets $1,500 from the advance, leaving you with $8,500. Whatever you get on top of your advance - if anything - she'll also get 15% of. But don't count on that money. Publishers calculate advances based on approximately what they expect your book to earn. Thus, if they think that you'll sell about 10k worth of books (this calculation includes all of the book-seller discounts and various things that I can't claim to understand), you'll get an offer for a 10k advance. And it's not until you've earned that money back that royalties kick in and you start seeing another dime.
Your agent can also earn you money by selling other rights, if she's held on to them. (In many cases, the publishing house might have bought them, but this is something that your agent can and will negotiate.) Rights such as foreign, audio, film, etc.
Keep in mind that your advance is paid out in increments: mine came (or is coming) in thirds, which is pretty standard, though if you have some leverage, I think you can get it paid in halves. I got the first third upon signing my contract, the next third upon handing in the revised and accepted manuscript, and I'll get the last third when the book comes out...next year. If the average advance for a debut author is in the 10k ballpark, you can easily see how authors aren't exactly having Indecent Proposal moments, rolling around in the bed with gazillions of dollars. Divide 10k into three, take out 15% and taxes, and well...very few debut authors quit their day jobs.
So if you're toiling away at your ms because you think it's a path lined with gold, this post is a wake-up call. If you're toiling away at your ms because you're possessed like the devil to tell a f-ing great story, then keep at it.
And with that, I'm headed to the gym. That's been part of my routine since college...I'm hoping my writing habits become as ingrained as my exercise habits. Experts say that you need 4-6 weeks of repeatedly doing a new task before it becomes inate, so I'm counting on you guys to hold me accountable: in 4-6 weeks, I should be nearing the end of my WIP. We'll see how I do.
Anyone else want to set some goals here? We can hold a weekly tally (on, say, Mondays) and fill each other in on how we did.
Question of the day: You've convinced me on the necessity of an agent. So let me ask a totally newbie question -- forgive me if you've addressed it. How does the $$ relationship work out? They get paid if your book sells? Or what?
First of all, there are no newbie questions here! That's the whole point of this blog!! No question is too dumb. (Well, that's not true. I'm sure that there are plenty of questions that are too dumb, but if you're reading this blog, you're already smart enough that I'm sure you've passed the point of being capable of asking truly moronic questions.)
Yes, the agent ONLY gets paid if she sells your book. Thus, it's in her best interest to work her tail off for you. It goes without saying that you should NEVER pay an "agent" an upfront fee - that's a blaring sign of a scam.
Here's how the whole money thing breaks down: most agents (in fact, I think nearly all of them), reap 15% of whatever you make from your book. So, for easy math, if you get a 10k advance, your agent pockets $1,500 from the advance, leaving you with $8,500. Whatever you get on top of your advance - if anything - she'll also get 15% of. But don't count on that money. Publishers calculate advances based on approximately what they expect your book to earn. Thus, if they think that you'll sell about 10k worth of books (this calculation includes all of the book-seller discounts and various things that I can't claim to understand), you'll get an offer for a 10k advance. And it's not until you've earned that money back that royalties kick in and you start seeing another dime.
Your agent can also earn you money by selling other rights, if she's held on to them. (In many cases, the publishing house might have bought them, but this is something that your agent can and will negotiate.) Rights such as foreign, audio, film, etc.
Keep in mind that your advance is paid out in increments: mine came (or is coming) in thirds, which is pretty standard, though if you have some leverage, I think you can get it paid in halves. I got the first third upon signing my contract, the next third upon handing in the revised and accepted manuscript, and I'll get the last third when the book comes out...next year. If the average advance for a debut author is in the 10k ballpark, you can easily see how authors aren't exactly having Indecent Proposal moments, rolling around in the bed with gazillions of dollars. Divide 10k into three, take out 15% and taxes, and well...very few debut authors quit their day jobs.
So if you're toiling away at your ms because you think it's a path lined with gold, this post is a wake-up call. If you're toiling away at your ms because you're possessed like the devil to tell a f-ing great story, then keep at it.
And with that, I'm headed to the gym. That's been part of my routine since college...I'm hoping my writing habits become as ingrained as my exercise habits. Experts say that you need 4-6 weeks of repeatedly doing a new task before it becomes inate, so I'm counting on you guys to hold me accountable: in 4-6 weeks, I should be nearing the end of my WIP. We'll see how I do.
Tuesday, August 08, 2006
I Wanna Get Grouped
Body update: Still sore.
Blog Update: I've devoted most of my attention to book publishing, but I know that some readers are aspiring magazine writers too. So don't be shy: if you have magazine questions, send 'em my way. (Of course, book questions are still welcome too! Just wanted to remind you about the magazine angle.)
Question of the day:
You mentioned joining an online writers group while working to finish TDLF. Was that for support, critiques or both? And was the experience worthwhile?
Let me put it this way: without my writers' group, I wouldn't be a soon-to-be published author. So yep, you could say that the experience was worthwhile. :) The group I joined was more for support: it was a smaller subset of a magazine writers group that I'm part of. There were numerous aspiring, but stalled, fiction writers among us, so someone had the brilliant idea of forming a fiction group...and a fiction challenge, of sorts. Basically, each week, we reported back to each other on our progress. Not only did this light a fire under my butt, it also made me feel accountable. I mean, I told these people I wanted to finish my book, how embarrassing if I didn't! AND, even more embarrassing, as I saw them posting their word counts for the week, I wondered why I couldn't match - or even beat - them.
This was actually for my first book - the one that didn't sell and that I'm currently overhauling. I've mentioned here that it's stalled, and I'm thrilled that my writers group has started a new challenge...it's just what I need to motivate. I'll probably aim for about 1k words a day once I dive back in. Every Monday, I'll post my progress for the other members of the group, and we all feed off each other's success and influence. I'll also post my progress here, and you guys are welcome to do the same.
I wasn't one for joining a critique group - that's just not my style, but these groups have definitely worked for other writers I know. As we've previously discussed on the blog, often times, you just need a set of fresh eyes to point out where you've gone wrong and help redirect both you and the ms. And critique groups can provide that. Two that I've recently seen recommended are:
http://www.internetwritingworkshop.org/
http://www.thewritingbridge.org
I've never dealt with either of them, however. Just saw referrals to the sites from other writers.
What do you guys think? Are critique/support groups worthwhile? If so, where can a newbie writer sniff out a reputable group?
Blog Update: I've devoted most of my attention to book publishing, but I know that some readers are aspiring magazine writers too. So don't be shy: if you have magazine questions, send 'em my way. (Of course, book questions are still welcome too! Just wanted to remind you about the magazine angle.)
Question of the day:
You mentioned joining an online writers group while working to finish TDLF. Was that for support, critiques or both? And was the experience worthwhile?
Let me put it this way: without my writers' group, I wouldn't be a soon-to-be published author. So yep, you could say that the experience was worthwhile. :) The group I joined was more for support: it was a smaller subset of a magazine writers group that I'm part of. There were numerous aspiring, but stalled, fiction writers among us, so someone had the brilliant idea of forming a fiction group...and a fiction challenge, of sorts. Basically, each week, we reported back to each other on our progress. Not only did this light a fire under my butt, it also made me feel accountable. I mean, I told these people I wanted to finish my book, how embarrassing if I didn't! AND, even more embarrassing, as I saw them posting their word counts for the week, I wondered why I couldn't match - or even beat - them.
This was actually for my first book - the one that didn't sell and that I'm currently overhauling. I've mentioned here that it's stalled, and I'm thrilled that my writers group has started a new challenge...it's just what I need to motivate. I'll probably aim for about 1k words a day once I dive back in. Every Monday, I'll post my progress for the other members of the group, and we all feed off each other's success and influence. I'll also post my progress here, and you guys are welcome to do the same.
I wasn't one for joining a critique group - that's just not my style, but these groups have definitely worked for other writers I know. As we've previously discussed on the blog, often times, you just need a set of fresh eyes to point out where you've gone wrong and help redirect both you and the ms. And critique groups can provide that. Two that I've recently seen recommended are:
http://www.internetwritingworkshop.org/
http://www.thewritingbridge.org
I've never dealt with either of them, however. Just saw referrals to the sites from other writers.
What do you guys think? Are critique/support groups worthwhile? If so, where can a newbie writer sniff out a reputable group?
Monday, August 07, 2006
Editors and Agents: A Necessary Evil?
Hope everyone had a fabu weekend! We had a wonderful getaway - thanks to all for the fun wishes - but of course, I'm already exhausted again after chasing around the maniac son for the afternoon... It's not helping matters that my husband and I took a hike yesterday that the hotel claimed was 4.5 miles, but, in fact, must have been more like 7, and we both woke up today with ass muscles tighter than Guantanamo Bay security. We're hobbling around like we're 117, and every time one of us shuffles into the room, we completely lose it. I mean, we're in really good shape (or so we thought!)...who are the people who survive this supposed leisurely hike completely intact???
The good news is that I reread my stalled WIP (while soaking in the tub last night in an effort to thwart the oncoming ass soreness), and I actually really like it. I'm letting it gestate for a few days, then will gear back up with my 1k word a day goal. I'll let you know when I start writing again, in case other folks want to join me in setting their own writing goals.
Ok, on with the questions:
a) What advice do you have for unpublished novelists regarding editors and agents? b) Which should an author pursue first? c) Is it necessary to have an agent? Do editors work with authors without agents? Is it better to have an agent?
a) The most basic advice that I have is that you should have one. Simple as that. Without an agent, you're not only flying blind in many situations, you're also limiting your options. But more on that later.
b) Get an agent first. Editors are too busy to read through the slush, and frankly, finding that diamond in the slush isn't part of their job. Well, at least not at the major publishing houses. Very few of them take unsolicited manuscripts and with good reason: agents act as a filter. Here's why: when an agent has a ms that's ready to send out, she'll call up the list of targeted editors and explain the project (at least she will if she's good at her job). This is the beginning of the wooing process. The agent crafts a pitch, she musters up gobs of enthusiasm, and she sells, sells, sells. The editor right there and then tells the agent whether or not it sounds like a good fit, and if it is a good fit, the editor is frothing at the mouth by the time your ms hits her desk. Sort of like if you were in the market for a new car, and car salesmen rang you up whenever something crossed their lot that might work for you.
Beyond this, the editor also knows and trusts the agent (or at least she trusts the reputable ones), who should have a good idea of what the editor is looking for (that's why they all "do lunch,") and where her tastes tend to run. So, in essence, why would the editor even bother with the slush pile when she already has such a fine system working on her behalf?
There is also the assumption - whether this is fair or not - that the cream rises to the top. Namely, that the best mss will get snapped up by agents, and thus if you're submitting without one, yours ain't the cream. (Hey, I'm not saying I agree, I'm just telling you the perception. And the truth of the matter is, that there are gajillions of terrible mss out there which definitely DON'T deserve to be repped. For all of the good ones that slip through the cracks, there are many more which truly blow.)
That said, there are exceptions to what I said above. Many small presses accept submissions, as do certain lines at Harlequin and Red Dress. (I'm working from my knowledge of commercial fiction - feel free to chime in with other places that accept them without agent representation.) I know plenty of published authors who are thrilled with the treatment and attention they've received at smaller presses (though most of these authors were indeed repped by agents). The major houses: Random House, HarperCollins, Penguin, St. Martin's, Warner, Simon and Schuster, etc, however, really won't glance in your direction without an agent. (Unless, I dunno, Tom Clancy referred you personally, and if you know Tom Clancy, you should really have him refer you to his agent. Lucky dog, you.)
And of course, there's always the self-publishing route, which I know a few readers of this blog have done. Nothing wrong with it, but I think that most self-published authors take this route after fruitlessly hunting for an agent, and many of them will tell you it's a lot of work. They're an army of one, whereas authors with houses behind them have an army of many. But self-publishing is definitely an option, and there really have been some great self-published novels. Check out POD-dy Mouth for proof.
c) I've pretty much answered these questions, but one other note about the benefit to having an agent. A good agent does more than just sell your book. She negotiates your contract; she's your ally if things go awry with your editor - whether you hate your cover art or your editor is fired or you totally disagree with the revision notes. Whatever, she should be there to back you up. She also champions not just your book, but your career. Mine called me a few months ago with an glimmer of an idea for a novel that she thought I might be able to spin into something more. In an ideal situation, it's a true partnership, and just like in a healthy, thriving marriage, that's something that can't be underestimated. Or necessarily replaced.
The good news is that I reread my stalled WIP (while soaking in the tub last night in an effort to thwart the oncoming ass soreness), and I actually really like it. I'm letting it gestate for a few days, then will gear back up with my 1k word a day goal. I'll let you know when I start writing again, in case other folks want to join me in setting their own writing goals.
Ok, on with the questions:
a) What advice do you have for unpublished novelists regarding editors and agents? b) Which should an author pursue first? c) Is it necessary to have an agent? Do editors work with authors without agents? Is it better to have an agent?
a) The most basic advice that I have is that you should have one. Simple as that. Without an agent, you're not only flying blind in many situations, you're also limiting your options. But more on that later.
b) Get an agent first. Editors are too busy to read through the slush, and frankly, finding that diamond in the slush isn't part of their job. Well, at least not at the major publishing houses. Very few of them take unsolicited manuscripts and with good reason: agents act as a filter. Here's why: when an agent has a ms that's ready to send out, she'll call up the list of targeted editors and explain the project (at least she will if she's good at her job). This is the beginning of the wooing process. The agent crafts a pitch, she musters up gobs of enthusiasm, and she sells, sells, sells. The editor right there and then tells the agent whether or not it sounds like a good fit, and if it is a good fit, the editor is frothing at the mouth by the time your ms hits her desk. Sort of like if you were in the market for a new car, and car salesmen rang you up whenever something crossed their lot that might work for you.
Beyond this, the editor also knows and trusts the agent (or at least she trusts the reputable ones), who should have a good idea of what the editor is looking for (that's why they all "do lunch,") and where her tastes tend to run. So, in essence, why would the editor even bother with the slush pile when she already has such a fine system working on her behalf?
There is also the assumption - whether this is fair or not - that the cream rises to the top. Namely, that the best mss will get snapped up by agents, and thus if you're submitting without one, yours ain't the cream. (Hey, I'm not saying I agree, I'm just telling you the perception. And the truth of the matter is, that there are gajillions of terrible mss out there which definitely DON'T deserve to be repped. For all of the good ones that slip through the cracks, there are many more which truly blow.)
That said, there are exceptions to what I said above. Many small presses accept submissions, as do certain lines at Harlequin and Red Dress. (I'm working from my knowledge of commercial fiction - feel free to chime in with other places that accept them without agent representation.) I know plenty of published authors who are thrilled with the treatment and attention they've received at smaller presses (though most of these authors were indeed repped by agents). The major houses: Random House, HarperCollins, Penguin, St. Martin's, Warner, Simon and Schuster, etc, however, really won't glance in your direction without an agent. (Unless, I dunno, Tom Clancy referred you personally, and if you know Tom Clancy, you should really have him refer you to his agent. Lucky dog, you.)
And of course, there's always the self-publishing route, which I know a few readers of this blog have done. Nothing wrong with it, but I think that most self-published authors take this route after fruitlessly hunting for an agent, and many of them will tell you it's a lot of work. They're an army of one, whereas authors with houses behind them have an army of many. But self-publishing is definitely an option, and there really have been some great self-published novels. Check out POD-dy Mouth for proof.
c) I've pretty much answered these questions, but one other note about the benefit to having an agent. A good agent does more than just sell your book. She negotiates your contract; she's your ally if things go awry with your editor - whether you hate your cover art or your editor is fired or you totally disagree with the revision notes. Whatever, she should be there to back you up. She also champions not just your book, but your career. Mine called me a few months ago with an glimmer of an idea for a novel that she thought I might be able to spin into something more. In an ideal situation, it's a true partnership, and just like in a healthy, thriving marriage, that's something that can't be underestimated. Or necessarily replaced.
Friday, August 04, 2006
TGIF!!
Sorry guys - keeping this post short and sweet. It's just been too damn hot for me, and the soaring temps seem to have sucked out all motivation to get any work done. Truly fried my brain: I've been completely unproductive for the past 48 hours. The good news is that I did clean out my office yesterday - wow, I found reciepts and various crap dating back to 2003. And I keep complaining that we don't have enough storage. When you toss out a few garbage bags worth of useless papers, CDs, old magazines, crap, crap and crap, you realize it's probably not the storage that's the problem, it's you.
Anyway, hubby and I are headed out of town in a few for a nice weekend to ourselves! Yahoo!! I've packed the last Harry Potter installment (never read it) and Jennifer Paddock's A Secret Word. I met Jennifer on MySpace, and she's a fellow Felicity lover, so obviously, it goes without saying that I adore her and assume I'll adore her book as well. We Felicity followers share a certain kinship, you know?
So I'm prepped for some serious R&R - a pre-natal massage, fine sheets, good dining...ooh, I can't wait and feel more relaxed just thinking about it.
If you have some time on your hands because this entry is so short, I'll pass along a few links. For a little inspiration, check out Philip Beard's incredible story about how he went from self-publishing his novel, Dear Zoe, to landing a fat contract at Viking. The book, which was a Book Sense pick in both hardcover and paperback, was previously rejected by 27 editors. Like he didn't have the last laugh. Ha!
And while you're surfing around, be sure to click over to Erin Zammett's blog on Glamour.com. Erin's been in remission from leukemia for several years, and many of us have been following her story via the magazine since she was diagnosed. She's also a cool, fun, witty gal who was kind enough to give me my first shot at writing for Glamour (after four years of pitching....See? It's not easy!). She'll be updating daily, so add it to your favorites.
Anyone else have fun plans for the weekend? Has the heat caused any other serious mental meltdowns or is it just moi?
Anyway, hubby and I are headed out of town in a few for a nice weekend to ourselves! Yahoo!! I've packed the last Harry Potter installment (never read it) and Jennifer Paddock's A Secret Word. I met Jennifer on MySpace, and she's a fellow Felicity lover, so obviously, it goes without saying that I adore her and assume I'll adore her book as well. We Felicity followers share a certain kinship, you know?
So I'm prepped for some serious R&R - a pre-natal massage, fine sheets, good dining...ooh, I can't wait and feel more relaxed just thinking about it.
If you have some time on your hands because this entry is so short, I'll pass along a few links. For a little inspiration, check out Philip Beard's incredible story about how he went from self-publishing his novel, Dear Zoe, to landing a fat contract at Viking. The book, which was a Book Sense pick in both hardcover and paperback, was previously rejected by 27 editors. Like he didn't have the last laugh. Ha!
And while you're surfing around, be sure to click over to Erin Zammett's blog on Glamour.com. Erin's been in remission from leukemia for several years, and many of us have been following her story via the magazine since she was diagnosed. She's also a cool, fun, witty gal who was kind enough to give me my first shot at writing for Glamour (after four years of pitching....See? It's not easy!). She'll be updating daily, so add it to your favorites.
Anyone else have fun plans for the weekend? Has the heat caused any other serious mental meltdowns or is it just moi?
Thursday, August 03, 2006
How Do I Get Famous When I'm Not?
I have a great non-fiction book idea. I ran it by an agent I'm acquainted with, and she agreed that it could work, however, she told me that it would be a very hard sell because I don't have a platform. Doesn't the quality of the idea or the quality of the book matter? Can you explain what exactly a platform is, and how I go about getting one?
When aspiring writers hear the word "platform," their first impulse might be to jump off of one, because having a platform can indeed make or break you. That said, there's good and bad news to come in answering this question, so let's break it down point by point.
1) What is a platform? A platform is really a synonym for your visibility, your marketability, you contacts, connections and how many people (other than your extended family and high school alumni committee) know who you are. Dr. Phil, for example, has an enormous platform. Your local shrink, however, does not. Even though they technically do the same job.
2) Why do platforms matter? Because your platform helps your publisher sell books. Period. The good news (remember, I said that there was some) is that platforms matter less for fiction than for non-fiction. Publishing houses are willing to take on a first-time novelist with no name for himself, but are less willing to take on your aforementioned local shrink. Why? I'd imagine because when it comes to debut authors, most readers don't expect to have heard of him, but if they're looking for advice on how to save their marriage, they'd like to know that these words of wisdom are actually coming from someone whom they trust. Blame Oprah.
That said, there's no doubt that having a wide-spread platform can help you when it comes to fiction. My advance was much larger than most debut novelists, in part because the editors who bid on my book knew come publication time, I'd be putting in calls (code for: begging, crying and offering up my second born) to all of my magazine editors and various contacts, asking them for a plug or a review. And you can be damn sure that I will indeed be doing so. But did my platform help sell my book? I don't think so. I think it just helped pad the advance. But without a platform in non-fiction, you're much less likely to sell the book at all.
3) What can I do to build a platform?
Ah, the million dollar question. First off, it goes without saying that you need a website. I write off potential interviewees all the time when I can't find them on the web. And regardless of the field you're in, I'd take steps to set you apart from your peers. If you're a child psychologist, look into becoming an APA spokesperson (or whatever organization you're affiliated with); if you're a nutritionist, try to nab a media position with the ADA, etc. Magazine writers frequently tap into organizations such as these when they're looking for expert interviews. And the more widely quoted you are, the bigger your platform. Another excellent tactic is to register at Profnet, which is sort-of the go-to place for magazine writers to find experts for stories. If I'm working on an article on, say, breast-feeding and don't have an M.D. in mind, I might do a search on Profnet to land the perfect source.
Of course, if you can afford it, hiring a PR company might be a good route. If you can't, you're not dead in the water. A writer friend of mine (and a mother of two), Jen Singer, had a wonderful ms called, 14 Hours 'Til Bedtime, that she relentlessly shopped around. She finally landed an agent, and when they sent out the ms, editors loved it, but guess what...she didn't have a platform, so the offers didn't exactly explode in their laps. But she was determined to not only sell the book, but to position herself as a parenting expert. So she launched a website, mommasaid.net, told everyone she knew about it, signed up for Profnet, sent press notices to editors and writers, etc, etc, etc. In other words, it wasn't easy, but she's now a well-known parenting expert who is often quoted in top mags and has even appeared on the morning shows. In fact, she just signed on to be a spokesperson for Similac and has been a spokesperson for Huggies for the past two years.
Here are a few words of advice, straight from the horse's (or Jen's) mouth:
"Building a platform is like building a house: You want to use the best materials possible. I’m careful about which Profnet leads I answer, and where I provide content, because I don’t want to become overexposed. Don’t jump on every “publicity opportunity” that comes your way, and don’t tie up your content or yourself with exclusive contracts unless it’s truly worth your while. Ignore people who wonder why you’re spending so much time on something (like a web site) that might have no immediate and direct income. It takes time to build a platform, but it pays off in the long run if you do it right – and if you stick with it, no matter what other people say."
Quite clearly, Jen built her platform from the ground up...so it can be done. And her tenacity will definitely pay off for her next book: NO ONE will blink when her agent pitches it. In fact, I wouldn't be surprised if she sells it at auction. But building a platform requires dedication and a lot of energy. If you're willing to do it and you truly believe in your book's topic (and don't just want to write it to say that you've published a book), then definitely go for it.
Anyone out there working on their platform right now? How are you going about it?
When aspiring writers hear the word "platform," their first impulse might be to jump off of one, because having a platform can indeed make or break you. That said, there's good and bad news to come in answering this question, so let's break it down point by point.
1) What is a platform? A platform is really a synonym for your visibility, your marketability, you contacts, connections and how many people (other than your extended family and high school alumni committee) know who you are. Dr. Phil, for example, has an enormous platform. Your local shrink, however, does not. Even though they technically do the same job.
2) Why do platforms matter? Because your platform helps your publisher sell books. Period. The good news (remember, I said that there was some) is that platforms matter less for fiction than for non-fiction. Publishing houses are willing to take on a first-time novelist with no name for himself, but are less willing to take on your aforementioned local shrink. Why? I'd imagine because when it comes to debut authors, most readers don't expect to have heard of him, but if they're looking for advice on how to save their marriage, they'd like to know that these words of wisdom are actually coming from someone whom they trust. Blame Oprah.
That said, there's no doubt that having a wide-spread platform can help you when it comes to fiction. My advance was much larger than most debut novelists, in part because the editors who bid on my book knew come publication time, I'd be putting in calls (code for: begging, crying and offering up my second born) to all of my magazine editors and various contacts, asking them for a plug or a review. And you can be damn sure that I will indeed be doing so. But did my platform help sell my book? I don't think so. I think it just helped pad the advance. But without a platform in non-fiction, you're much less likely to sell the book at all.
3) What can I do to build a platform?
Ah, the million dollar question. First off, it goes without saying that you need a website. I write off potential interviewees all the time when I can't find them on the web. And regardless of the field you're in, I'd take steps to set you apart from your peers. If you're a child psychologist, look into becoming an APA spokesperson (or whatever organization you're affiliated with); if you're a nutritionist, try to nab a media position with the ADA, etc. Magazine writers frequently tap into organizations such as these when they're looking for expert interviews. And the more widely quoted you are, the bigger your platform. Another excellent tactic is to register at Profnet, which is sort-of the go-to place for magazine writers to find experts for stories. If I'm working on an article on, say, breast-feeding and don't have an M.D. in mind, I might do a search on Profnet to land the perfect source.
Of course, if you can afford it, hiring a PR company might be a good route. If you can't, you're not dead in the water. A writer friend of mine (and a mother of two), Jen Singer, had a wonderful ms called, 14 Hours 'Til Bedtime, that she relentlessly shopped around. She finally landed an agent, and when they sent out the ms, editors loved it, but guess what...she didn't have a platform, so the offers didn't exactly explode in their laps. But she was determined to not only sell the book, but to position herself as a parenting expert. So she launched a website, mommasaid.net, told everyone she knew about it, signed up for Profnet, sent press notices to editors and writers, etc, etc, etc. In other words, it wasn't easy, but she's now a well-known parenting expert who is often quoted in top mags and has even appeared on the morning shows. In fact, she just signed on to be a spokesperson for Similac and has been a spokesperson for Huggies for the past two years.
Here are a few words of advice, straight from the horse's (or Jen's) mouth:
"Building a platform is like building a house: You want to use the best materials possible. I’m careful about which Profnet leads I answer, and where I provide content, because I don’t want to become overexposed. Don’t jump on every “publicity opportunity” that comes your way, and don’t tie up your content or yourself with exclusive contracts unless it’s truly worth your while. Ignore people who wonder why you’re spending so much time on something (like a web site) that might have no immediate and direct income. It takes time to build a platform, but it pays off in the long run if you do it right – and if you stick with it, no matter what other people say."
Quite clearly, Jen built her platform from the ground up...so it can be done. And her tenacity will definitely pay off for her next book: NO ONE will blink when her agent pitches it. In fact, I wouldn't be surprised if she sells it at auction. But building a platform requires dedication and a lot of energy. If you're willing to do it and you truly believe in your book's topic (and don't just want to write it to say that you've published a book), then definitely go for it.
Anyone out there working on their platform right now? How are you going about it?
Wednesday, August 02, 2006
Getting By (Or Blurbs) With A Little Help From Your Friends
I've noticed that the blurbs on book covers that are written by colleagues (are they called "endorsements"?) usually seem to be from writers from the same publisher. That makes a lot of sense, but what if your best friend is a novelist with another publishing house, she loves your book, and really wants to write a blurb for you? Will your publisher allow it? Will hers?
The quick answer: for sure. In fact, I currently have six blurbs for my book, and only one author is published with my house, and she's not even at my imprint. Of course, I got these blurbs on my own: I reached out via email to authors whom I thought might enjoy the book and with whom I might share an audience. I didn't know any of them beforehand, so I simply jotted down a (very kind and humble) introductory note and asked them if they'd be willing to take a peek. Most said yes. I made it clear that there was no expectation of a forthcoming blurb, and if they hated the book, then they should definitely not endorse it. I've been fortunate that most people accepted and that most have indeed had very nice things to say. (Though I'll admit to being heartbroken when Lolly Winston couldn't fit it in her schedule. Wah! I still love her though! And can't wait to read her new book!)
Remember that blurbing is in some ways a two-way street. Trust me, I was so, so, so, so flattered that these wonderful ladies not only took the time to read the ms, but also to write something so wonderful about the book, but they also get their names on the back of the cover, or on my website or on my blog or in the press kit or wherever. So it only serves the author or the publishing house well to open themselves up to outside authors.
My process of gathering blurbs was a bit unusual - most often, it's left up to the editor, the publicist and the agent, which is why you often DO see authors blurbed from the same house or imprint. But I just wanted to be a bit more involved, and I'm glad that I was.
This question of blurbing raises a whole other issue: do blurbs matter? I know that as a reader, I definitely take a look at them and and that they can tilt the scale if I'm debating a purchase. And if I've enjoyed a book, I'll often buy a blurber's book because I assume that we have similar taste. Diana Peterfreund blogged about this a few weeks ago: whether or not blurbs really have any influence on readers. They most definitely influence booksellers (i.e, if the press kit is brimming with top shelf blurbs, they'll likely be interested in buying more copies) and get your sales and press teams fired up, but to the average reader, do they really do much? I dunno.
Thoughts?
The quick answer: for sure. In fact, I currently have six blurbs for my book, and only one author is published with my house, and she's not even at my imprint. Of course, I got these blurbs on my own: I reached out via email to authors whom I thought might enjoy the book and with whom I might share an audience. I didn't know any of them beforehand, so I simply jotted down a (very kind and humble) introductory note and asked them if they'd be willing to take a peek. Most said yes. I made it clear that there was no expectation of a forthcoming blurb, and if they hated the book, then they should definitely not endorse it. I've been fortunate that most people accepted and that most have indeed had very nice things to say. (Though I'll admit to being heartbroken when Lolly Winston couldn't fit it in her schedule. Wah! I still love her though! And can't wait to read her new book!)
Remember that blurbing is in some ways a two-way street. Trust me, I was so, so, so, so flattered that these wonderful ladies not only took the time to read the ms, but also to write something so wonderful about the book, but they also get their names on the back of the cover, or on my website or on my blog or in the press kit or wherever. So it only serves the author or the publishing house well to open themselves up to outside authors.
My process of gathering blurbs was a bit unusual - most often, it's left up to the editor, the publicist and the agent, which is why you often DO see authors blurbed from the same house or imprint. But I just wanted to be a bit more involved, and I'm glad that I was.
This question of blurbing raises a whole other issue: do blurbs matter? I know that as a reader, I definitely take a look at them and and that they can tilt the scale if I'm debating a purchase. And if I've enjoyed a book, I'll often buy a blurber's book because I assume that we have similar taste. Diana Peterfreund blogged about this a few weeks ago: whether or not blurbs really have any influence on readers. They most definitely influence booksellers (i.e, if the press kit is brimming with top shelf blurbs, they'll likely be interested in buying more copies) and get your sales and press teams fired up, but to the average reader, do they really do much? I dunno.
Thoughts?
Does Size Matter?
I've read writing tips about how the word count of a novel is guided by genre and by whether or not the book is part of a series. What about where a writer is in their career? Are there guidelines that apply specifically to first-time novelists?
Let be honest: doesn't size always matter? :)
Anyway...from what I was told, both before I submitted my ms to agents and after I'd nabbed one, the sweet spot for debut authors is about 80k words (75k-85k is perfect). This is for commercial fiction...I believe that you can go longer for historicals and perhaps paranormals. Anyone else know? YA is much shorter - somewhere in the 60k ballpark. But whatever you do, try to trim your ms to under 100k words. Anything longer, and from what I understand, agents assume that you've either rambled on too long and/or lack any ability to self-edit.
After you've proven yourself, I'd imagine that you have more flexibility. I mean, if the publishers knows that you have a built-in audience who is going to slap down their credit cards regardless of length, I doubt that they'd balk at your 115k ms. But for first-timers, generally, it's probably best to try to adhere to what the industry prefers.
Just my opinion, of course. Anyone have a different experience or know the desired word counts in other genres?
Let be honest: doesn't size always matter? :)
Anyway...from what I was told, both before I submitted my ms to agents and after I'd nabbed one, the sweet spot for debut authors is about 80k words (75k-85k is perfect). This is for commercial fiction...I believe that you can go longer for historicals and perhaps paranormals. Anyone else know? YA is much shorter - somewhere in the 60k ballpark. But whatever you do, try to trim your ms to under 100k words. Anything longer, and from what I understand, agents assume that you've either rambled on too long and/or lack any ability to self-edit.
After you've proven yourself, I'd imagine that you have more flexibility. I mean, if the publishers knows that you have a built-in audience who is going to slap down their credit cards regardless of length, I doubt that they'd balk at your 115k ms. But for first-timers, generally, it's probably best to try to adhere to what the industry prefers.
Just my opinion, of course. Anyone have a different experience or know the desired word counts in other genres?
Tuesday, August 01, 2006
Throwing Out the Baby...and the Bath Water...and the Towel
I recently received some blistering feedback from a well-regarded reader. She did not like the manuscript in the least bit, but at least she was honest and told me what I needed to hear, and what needed work. But now, I am questioning my ability as a writer. I love to write, and I put a lot of hard work, long hours, and expensive editing into this novel, so I am frustrated. At least I know that it's not ready to be shopped around, and don't have to worry about embarrassing myself. Anyway, it leaves me wondering whether to further refine it or to concentrate on a new novel. Any suggestions?
I think this is a more common dilemma than we all realize. When we're sitting at home reading and rereading our completed ms, how can we possibly know whether or not it will amount to anything? After all, if we didn't think it was genius, or at least had potential, we'd never have written it in the first place. Yet nearly EVERY published writer I know - and clearly, I don't know all of them (!!!), so there are obviously numerous exceptions - has an unpublished ms rotting up her hard drive. So...the question of the day is, "how do you know when to throw in the towel?"
I've already shared my experience: it really wasn't until I'd written a MUCH better second book that I understood that my first really was a fairly large pile of crap. Okay, maybe that's not fair. But it certainly wasn't as good as it could have been, and truly, were it now being published, it would probably only serve to embarrass me. Since I'm out of ideas on this question but thought that it merited a discussion, I surveyed some fellow authors to garner their advice. Wise words were offered. It would be smart to heed them.
Melanie Lynne Hauser, author of Confessions of Super Mom and the upcoming sequel, had this to say:
"Well, for me, it was almost a physical thing. (This was for my first completed manuscript that never got an agent.) One day I was fine, working and reworking it for the 100th time, ready to send still more queries out - the next day I woke up, opened the file, felt nothing for the words on the screen, and I closed the file, opened up a new one, and started right in on the next book - not knowing, until that moment, that I had a new book in me. But knowing that I had to move forward, and going back to that old file wasn't accomplishing that. It was like a friendship that you keep nurturing along - a one-sided friendship, actually, where I was the one coaxing it along long after the book had served its purpose. (Which was - to teach me how to write a novel, to let me get all the rookie mistakes and bad habits out of my system.) It was just time to start over again with something new and the most important thing I learned by doing that was - that I could do it again, that I would always be able to do it again. That was a very liberating moment for me, because it helped my writing immensely - it gave me the freedom to edit and chop and remove and start over without any fear that these were the only words I'd ever write that well again.
With books that were agented and I had to give up on them - it was much clearer. The 15-20 rejections that each of them accumulated pretty much made the decision for me. But each time, I was eager to tell the next story, so while it was painful, it wasn't crippling. "
Best-selling Louise Bagshawe, author of numerous books including the upcoming Sparkles, offered this brilliant advice:
"When I started my writing career, I had to junk books several times. I mean complete MS that had been handed in to my editor. She said, 'Unpublishable'. I said 'Fine.' Started over the next day.
The fact is that the market is tough, and if you are your own worst critic, you will be your own best friend. I don't know, but I have a feeling that newbie writers often fall in love with their first effort just because it was such an effort. They confuse the hard work of the process with the quality of the results. That's why spending time apart from your MS when it is finished is SO important. If it doesn't knock you out - if you have any doubts - it's not ready, I don't care if you spent two years on it. Now, I'm sort of in a groove with my novel career. I know what my fans want and I deliver it. I do not expect my MSes to require major rewrites. But at the start of my career it wasn't that way. The remedy for me was and is to go away, read the bestsellers of my rivals/heroes/competition in the same genre and then reread my own book and ask if I'm even in the ballpark. I recommend that to amateurs on my blog, but I always suspect most people skip that step. Just look at the competition. Is your book that good? No? Why not? You can do better, then do better. Especially if you're unpublished, because then you stand a chance of that really big deal when you hand the truly great MS to the enthused agent. You only have one chance at being fresh new talent.
Rachel Cole, who has been published in several literary magazines and who is fine-tuning her third ms, echoes similar thoughts to me. "For me, this has only happened recently, when my latest WIP (my second) really started to click. I realized that my first novel, no matter how much I loved it, had one too many core flaws that no rewrite could fix and that I was now cannibalizing it for the new story. Though all the characters and situations are completely different, there are some very strong similarities in the themes and ''morals'' of the two. So, while I'm not writing the same story again, I feel I'm in a much better situation to say what I wanted to say then, but via a completely different story." Adds Shana Silberberg, who recently wrapped her second ms, "what made me realize the first one sucked was writing my second novel - a novel that was much better, and actually spending the time to fix it up instead of considering the first draft to be the only draft."
A lot of wisdom to be found in the above words, me thinks. Did they ring true to anyone besides me? Anyone have other thoughts on when to move on?
Monday, July 31, 2006
Robbing the Agenting Cradle
I found it very interesting, and affirming actually, that you were looking for a younger agent to represent your book because you didn't think that an older one would get your writing style as well. I've written a chick lit book that, I believe, needs young representation as well. It's a theory that I've confirmed because the younger agents, like yours, have had much more positive feedback. I was just wondering how you were able to find the younger/hip ones to query.
First, just to clarify and so as not to offend any veteran agents (snort, as if they'd take the time to read this blog!), there are definitely some wonderful seasoned agents out there...in fact, these women (and men) have earned their stripes and are undoubtedly great reps. Right? Right. :)
But what you're saying, and what I surmised during my agent hunt, was that they weren't necessarily great reps more me. Agenting isn't a one-size fits all industry, and agents will be the first to tell you that.
Whew, with that out of the way and so as to avoid any "you're an ageist" emails, let's get down to business! How was I able to whittle down my query list to the youngsters? Well, this probably isn't an enormous surprise, given my past posts, but really, it was all through research. Look, I've said it before, I'll say it again: any great writer - be it author or magazine writer - has to know how to dig up morsels and tidbits and information that sets them apart from the average aspiring writer who doesn't take the time or have the sensibility to do so. While I can't remember where I started, at some point in my research, I searched the forums at Writers.net (key words such as "younger," will bring up some threads with info). I also filtered through agentquery.com using the search terms "women's fiction," or "chick lit;" I believe that agentquery sometimes includes their college and graduating year (or shoots you to a link with more information that might). I cross-referenced all of these things with the agent's website, which often includes personal info such as graduation year or something in their bio that could give me a general sense of their age, (i.e, "I enjoy spending time with my husband now that my kids have left for college," or "I spend my non-agenting hours chasing my toddler around the house). I also double-checked my hunches on PublishersMarketplace: if she'd sold a lot of books that focused on younger women, chances were, she related to these heroines on some level, and thus might relate to mine. Oh, and there's always google: type in a name and you'll be amazed at what the engine spits back out...it might require some digging, but you can find 5k races (which list age), wedding announcements, alumni notes, you name it. And it never hurts to ask around: on the various Yahoo writers' loops, other repped friends, etc.
I don't mean to sound like a stalker here. I'm not. I'm just pointing out all of the ways that you can discover information on agents. They're normal people who live lives, and if you want to see if they'll be a good match for you - in terms of age, interests, etc - the information is probably out there.
That said, here are some of the up-and-coming younger/youngish agents whom I discovered on my hunt. (For the women's fic/chick lit category - the only one I looked into.) This list is by no means exhaustive, just some that come to mind.
Rachel Vater
Andrea Somberg
Elisabeth Weed
Jenny Bent
Dan Lazar
Kristen Nelson
Stacey Glick
Julie Barer
Jessica Faust
Andrea Cirillo
Stephanie Kip Rostan
Maria Massie
Alice Tasman
Nikki Van Der Car
Stephanie Lee
Andrea Barzvi
Joe Veltre
Christy Fletcher
Emma Parry
Jennifer Carlson
Caren Johnson
Nadia Cornier
Meg Ruley
Lucy Childs
Miriam Kriss
Paige Wheeler
This list is definitely not complete - just some of the names that I have in my notes. I don't know these gals personally, so don't write them and say that I suggested contacting them! (In fact, sidenote: it is very, very, very bad form to EVER do this to an established writer without asking him or her for permission to use her name. Even if she's passed you contact info, you simply don't name-drop unless she's told you that you can. I've seen a lot of my friends beyond steamed in these situations, and there's no faster way to burn a bridge. FYI.) I have no idea if any or all are accepting new clients, what their submission standards are, etc. I'm just telling you what I have jotted down.
So...which agents did I miss? And do you think that the age or demographic of your agent really matters?
First, just to clarify and so as not to offend any veteran agents (snort, as if they'd take the time to read this blog!), there are definitely some wonderful seasoned agents out there...in fact, these women (and men) have earned their stripes and are undoubtedly great reps. Right? Right. :)
But what you're saying, and what I surmised during my agent hunt, was that they weren't necessarily great reps more me. Agenting isn't a one-size fits all industry, and agents will be the first to tell you that.
Whew, with that out of the way and so as to avoid any "you're an ageist" emails, let's get down to business! How was I able to whittle down my query list to the youngsters? Well, this probably isn't an enormous surprise, given my past posts, but really, it was all through research. Look, I've said it before, I'll say it again: any great writer - be it author or magazine writer - has to know how to dig up morsels and tidbits and information that sets them apart from the average aspiring writer who doesn't take the time or have the sensibility to do so. While I can't remember where I started, at some point in my research, I searched the forums at Writers.net (key words such as "younger," will bring up some threads with info). I also filtered through agentquery.com using the search terms "women's fiction," or "chick lit;" I believe that agentquery sometimes includes their college and graduating year (or shoots you to a link with more information that might). I cross-referenced all of these things with the agent's website, which often includes personal info such as graduation year or something in their bio that could give me a general sense of their age, (i.e, "I enjoy spending time with my husband now that my kids have left for college," or "I spend my non-agenting hours chasing my toddler around the house). I also double-checked my hunches on PublishersMarketplace: if she'd sold a lot of books that focused on younger women, chances were, she related to these heroines on some level, and thus might relate to mine. Oh, and there's always google: type in a name and you'll be amazed at what the engine spits back out...it might require some digging, but you can find 5k races (which list age), wedding announcements, alumni notes, you name it. And it never hurts to ask around: on the various Yahoo writers' loops, other repped friends, etc.
I don't mean to sound like a stalker here. I'm not. I'm just pointing out all of the ways that you can discover information on agents. They're normal people who live lives, and if you want to see if they'll be a good match for you - in terms of age, interests, etc - the information is probably out there.
That said, here are some of the up-and-coming younger/youngish agents whom I discovered on my hunt. (For the women's fic/chick lit category - the only one I looked into.) This list is by no means exhaustive, just some that come to mind.
Rachel Vater
Andrea Somberg
Elisabeth Weed
Jenny Bent
Dan Lazar
Kristen Nelson
Stacey Glick
Julie Barer
Jessica Faust
Andrea Cirillo
Stephanie Kip Rostan
Maria Massie
Alice Tasman
Nikki Van Der Car
Stephanie Lee
Andrea Barzvi
Joe Veltre
Christy Fletcher
Emma Parry
Jennifer Carlson
Caren Johnson
Nadia Cornier
Meg Ruley
Lucy Childs
Miriam Kriss
Paige Wheeler
This list is definitely not complete - just some of the names that I have in my notes. I don't know these gals personally, so don't write them and say that I suggested contacting them! (In fact, sidenote: it is very, very, very bad form to EVER do this to an established writer without asking him or her for permission to use her name. Even if she's passed you contact info, you simply don't name-drop unless she's told you that you can. I've seen a lot of my friends beyond steamed in these situations, and there's no faster way to burn a bridge. FYI.) I have no idea if any or all are accepting new clients, what their submission standards are, etc. I'm just telling you what I have jotted down.
So...which agents did I miss? And do you think that the age or demographic of your agent really matters?
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