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How Do You Know If You’re Ready for an Agent?

Thursday, July Post a comment

Recently I received an email from a long-lost acquaintance who decided it was time to write a book. He asked me if I could give him contacts in the publishing industry, including my agent. In his letter, he proved he didn’t know anything about this crazy publishing industry, so I sent him my standard “Dear New Writer” letter and haven’t heard back.

The truth is, this writing gig is not easy. It’s not as simple as asking a friend in the industry to put in a good word for you. It’s tedious and time consuming.

My friend’s words got me thinking. How would someone know if they were ready for the bigtime? Is there a magical way of discovering when one is ready to find an agent? Curious?

Here’s a checklist for those of you who are wondering if you’re ready for an agent:

  • I have attended a conference (local is fine) and received feedback from someone in the industry. (And if that feedback is negative, I’ve learned to thicken my skin and change what needs to be changed.)
  • I have found a critique group (online or in my city). I’ve submitted several things to be critiqued and have learned to take criticism in a constructive and productive way.
  • I have learned (trained myself) to make deadlines. (If you haven’t done this, give yourself a deadline today. Say, “I will write three query letters” or something like that “by January 25th.” Then meet that deadline. Make another. Meet it.)
  • I have mastered the art of query letter writing.
  • I have published several magazine articles on the local level, and perhaps a few on the national level.
  • If I write fiction, I will have completely finished my novel and had it critiqued (or even paid for a critique).
  • If I write nonfiction, I will have finished my proposal and three chapters until they shine like a new copper penny.
  • I have learned the industry well. I am well-versed in Sally Stuart’s Market Guide.
  • I have a body of work that’s been recognized (either by being published or garnering awards).
  • If I write nonfiction, I have a good, solid platform. (If you don’t know what this means, you’re not ready for an agent.)
  • I’ve established a readership online through a blog or website. I have a significant online presence.
  • I have read over five books on the craft of writing.
  • I am not naïve about the fiscal workings of the business. (I have a cursory understanding about advances, royalties, rights, copyrights, and how authors get paid.)
  • I am not delusional, thinking my first book will hit it big and land me on Oprah.
  • I am teachable.
  • I am not a one-book wonder. I have a good listing of book ideas.
  • I understand the concept of branding.
  • I have started to develop friendships within the writing community.
  • Someone in the industry has said that my writing is ready for publication (and he’s/she’s not related to me).
  • I write every day.
  • I have not despised writing in obscurity.
  • I value BOC time (bottom on chair).
  • I set word count or page goals and meet them.
  • I sense God pushing me in this direction.
  • I have integrity.
  • I am low maintenance.
  • I value professionalism. I am willing to make strategic investments in my career (professional photo and business card, website that doesn’t look slapped together, etc.).

If you can say yes to most of the things on this list, chances are you’re ready to start thinking about an agent. The best way to meet an agent is in person at a conference. But if that won’t work, do your research and start submitting. A word of caution: DO NOT SUBMIT unless you are completely sure what you’ve written is fresh, stellar, and breathtaking. Study the market to make sure your idea is different. Agents are longing for excellent writers who have surprising, world-altering ideas. Work, work, work until your book is that.

 

Mary E. DeMuth helps people to turn their trials into triumphs. She mentors new authors through the publishing process and has written two tutorials on book proposals (one for fiction and another for nonfiction). An expert in Pioneer Parenting, Mary enables Christian parents to navigate our changing culture when their families were not good faith examples to follow. Her parenting books include Authentic Parenting in a Postmodern Culture (Harvest House, 2007), Building the Christian Family You Never Had (WaterBrook, 2006), and Ordinary Mom, Extraordinary God (Harvest House, 2005). Mary also inspires people to face their trials through her real-to-life novels, including Watching the Tree Limbs (nominated for a Christy Award) and Wishing on Dandelions (NavPress, 2006). A pioneer parent herself, Mary and her husband, Patrick, reside in Texas with their three children. They recently returned from breaking new spiritual ground in Southern France, where they planted a church.

Categories: Agents, Mary DeMuth, Writing

Can You Realistically Make a Living as a Writer?

Sunday, July Post a comment

At the recent Christian Book Expo, I spent a good deal of time talking with a friend of mine who’s in an ancillary business for Christian writers. He said in this economy he’s diversifying his business, stressing it’s the only way to stay solvent and successful. That got me thinking about my last year of writing and how I’ve tried to beef up my monthly income.

First thing I did was revamp my website and create a store. Selling books from my site hasn’t generated bucket loads of moolah, but it’s always fun to make a few bucks here and there. I use Click and Ship at USPS.com with the post office’s free flat rate envelopes to ship. It’s not as hard as I thought it would be.

I also created products on my site: 150 downloadable conversation starters to use around the dinner table and a nonfiction proposal tutorial. Both took up-front time, but since they’re e-products, they’re essentially free income to me. Author Randy Ingermanson calls this passive income — you can make money as you sleep. Plus, both products are beneficial to families and writers. I’m currently working on another major product with some writing friends.

In addition, I spent time learning how to become a better speaker. I’m thankful for the mentoring I received at Wildfire Marketing. (They also helped me with branding, my website, the products, and so much more.) Because of their feedback, I was able to greatly improve my ability to communicate, streamline my speaking process (in terms of getting gigs), and charge higher fees.

In the spirit of diversification, I also write articles. This month, I have an article in Focus on the Family magazine entitled “Under Ghana’s Sky” about my now-13-year-old son’s quest to provide water for a village in Ghana. I’ve finally broken into Writer’s Digest and The Writer, which took several years. My next goal is to write for one of the biggies like Family Circle or O. (One can dream!)

I write books, and those advances help the bottom line. But my goal is to out earn those advances, so I’m working on new marketing ideas and experimenting with social networking. I have seen great response so far with Twitter and Facebook, though it’s hard to measure actual sales. That’s the kind of work that you can’t quantify, and it’s frustrating not to be paid for doing it, but that’s the nature of the beast, I suppose.

And last, I mentor writers at The Writing Spa. This has been a great avenue of steadier income, plus I have the privilege of teaching others. I’m toying around with doing seminars/workshops where I live, where four or five writers come for a weekend intensive, but haven’t fleshed that out yet.

So there you have my own experiment at diversification. I’m getting closer at making a living, but not quite there yet. It’s taken me a good eight years to get to this place. How about you?

What are you doing to create income as you write?

What has helped?

What has bombed?

Do you feel it’s possible to make a living wage as a writer?

Is there anything I’ve missed? (I know writing for corporations is a viable, lucrative option, for instance.)

 

Mary E. DeMuth helps people to turn their trials into triumphs. She mentors new authors through the publishing process and has written two tutorials on book proposals (one for fiction and another for nonfiction). An expert in Pioneer Parenting, Mary enables Christian parents to navigate our changing culture when their families were not good faith examples to follow. Her parenting books include Authentic Parenting in a Postmodern Culture (Harvest House, 2007), Building the Christian Family You Never Had (WaterBrook, 2006), and Ordinary Mom, Extraordinary God (Harvest House, 2005). Mary also inspires people to face their trials through her real-to-life novels, including Watching the Tree Limbs (nominated for a Christy Award) and Wishing on Dandelions (NavPress, 2006). A pioneer parent herself, Mary and her husband, Patrick, reside in Texas with their three children. They recently returned from breaking new spiritual ground in Southern France, where they planted a church.

Categories: Freelancing, Mary DeMuth, Writing

A Surefire Way to Improve Your Writing Today: Read Your Work Aloud

Saturday, July Post a comment

This past weekend I went to Nashville to record the Thin Places’ audio book. This is my first time reading for a book recording, and the whole process proved to be enlightening. Afterward, I realized that if every author read their work aloud, their work would improve dramatically.

Reading the book aloud, I found three errors. Remember that a traditionally published book goes through several phases of editing. The substantive edit is the biggie where the editor tells you your macro problems (leaps of logic, if a novel: story issues, lack of clarity, poor research, etc.). Then the book goes through a line edit where grammar issues are corrected. After that, you read through it again, then you receive the galleys to also proofread. So you’re typically looking at the manuscript at a minimum of four times, not to mention all the editorial eyes on the piece. Thin Places had been through all four of these stages, and yet as I read it aloud, I caught what I considered blaring errors, which I’ve emailed to the publisher. Thankfully, the book is not yet in print, so it’s easily fixable.

  1. You find your pet words. Who knew I used the word penchant way too much? Or mess? Editors do catch these things, but sometimes they don’t. At this point in the game, I can’t replace my extra words, but I do wish I’d have read it out loud before it was submitted to the publisher.
  2. You catch awkward sentence structure. Nothing is better than articulating your sentences out loud to catch clunky wording. I stumbled a few times, having to re-read the sentence or paragraph to make it work. Had I read the entire manuscript out loud, I’d have caught these.
  3. You catch repetitive themes. I realized how much I wrote about how hard it is for me to justify my existence on this earth, how very broken and needy I was/am. How my insecurity bleeds into my life. (Of course, this is dependent on the type of book you’ve written. Since mine is a memoir, these are the kinds of things I found.)

If you truly want to grow, change, and become an excellent writer, I highly recommend reading your work out loud. Sure, you risk your family thinking you’re bonkers, but at least you’ll be a better writer (crazy, yes, but better!)

 

Mary E. DeMuth helps people to turn their trials into triumphs. She mentors new authors through the publishing process and has written two tutorials on book proposals (one for fiction and another for nonfiction). An expert in Pioneer Parenting, Mary enables Christian parents to navigate our changing culture when their families were not good faith examples to follow. Her parenting books include Authentic Parenting in a Postmodern Culture (Harvest House, 2007), Building the Christian Family You Never Had (WaterBrook, 2006), and Ordinary Mom, Extraordinary God (Harvest House, 2005). Mary also inspires people to face their trials through her real-to-life novels, including Watching the Tree Limbs (nominated for a Christy Award) and Wishing on Dandelions (NavPress, 2006). A pioneer parent herself, Mary and her husband, Patrick, reside in Texas with their three children. They recently returned from breaking new spiritual ground in Southern France, where they planted a church.

Categories: Editorial Services, Mary DeMuth, Writing

25 Ways to Promote and Stay Sane

Saturday, July Post a comment

Traveling, promotion, and marketing always take far more time than you think it will. When I had three books released in one year (which made for a hectic prior year in terms of writing), I got very, very tired doing all that promotion (and I did it from France for the most part). But in some ways it was beneficial to be in another country because when I did travel, I got a lot done at one time.

My family is a priority for me, so I try to stagger my time away from them.

But the best thing you can do now is strategize. Believe me, the marketing/publicity machine will take you by surprise. Having a plan in place beforehand will greatly benefit you.

Here are 25 tips:

  1. Decide how many out-of-state visits you’ll do in a year, then stick to it.
  2. Winnow out non-paying jobs (speaking-wise) to maximize time.
  3. Try to cluster your speaking events.
  4. If you’re going somewhere anyway, query local churches, radio stations, and bookstores to book several venues.
  5. Consider using part of your advance to hire a publicity person. A good publicist is worth his/her weight in gold (or these days, gas!). They do all the hard work for you — finding media outlets, scheduling appearances and interviews, and garnering reviews and articles. Although I know I COULD do these things, I simply don’t have the time to do them. I do have time for interviews of course, but all the behind-the-scenes stuff overwhelms me.
  6. Consider hiring a personal assistant part time (5–10 hours a week) to help you with marketing and publicity.
  7. Have an accountability prayer team who keeps you honest about the time you’re spending away from your family.
  8. Each publicity/media opportunity that comes your way, pray that the Lord would use your words to touch many. Don’t think of it as a time to perform or do shameless promotion of your book, but as a chance to further the Kingdom of God.
  9. Enlist the help of your spouse and kids to do promotion (sending out books, database entry, etc.) so they feel ownership in what you do.
  10. Ask your family for permission if you take a far-away opportunity to speak.
  11. In the initial stages of your speaking career (if you have one), you’ll usually say yes a lot to low-paying, far-away venues. But as you improve and charge higher fees, really consider the cost–benefit analysis of your time. I can write a sellable article or two in the time it would take me to speak. So I’m more careful of my time, and speak less (more strategically).
  12. Consider paying for a housecleaner (same rationale as above . . . I can write enough to pay a housekeeper several times over in the time it would take to clean my house). This frees me up to do more writing or promotion.
  13. When your book releases, try to create a window of time where you can solely concentrate on its promotion. It’s hard to do but will be rewarding. That one-month launch window closes quickly.
  14. Organize your calendar well. Be sure you place family obligations, bills to pay, medical appointments, EVERYTHING, on one master calendar. Otherwise, you may book yourself on a day your child is in a school play.
  15. Ask the Lord to give order to your days.
  16. Observe the Sabbath. If you go-go-go, you’ll quickly burn out. Take a day out of the week to rejuvenate.
  17. Remember the tyranny of the urgent. Instead, create goals for your career, including marketing and publicity, and stick to those when the urgent things come up.
  18. And yet, be interruptible.
  19. Consider giving some of your time away as a sacrifice. I write and speak for free on occasion, when I sense the Lord leading me to do so.
  20. Keep a marketing idea file on your desktop. When you find a great idea, copy and paste it there. When your next book comes out, you’ll have a whole arsenal of ideas to promote it.
  21. Remember the power of the web. Right now is the best time if you don’t have a book out to concentrate on creating a strong web presence. Write a monthly newsletter and begin to amass subscribers. Create a blog that gets read.
  22. Keep a list of all your media contacts in a database. When a book comes out, you can send an e-blast to those entities, letting them know you’ve got a new title out.
  23. Network now. Make friends with media professionals, publishers, and people in the industry.
  24. Consider introducing yourself whenever you’re in a bookstore as an author or potential author.
  25. If you are building a speaking career, let your circle of friends and family know. Sometimes the coolest speaking opportunities come through relational connections like this. Your network can also help you connect with pertinent media and marketing people.

 

Mary E. DeMuth helps people to turn their trials into triumphs. She mentors new authors through the publishing process and has written two tutorials on book proposals (one for fiction and another for nonfiction). An expert in Pioneer Parenting, Mary enables Christian parents to navigate our changing culture when their families were not good faith examples to follow. Her parenting books include Authentic Parenting in a Postmodern Culture (Harvest House, 2007), Building the Christian Family You Never Had (WaterBrook, 2006), and Ordinary Mom, Extraordinary God (Harvest House, 2005). Mary also inspires people to face their trials through her real-to-life novels, including Watching the Tree Limbs (nominated for a Christy Award) and Wishing on Dandelions (NavPress, 2006). A pioneer parent herself, Mary and her husband, Patrick, reside in Texas with their three children. They recently returned from breaking new spiritual ground in Southern France, where they planted a church.

Categories: Book Marketing, Mary DeMuth, Networking, Writing

Converting a New Client to a Long-Term Client

Friday, July Post a comment

One of the easiest ways to get additional assignments is to work often for your favorite clients.

Three important strategies for getting existing clients to hand you new assignments are

  • always having a next project to offer existing clients
  • asking your best clients for more work, again and again
  • adding new skills and abilities so you can pitch to existing clients additional types of assignments.

These are all good ways to extend the time frame in which you’re doing work for particular clients — in effect converting new and presumably short-term clients to long-term clients.

Other specific techniques you can use to encourage new clients to steadily offer you additional, sometimes even on-going or regularly-repeating, assignments are

  • offer to update or expand on previous work
  • investigate client activities to find additional areas in which you can contribute
  • develop key relationships so you become the go-to professional
  • bring new ideas and information, some with an eye on generating assignments for yourself, some just to prove yourself valuable to the client.

Let’s take a closer look at each of these.

 

Offer to Update or Expand on Previous Work

It’s quite common for professional writers to be given assignments that are more important and more long-term than a simple one-off piece of work.

For example, if you’re asked to write the president’s statement in a company’s annual report, chances are the company is going to need another one written next year. Or if you write an article for an insurance company on ways to avoid winter weather damage, chances are the company will want a similar article written when next winter rolls around. And you’ve already got the experience and contacts to do these assignments effectively.

Similarly, if you’re asked to write up a client’s capabilities and current contract for a website or a marketing brochure, it’s fair to assume that sometime down the road the client will have expanded capabilities and new contracts. Who better than you to do this new write-up, particularly since you are already up to speed?

In addition, more sophisticated professional writers, and their clients that either are or can be educated to appreciate more sophisticated work, recognize that many writing projects — blogs, content marketing efforts, strategic branding programs, newsletters, seasonal information efforts, insider reports, and so forth — are natural candidates for ongoing updates and continuations.

To help keep more of your clients on your active roster, get in the habit of thinking about each assignment you accept as not only the specific work the assignment involves today, but also as whatever additional work the assignment can reasonably lead to in the future.

 

Investigate Client Activities to Find Areas in Which You Can Contribute

Whenever you’re working for a client, you’re in a great position to find out more about what the client is doing now, as well as what the client hopes to be doing in the future. Be curious about all this. Look for clues. Sniff out this kind of information. As you find out more, think about possible ways you can add your skill set, experience, creativity, and know-how to the client’s current, definitely upcoming, and hoped-for activities.

For example, when I was writing professional education audio programs for a major association, it came to my attention that key marketing people had the idea to expand into producing films, as well. Guess who got the contract to write and produce the first one?

 

Develop Key Relationships So You Become the Go-To Professional

Many professionals obtain a great deal of their work through the people who know them and think highly of their work. This provides an excellent avenue to convert new clients to long-term ones.

The strategy here is not only to deliver good work to the client, but to cultivate honest, close relationships with key decision-makers. I’m not advocating that you suck up to jerks or endure insults from abusive people who happen to wield power. I’m simply saying that a savvy professional should be open to finding friends among his or her clients and allowing these friendships to endure even when the client relationship itself appears to be tailing off.

You’ll find that when you have friends who like you and appreciate your professional abilities, they will enjoy offering you additional assignments that cross their desks, perhaps over a period of many years.

 

Bring New Ideas and Information

One of the reasons large organizations often have both in-house departments and outside consultants working on the same problems and opportunities is that no one has a monopoly on good ideas or information. In fact, the supply of good ideas and information is often quite limited.

That’s why you can help convert new clients to long-term clients if you not only deliver your high-quality work on time, but you also serve as an outside consultant who brings your client useful ideas and information.

Becoming a source of useful ideas and information for your client will help to keep you top of mind. It will also help strengthen your client’s perception of you as a knowledgeable professional who can help with a wide range of valuable tasks.

Obviously, you’ll want to call your client’s attention to an idea or a piece of information that can lead directly to a new assignment for you. But it’s almost — some would say equally — important that you also provide your client useful ideas and information that may not immediately tie in with your capabilities. The more valuable you can be to your clients, in any and every way, the more likely they will keep you busy with assignments over the long-term.

Over the years, I’ve worked with lots of different clients — some one-offs, some over the long-term. Although I can’t claim a 100% success rate in converting new and short-term clients to long-term sources of work, I’ve had a lot of success in my efforts to do this, and in helping other professionals do the same. I’ve found that success in prompting these kinds of client conversions is often a matter of knowing and using the right strategies, coupled with maintaining the right mindset.

 

Robert Moskowitz is an award-winning independent professional writer who has written and sold millions of words in just about every format over five decades. He instinctively sees the big pictures, breaks each one down into coherent slices, meaningfully prioritizes and sequences those slices, and then executes the tasks inherent in each slice in very productive ways. Put more simply, Robert knows how to succeed as an independent writer, covering all the bases from soliciting assignments to delivering polished work, from pricing jobs to budgeting and managing personal finances, from organizing a conducive office environment to establishing and following sensible guidelines regarding life, work, and productivity. Having done all this, and having paid attention to how he did it, Robert is now in a position to pass along what he knows to others.

Categories: Freelancing, Robert Moskowitz, Writing

10 Things I Learned When I was a Newly Published Author

Thursday, July Post a comment

I’m off to the Colorado Christian Writers Conference, so time is a bit crazy for me. I found this article I wrote two years ago and thought it would be fun to share with you. I learned a lot as a newly published author, and many of those lessons are still valuable today. What about you? Can you think of ten things (or four or seven) that you’ve learned since you became a published author?

I’ve learned a lot of surprising things as I’ve realized the dream of being a published author. For those of you in the midst of the pursuit, I offer a few snippets of advice that may help you along the journey.

  1. Make friends. When you go to a writers’ conference, be more consumed with making relationships with other writers who are in your stage of publication. These dear folks will become some of your closest friends. As your manuscripts get published, you’ll be able to seek advice, ask for prayer, and request endorsements.
  2. Get used to rejection. It happens on every level of the publishing process. You’ll be rejected by publishing houses, agents, magazine editors, and people who DON’T want you to speak. And as you get published, there’s more rejection heaped on. Now that I’m a “midlist” author, I experience yet another level of rejection, getting messages like, “Well, we’ll talk to you in a few months, when we see whether your numbers are up.” Ouch. Repeat to yourself: rejection is normal; rejection is normal; rejection is normal. Rejection is the air you breathe in this crazy business.
  3. Realize that publishing is a BUSINESS. Though you may view your writing primarily as a ministry, the folks paying you advances see it in bottom-line terms. Be prepared to be a part of that. Realize that a lot of the onus for marketing will rest on your shoulders.
  4. Kindness will preserve you. Don’t burn bridges. Don’t be petty. Shun gossip. Yep, this is a weird business populated by all sorts of people. Realize it’s a small community and word gets out.
  5. Do your best NOT to be difficult. Meet deadlines. Answer emails promptly. Listen, really listen, to your editor. Unless it’s deeply important to you, acquiesce to their changes. That will allow you to go to bat for the things you think really shouldn’t be changed. But always, always communicate with kindness and respect.
  6. Make friends with folks in the industry whether they help your career or not. I’ve made some lovely, lovely friends who I will probably never work with. The fun thing, though, is that this is a fickle industry. Editors and agents and publishers move hither and yon all the time. Connect with all sorts of folks, not for the sake of your gain, but because Jesus is fascinated by people and you should be too. Pay attention to the people God puts in your life. Perhaps that editor will become a lifelong friend.
  7. Don’t become so hootie-tootie for your own britches that you are beyond editing. Make it a goal to write a better book (or article or column) each time. Be teachable. Become a lifelong learner of the craft. Go to conferences.
  8. Give back whenever you can. Teaching enables you to learn more. Consider that helping other people become better writers is a gift you give to the future. You never know the impact Jesus will make through another writer.
  9. Get rid of jealousy. Life’s way too short to brood on someone else’s talent or success. Rejoice with those who succeed. No sticking pins (or pens) into the hands or brains of successful writer voodoo dolls. (Say THAT 10 times fast!)
  10. Continue to read widely. Read different genres, classics, poetry, pithy articles, writing books, comics, and, of course, Watching the Tree Limbs. (Sorry, I’m simply obeying number 3 . . . yeah, baby, the marketing onus is on my shoulders!)

 

Mary E. DeMuth helps people to turn their trials into triumphs. She mentors new authors through the publishing process and has written two tutorials on book proposals (one for fiction and another for nonfiction). An expert in Pioneer Parenting, Mary enables Christian parents to navigate our changing culture when their families were not good faith examples to follow. Her parenting books include Authentic Parenting in a Postmodern Culture (Harvest House, 2007), Building the Christian Family You Never Had (WaterBrook, 2006), and Ordinary Mom, Extraordinary God (Harvest House, 2005). Mary also inspires people to face their trials through her real-to-life novels, including Watching the Tree Limbs (nominated for a Christy Award) and Wishing on Dandelions (NavPress, 2006). A pioneer parent herself, Mary and her husband, Patrick, reside in Texas with their three children. They recently returned from breaking new spiritual ground in Southern France, where they planted a church.

Categories: Mary DeMuth, Networking, Writing

Your Editor Does Not Live Here

Thursday, July Post a comment

You will have to pick up after yourself.

Writers find themselves increasingly on their own. Because proper editing is time-consuming and expensive, publications and publishers have significantly diminished — or outright eliminated — editing staffs. Those who remain are overworked. As a practical matter, your self-editing might turn out to be the only significant editing you get.

All this said, it is still the case that a writer is not necessarily the best judge of their own work. You have a sense in your head of what you meant to say, but a reader may come to a completely different understanding. Adopting the approach of an editor for your own work can give you some protection.

To do that, you have to understand that there are several kinds of editors, and you will need to know how to function as each one.

You will start as your own developmental editor, thinking through possible approaches to your subject and deciding which will be most effective. You’ll work out the focus, the main thing that you want your text to say, and what components you’ll need to carry that out. You may well go through a series of drafts. Read your draft aloud; that will highlight awkwardness and infelicities.

(Here’s a tip: Unless you are desperately pressed by a deadline, you need to walk away from your text between drafts. Have a coffee. Have a smoke. Go for a walk. If you can leave it for a day or two, all the better. It will look different when you come back to it, and you will see more clearly what needs to be done.)

Once you have a draft that you think is ready, you will become your own line editor. You will ask whether that text had the focus you imagined it had; does it say one single clear thing? Can you say in one sentence what your main point is? If not, perhaps you’re unclear on what your main point is. You will look at the structure to see whether it is adequate to the purpose, and you will question whether the organization within that structure makes any sense and can be easily followed. You’ll also check to see that everything is properly sourced and attributed.

(Here’s a tip: If you didn’t work from an outline at the developmental stage, make one now. Not the I. A. 1. a. outline from high school. Make a list of the subtopics under your main topic, paragraph by paragraph if necessary. Do all the parts contribute? Are they arranged in an order that makes it easy for the reader to follow? Would it be better to rearrange the order?)

At the next stage you will be your own copy editor. You will check for factual accuracy throughout. You will establish that the spelling, punctuation, grammar, and usage throughout are reliable and in an appropriate register. Don’t be shy about making use of a dictionary, Bryan Garner’s Garner’s Modern English Usage, and Merriam-Webster’s Dictionary of English Usage. If there is a house style to which you are meant to conform, conform to it.

(Here’s a tip: If there is some fact — name, date, whatever — that you think you know, look it up. If there’s a point of grammar or usage that you think you have under control, look it up. Proper editors know that they don’t know everything and are forever looking things up. They don’t trust their own memories, so neither should you.)

You’re nearly there, ready to be your own proofreader. Read over your text, word by word; doing it aloud may help you focus. Look for repeated words (the the), dropped words, garble, inconsistencies in typography, any other blemishes.

(Here’s a tip. Run the spell-check as the last thing you do before submitting the text. It will flag common misspellings, typographical errors, and inconsistencies in the spelling of names. But do not trust it too much. It will not help you with the wrong word correctly spelled, and English is crawling with homonyms. You will need to know whether you mean to say premier or premiere, because your spell-check won’t help you.)

And one final caution. There will be errors. There will be things you overlooked, embarrassing things. That you can produce an error-free text is an illusion, and someone will always be ready to point out the deficiencies in yours. This is how editors learn humility. So will you.

 

John Early McIntyre has been a professional editor for nearly 40 years, more than 32 of them at The Baltimore Sun, where he has headed the copy desk. John earned an undergraduate degree in English from Michigan State University, where he was elected to Phi Beta Kappa, and a master’s degree in English from Syracuse University, where he was a university fellow. John has taught copyediting at Loyola University Maryland since 1995. A charter member of the ACES: The Society for Editing, he served two terms as its president. John has presented workshops on writing and editing at conferences and publications in the United States and Canada.

Categories: Editorial Services, John McIntyre

Licensing Timelines

Thursday, July Post a comment

Say that you’re ready to license the rights to your titles. But where do licensing activities fit into your publishing timeline?

As your spring and summer titles release to consumers, licensing professionals continue to push for additional placements in your list.

But it’s also time for us to start tending to your 2021 releases.

Yes, 2021.

Although it might feel premature to be thinking about licensing opportunities for books that are publishing post-holiday rush and up to almost a year from now, your potential licensees are starting to make their inquiries, and will close their first selections within a few short months. As a reminder, generally, the spans and selection times for licensees like book clubs, audio publishers, and even foreign rights follow this pattern: Titles publishing July through December (“fall”): Pitches begin in January, and selections, first selections are complete by early March. A few licensees may select for late in the season through April or May. Titles publishing January through June (“spring”): Pitches begin in May, and first selections generally are complete by the end of July, though some will continue to select for late in the season through October. This means that the window is starting to close for spring 2021 titles (although there’s still plenty of time for serial, foreign, and other rights). From this timeline, you can see that we are beginning to enter prime time for spring 2021 selections. What does this mean for your list? Ideally, we like to have preliminary materials for spring 2021 (i.e., bibliographic information, initial sell sheets and sample chapters) in hand for our first inquiries starting in May or June, with early manuscripts and other marketing material following in June and July. This does not mean that we can’t pitch outside of these seasons, but the chances for more positive inquiries go up if we start pitches earlier. To that end, we would like your preliminary list of titles for 2021 as soon as possible! The timeline for international inquiries is a bit different. These tend to run year-round, and they are driven by buzz and good reviews and advanced materials as well as strong marketing plans. We’ll write more on international licensing in a future post.

It’s important to keep your licensing professional updated on any new reviews, big marketing opportunities, and other materials available as you have them. For example, here at Gryphon Publishing Consulting, we are updating our international partners constantly.

 

Mary Jo (“MJ”) Courchesne is the owner and principal consultant of Gryphon Publishing Consulting. A publishing veteran with more than 20 years of experience in trade, academic, and direct-response publishing, she has spent nearly two decades specializing in licensing, subsidiary rights, and permissions. MJ is a frequent and polished presenter on licensing and copyright. When it comes to intellectual property, she firmly believes that everyone from authors to publishers to corporations should know their rights. To that end, MJ instructed in the George Washington University’s Masters in Publishing program for 13 years, first for 11 years as adjunct professor for a course titled Editorial Content, Rights, and Permissions and subsequently as lecturer in a course on copyright. She currently serves on the Board of Experts for the National Association of Independent Writers and Editors and is a member of the Independent Book Publishers Association and the Society of Children’s Books Writers and Illustrators. MJ has also held memberships with other publishing organizations such as the American Society of Picture Professionals and Washington Publishers.

Categories: Copyright, MJ Courchesne

The Importance of Diversifying Sources in Journalism

Wednesday, June Post a comment

Like most of you, I have a lot of thoughts about recent events that have centered on race and equality. I’ve read many stories about how this is changing the face of media and wondered how it would affect my work.

It’s easy, and I think normal, to feel helpless about battling inequality. Many people protested. But what else can we do? After all, many of us do treat people equally and kindly. Many of us do understand that thinking you’re superior to anyone—especially based on race—is completely wrong.

So how can journalists have a positive impact on racial disparities other than by covering what’s happening in our communities and on a national scale?

 

One Small Step: Selecting Sources

You may not have much choice in what you cover in terms of topics or events, but you may have some choice when it comes to selecting sources. That said, you may not always have much of a say in the source you use for a story. Your editor may tell you who to interview, or the communications team of a company, organization, or institution may pick your source for you. (If you’re a freelancer, you may have a lot more freedom here.)

I cover health news a lot and have to find sources to give comments. I try to find the “best possible” person to target as a source . . . that is, if they have a specific research focus that pertains to the research I’m covering, they’re probably a great source. In those cases, the source is familiar with the intricacies of the topic and can give me an insider’s view on it. Score.

But other times, I just need a general practitioner to weigh in on something, so I don’t need this super-specific source.

Another writer recently mentioned how she was feeling helpless amidst all the turmoil lately. She said that, as a result, she was going to highlight more voices of color in her reporting. What a simple, beautiful way to have an impact, I thought. I love the idea of diversifying our sources when we have a choice in who can highlight. This doesn’t have to be based solely on race, either—maybe it’s just time to mix up our sources! Choose new experts to have on call instead of turning to the same person for a quick comment.

That highlight gives a source a reason to brag on their LinkedIn profile. It looks good for their company. He or she gets a nice “featured” clip in their media folder. A simple mention could impact that source’s career in a variety of possible ways. Let’s spread the power of positive press attention to as many people as possible.

 

Diversifying Sources

I’m not saying that I’m only going to select black or brown sources. But when I have a little more flexibility or a broader need, I’m going to try to diversify who I choose to approach for a comment. I will definitely look at all the sources in an article to see if it’s a broad representation of men and women of all races. It’s kind of the same thing you would do when you make sure articles with multiple sources don’t feature people from the same institution or corporation.

I don’t want this practice to negatively affect the editorial integrity of an article . . . sometimes you have to interview a specific source or sources that may fit one demographic, and that’s okay. I don’t want to solely highlight people of color because they’re trending or so I can feel better about myself.

I want my source selections to be authentic. I’ve always aimed to diversify sources when possible; now I’m just a little extra mindful that I should, and that, as journalists, we often have the flexibility to do so.

I think the national unrest gives all of us the opportunity to stand up for equality in our own ways. This is going to be mine.

 

Kristen Fischer is a copywriter and journalist living at the Jersey Shore. She worked as a reporter and copyeditor for Gannett before launching her full-time freelance business in 2005. Her work has been published in Parents, New Jersey Monthly, Prevention, Woman’s Day, SheKnows, and Healthline.

Categories: Interviews, Kristen Fischer, Writing

Truth vs. Accuracy in Fiction

Monday, June Post a comment

As a writing coach at the Agile Writer Workshop, I meet a lot of people who want to write a memoir or an autobiography. They usually have a story to tell, and it’s usually pretty personal. I always encourage them to write a memoir rather than an autobiography.  Autobiographies are usually reserved for famous or infamous people. These new writers often have a harrowing story, or they’ve lived through a difficult time, and their friends tell them “you should write a book.”

At the top of their list is to tell everything, exactly as it happened. What they don’t realize is that memoirs are never about accuracy, but about truth.

Memoirs have to be entertaining and they have to focus on just one element of the subject’s life. For example, one great memoir that came out of Agile Writers was about a woman who lived with alopecia (a debilitating loss of hair). As much as she wanted to tell every experience she had, just as it happened, some events had to be deleted or changed, and some individuals were combined into a single character. And some conversations had to be interpolated.

This is done to streamline the story and make it flow better. A memoir, it turns out, is not an accurate retelling of events. Instead, it is a telling of the truth of the events.

 

Accuracy

There are times when one must tell the events exactly as they happened. In the case of relating the news, the writer must focus on accuracy. If you’re a journalist, for example, the accurate relating of events is a requirement of the job. A journalist who is exposed for telling a half-truth or worse, making up facts, is likely to lose their job.

You also need accuracy in reference books. If you’re writing a scientific paper and make up facts or get your data wrong, you ruin your credibility. Cookbooks, travel guides, dictionaries, and encyclopedias all require accuracy.

In these cases, accuracy trumps everything.

 

Truth

But how does truth differ from accuracy? It turns out that novels, movies, and memoirs have a lot in common. We can look to them for examples of how truth and accuracy differ.

When telling a news story, what is important is getting the facts straight. But often the why of the story is less important. The backstory of the individuals, their hopes, dreams, and desires are secondary to getting to the facts.

But novels and memoirs are about people and relationships. The reader of a romance novel, for example, will not likely fact-check a scientific or historical fact. Or if they do, it’s not likely to affect their enjoyment of the story.

However, if the lead character of a novel is presented as beneficent and then kicks a dog—the writer has broken with the truth of the story. Either the hero of the story is good—or they’re not. (Of course, it might be part of the story that our hero isn’t as good as we think, but that’s not the point here.) This is truth. It breaks the truth of the story for our hero to be evil.

There are other truths. How does the world the novelist creates compare to the experience of the reader? If, as the writer, you present a world where everyone is happy and gets what they need and life is ideal—your story may not ring true.

So, in the novel or memoir, accuracy doesn’t matter nearly as much as truth.

 

When You Need Both

But the world is not evenly and cleanly divided between truth and accuracy.

 

Historical Fiction

If you’re writing a historical novel, you have an obligation to get your historical facts right. In this case, both accuracy and truth are important. Readers of historical fiction look for accuracy in the events of the story and will call out bad facts.

And still the truth of the story must come out. The characters and their relationships must convey the truth of the story and relate to the reader’s own worldview. And the inner consistency of the story must be intact or the truth of the universe you’ve created will shatter.

A good case study in truth and accuracy is Gone with the Wind. In its heyday, it was loved not only for the truth of the story, but its historical accuracy. The depiction of the antebellum South was presented as an accurate portrayal of life on the plantation. Today, we know that Gone with the Wind presented a view of Southern life that was biased and so the accuracy has suffered over time.

Still, the truth of the story remains. The story of a woman who was left to run a plantation and survived against all odds. Likewise, the final scene where her love interest tells her to go to hell is a strong truth.

 

Science Fiction

Likewise, hard science fiction must adhere to the known facts of current science. If you have a story about life on the moon and you ignore the fact that the moon has one-sixth the gravity of Earth, you will be excoriated by your readers and your critics. And still, the truth of the story must come to the fore, or the reader will put the book down before the last page.

Despite its psychedelic nature, 2001, A Space Odyssey is strongly rooted in scientific accuracy. The depiction of life in space still stands up more than 50 years later. And when we watch this film, we feel the strength of the truth of the story. The fight of a man against a machine is a truth that rings true for people in the 1960s, and even today.

 

Conclusions

If you’re writing a work of fiction, be it memoir or novel, you’re in the business of telling the truth, not necessarily being accurate. It’s acceptable, even expected that you will sacrifice accuracy to expose the truth of the story. Don’t be confined to the actual streets in a city, the exact timeline of your personal events, or the contents of every conversation you’ve had. Reach for the truth and your readers will be set free.

 

Greg Smith is a writing coach, editor, and publisher. He founded the Agile Writer Workshop in 2011 with the mission of finding a method to help beginning writers complete a first draft in 6 months. The Agile Writer Method is based on the writings of experts in mythology, screenwriting, psychology, and project management. His seminars on the Agile Writer Method have informed and delighted thousands of writers, scholars, and university students. Agile Writer authors have written over 50 first draft novels and 10 published novels. Greg is a developmental editor for novelists and memoirists. He also coaches authors through the self-publishing maze. Greg runs the popular Agile Readers Book Club where new writers can get a beta read from a dozen or more readers.

Categories: Greg Smith, Nonfiction, Writing

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