Do your Research

A popular post from August 2009

by Heather Moore

No, I'm not talking about historicals. In a few weeks, I'll be teaching a couple of workshops at the League Of Utah Writers Conference.

My two topics will be:
1. The Science of Writing Your First Novel . . . and you thought it was a Creative Art
2. Your Rock-Solid Submission Package: Making it Fluid

As a presenter, I had to turn in my outlines in advance, which started me thinking. I'd like to compile a comprehensive list of websites/blogs for writing, editing, finding agents and publishers that will be something useful for our sidebar.

So let me know the sites you frequent and I can add them on.

Here is my list so far.

Non-Fiction Proposal Package: www.manuslit.com
Agent Research: www.agentquery.com (free)
Agent Bloggers:
Nathan Bransford
Kristin Nelson
Janet Reid
Rachelle Gardner
Agents/Publishers List: www.writersmarket.com (paid subscription)
Writing & Editing Blog: http://writingonthewallblog.blogspot.com
Writer’s Digest: on-line newsletter, or magazine subscription
Preditors & Editors: www.anotherealm.com/prededitors
Writer Beware: www.sfwa.org/Beware

10 Random Things You Probably Didn't Know

A popular post from July 2009

by Annette Lyon

In today's post, I'm listing 10 things I've discovered over the years that a lot of writers learn over the years but are generally stuff you pick up along the way and aren't things you learn in your typical workshop class.

#1) Fake phone numbers always start with 555. In fact, no state in the U. S. will give out a phone number with this prefix for this very reason. It's reserved for fake numbers in TV, movies, and books. You'll notice it everywhere. Anytime a guy or girl on a show is giving out their number, it's 555-whatever. Sometimes they try to hide that fact by using the letters on the keypad (like "My number is JKL-4378," but JKL is still 555).

I'm just guessing that this came about after that song in the 80s that kept singing the number 867-5309 (you remember that song, right?). Whoever had that number surely had to change it.

#2) If a book is found in a book order (a happy day for any author, right?), then it's been sold at a huge discount. That means that even though the author will likely sell thousands, they'll get pennies per book. In one author's words, they get paid "in paper clips." And keep in mind, their agent gets 15% of those paper clips.

#3) Most books that are optioned for movies are never made into movies. An option means a person or company has paid the author for the rights to be the one to make the movie over a specified period, say three years. If that time runs out and they haven't made a movie, then the movie rights are up for grabs again. Options can be renewed by the same person/company or bought by someone else, and I've seen that happen. Hollywood is great at optioning. Not so good at actually making movies. That said, I'd be happy with getting an option. It would probably be more than I've made on royalties for a single novel.

#4) Most authors never meet their editors. Even if they live near one another. I lived within thirty minutes of my editor's office for my first two books and never met her. For my next three, I lived in the same city as her office, and finally met her around, oh, book five, I think. We had plenty of e-mail interchanges and phone calls, but there was really no reason for us to meet. We just didn't get around to it. We've seen each other several times since (ironically, usually at social events since she's left the company), and I find that's pretty typical.

#5) With some exceptions (usually at small houses), authors have no say in regards to their cover or title.

#6) As a corollary, sometimes (at least with the huge writers) you can tell how big someone is by how big their name is on the cover. With Danielle Steele and John Grisham, for example, there are times you have to hunt for the title because their names are so big on the cover. That's because of the authors' huge fan base. They don't really care what the book is called; they just want the next one.

#7) Grammatical bloopers, typos, and even factual errors can be put into a book without the author knowing it. This is done by well-meaning but idiot copy editors or others along the line who should be flogged, because the author is blamed for them, but he or she didn't get to see the final proof before the manuscript went to press.

#8) Some lucky writers get ARCs, or Advance Reader Copies. These are uncorrected galleys, meaning that it's the full story, and it looks like a full book, and it may or may not have the actual cover on it--but it hasn't been proofed yet, so it probably has typos and it may even have minor inconsistencies (Sarah's eyes might accidentally turn brown on page 218) or whatever.

ARCs are sent out to reviewers, particularly to large magazines like Publisher's Weekly and Kirkus Review, places where book reviews mean a lot. They require review copies 3 or 4 months before a book hits stores, which means they need it before it's actually gone to press. Hence the ARC, which isn't perfect, but it's as close as you're going to get it before the book is actually on shelves.

#9) There's a good chance your publisher will expect you to do 90% of the marketing and publicity. Just expect it. It's exhausting, and there's really no way of knowing what areas of your efforts are making a dent, but you keep plugging along hoping that something is working, because of:

#10) In publishing, they figure that the past predicts the future. If your last book didn't sell that well, then your next one won't either, they figure. That can mean a rejection. Or that can mean a new release date, during a time in the year when you'll have less competition against heavy-hitters. Or it can mean a gentle nudge to try a different genre. Or, again, it can mean a rejection.

On the flip side, if your last book was a whopping best-seller, then your publisher might be your new best friend, wondering what you can give them next and how fast. It's all a numbers game, a difficult road to travel. One not for the faint of heart.

Wow--didn't expect to go from something as light as fake phone numbers to something so serious.

What Counts as a Publishing Credit?

A popular post from May 2009

Reader question:

When agents/publishers ask about previous publishing credits, they don't consider self-publishing a "real" credit, do they? If you have that in your background--and you're sending an electronic query--should you remove the sig line? 

You're right; self-publishing isn't considered a "real" credit during the query process.

Here's why: when an agent or publisher asks for publishing credits, what they're really wanting to know is whether you've been through the acceptance and rejection process. Has someone else in the industry evaluated your work and deemed it worthy of publication instead of rejection?

Technically, blogs are "published" online, but you wouldn't include that as a credit, would you? Of course not, because blog posts haven't been vetted through the quality machine. 

Similarly, anyone can self-publish a novel. Granted, there are a lot of very good self-published books around (I've read two excellent ones in the last year, and Writer's Digest has their own self-published book awards). 

That said, anyone can self-publish, even someone who can't tell a period from a comma. Self-publishing is particularly easy with modern print-on-demand technology. 

The upshot is that self-publishing won't tell an editor that you can write.

Now, if your self-published book won a prestigious award (such as the Writer's Digest contest), then it would be worth mentioning.

I don't know whether it would hurt to have a self-published book listed in your e-mail sig line (that might be a question for an agent to answer), but I definitely wouldn't mention it in the body of the query.

Other types of publishing credits are worth mentioning: magazine articles, short stories in anthologies, essays, and so on. Basically, any place where there's an acceptance/rejection system in place. And of course, the bigger the clout and audience of the place that accepted you, the better.

Publication Timelines

A popular post from May 2009

by Heather Moore

Admit it. When you wrote your first book, you thought you'd find a publisher within a few months, and your book would be out before the year was up. Right? Now that you know better, here is the real story:

27 months . . .

My first book that I got published took 6 months to write, 2 months to edit, 10 months to hear back from the publisher, 9 more months to be released. Total time: 27 months

When you show up at an author’s book signing for his/her latest release, you should ask, “What are you working on now?” Chances are they are writing a book that will come out after the book that they just submitted or had accepted. Clear as mud? The reader sees the new release as the fruits of an author’s labors about 1-2 years after the book was actually written.

Often, when I’m at a book signing promoting my newest book, I’m in the throws of writing the next thing.

A sneak peak at my projected schedule:

*2008
July-November: Writing Historical Book “B” (sequel to “A”)
November: Historical Book “A” is released (written in 2007)

*2009
January: Book “B” accepted
January-July: Writing Non-Fiction Book
July-November: Writing Book “C”
Sept/Oct: Book “B” released
Waiting for news on book “Q”
Will start a sequel for book “Q” if it’s sold

*2010 Projection
Spring: non-fiction book released (if accepted by publisher)
Fall: Book “C” released (if accepted by publisher)
Fall: If “Q” book sells in 2009, it may come out 2010 or 2011


Currently I have book “Q” with an agent. I wrote the book Spring/Summer 2006. I handed it off to readers Summer/Fall 2006. In January 2007, I had an agent’s interest but she didn’t like the ending. I did mass revisions and finished them Summer 2007. The agent never responded back. At the beginning of 2008 I found another agent. A year later in January 2009, the book was “approved” for shopping (after more revisions). Five more months have passed. This might be a record. 36 months total . . . and counting.

Now, just for fun: The book “A” that I wrote Summer/Fall 2007 and was released Fall 2008, guess when I received the first royalty check? February 2009.

Is Self-Publishing for You?

A popular post from March 2010. 

by Heather Moore


I invited Sarah Eden to share her journey of deciding to self-publish nine novels and her recent decision to go with a traditional publisher.

Her first book launch for her “traditionally published” book will be on Friday, March 12 at the Deseret Book in Orem, Utah, 6:00–8:00 p.m., 1076 S. 750 E. (Along with two other authors, our own Annette Lyon, and Julie Bellon)

Thanks, Sarah!


*********************************

In the words of the immortal William Shakespeare, “The course of getting published never did run smooth.” I may have paraphrased a little.

Ask any serious writer about getting published and the reaction you get will invariably go something like this: "Well...” (Shudders/cringes/twitches) “It's tough. I get a lot of...” (muscles back a groan/sob/word-the-author's-mother-would-blush-to-hear) “rejections.” (a tell-tale muscle tic begins somewhere on author's face)

This is a brutal industry. I'm twitching just writing about it.

I write “sweet” historical romance. The sweet part has a double meaning: suh-weet, as in insurmountably cool and sweet, as in not smutty. Believe it or not, the second kind of sweetness got in the way of the first kind of sweetness during my course toward publication.

A few years back I jumped feet first into the shark-infested waters of the national romance market. The responses I received began to blur together. “I love your writing. Your characters are enjoyable. Your plot is intriguing, etc., etc., etc.” Sounds great, right? Not entirely. After these encouraging evaluations came the same phrase: “but I don't represent/am not interested in 'sweet' romances.” Trying to get published began to feel a lot like exercise—no matter how hard I tried I was always left with a big but.

After finishing off my third carton of self-medicating ice cream in as many days, I began investigating the black sheep of the book industry: Self-publishing.

I discovered some very interesting things.

*Self-publishing comes in 3 basic flavors: traditional, print-on-demand and the vanity press

*Traditional: Author takes manuscript to a printer, negotiates the price to have a set number of books printed, takes books home to store in garage and sell via website/appearances/the occasional negotiation with a bookstore

* Print-on-demand: Author formats manuscript according to POD company's specifications, a price-per-book is determined based on book measurements & length, books are printed by company when a purchase is made, book is shipped to customer

*Vanity press: “publishing” company agrees to publish author's book if author provides a portion of the publishing cost

*Self-published authors don't get a lot of props from the industry at large. “Wannabe,” “not a real author,” “not talented enough to get published 'for real'” are among the nicer things I've heard.

* Self-publishing is not a good way to earn money as an author. The profit margin is exceptionally small and a self-published author doesn't sell a lot of books.

Over the next three years, I self-published nine titles using POD self-publishing. I chose CreateSpace, the print-on-demand arm of Amazon. I sold books on Amazon and at writer's conferences, but otherwise had very little exposure—a common problem for a self-published author.

For me, self-publishing was always a step in the journey and never the final destination. With each book I put out, I hoped that it would somehow find its way into the hands of someone who could help me find a publisher who was interested in the kind of book I wrote.

My novel, Seeking Persephone, was a finalist for a 2008 Whitney Award—one of the few competitions that allows self-published works. As a result of this bit of good fortune, I met a fellow-writer (you know who you are) who suggested I give a certain small press a try that was known for publishing books with my brand of sweetness.

The rest, as they say, is history. Looking back on this journey, I realize I've collected a few nuggets of wisdom that just might guide an author thinking of trying their hand at self-publishing.

* Have realistic expectations. Most self-published authors will barely break even.

* Believe in yourself and your work. Self-published authors enter the industry at a disadvantage—they are disregarded, overlooked and, at times, never given a chance to prove themselves. If you are willing to put your work out there and endure the ups and downs, some amazing things can happen.

* Do your homework. Find out what you need from a self-publisher in terms of budget, product, an ISBN, an online purchasing option, etc. Choose the self-publishing method and company that fits your needs best.

* Keep an open mind. Perhaps self-publishing will prove ideal for you and your book. Perhaps it is only part of the journey. Know what your goals are and work toward them.

"I'm a Bit Stubborn"

A popular post from October 2011

by Annette Lyon

Writing, whether it's your occupation, hobby, or passion, brings with it challenges that I believe are unique to the creative arts.

Among them is an intense connection to your work, almost as if your words are an extension of yourself, your heart, your very being.

That can pose a huge problem, but here are two of the most common ways:

1) You are too afraid to get feedback.

It's very hard to put your work out there for other people to see, then ask them for an opinion, especially since writing can be so subjective. It's like someone telling you your baby is ugly, and it's all your fault.

2) You refuse to accept feedback.

Yes, writing is subjective . . . to a point. But when alpha/beta readers, critique partners, and editors continue to return with similar feedback (this is confusing, show this, the pace is lagging, whatever), maybe there's really a problem.

Maybe you can really improve.

A truth for success in writing: being pig-headed gets you absolutely nowhere.

Those writers who seek help, who are open to suggestion and change, who recognize that maybe they aren't yet ready to put up a shelf for their incoming Pulitzer, who continually strive to improve: those are the writers who will eventually succeed.

I recently met a man who is an aspiring writer and actor. As we talked, it became clear that the main reason he hasn't found any success in either endeavor is that he refuses to seek or accept feedback.

With his writing, he simply will not let others so much as suggest he add a comma. No one is allowed to give criticism of any kind (editors and writing teachers are "full of themselves," you see). He has no industry connections at all, and therefore doesn't understand how the industry works. He doesn't take time for his craft. He simply expects success to land in his lap.

As we talked, he explained that he can't stand being told what to do. "I'm a bit stubborn," he admitted, as if that's an admirable quality.

Stubbornness can be a good thing; to some extent, it's what helped me get as far as I have in my career. I'm stubborn enough to not give up.

But that's not the kind of stubborn he was talking about. He refuses feedback, suggestions, change, and any hint that he maybe he'd get further by going about doing things differently.

Yet he asked my advice about how to improve, succeed, and find industry connections. I had a sneaking suspicion that he didn't really want to hear what I was going to say.

First I asked, "Have you been to any writing conferences?"

"Oh, no. I don't have time for conferences or any of that stuff."

Since we'd met all of ten minutes earlier, I might have been too bold in my response, but it slipped out anyway: "Then you don't have time to be a writer."

After a slightly awkward pause, he said, "Yeah, I hear that. But . . ."

And he kept going on about how he's such a great writer and doesn't want (or need) to be told what to do.

When he heard about how many books I've published, he asked if I could connect him with friends in the industry to get him published.

My first reaction (which I didn't verbalize), was to list all the work I've done to reach the point I'm at. We're talking about close to two decades of hard, consistent work. Work I'm still doing. Success doesn't just happen.

I tried to explain that no one can help him in the way he wants. Even if I handed him my editor's cell phone number, it would do him no good. I can make suggestions and recommendations to industry friends (and I have).

Every so often the recommendation leads to a contract. In one case, the writer I passed the information on about had been actively working, hard, for years. It was a good fit, and I could whole-heartedly recommend them to my editor. It worked out only because the writer's skill, work ethic, and professionalism were already in place. They likely would have made it eventually without my putting a finger into the situation.

But I've made other recommendations that haven't ended up in a contract. I can suggest all I want, but in the end, I have zero control over what an editor or publisher does. I've been recommended by others too, but that guarantees nothing.

As the conversation went on, it became quite clear that he didn't know some of the most basic things about writing or publishing, things he could have picked up and learned with a simple Google search (or heck, by reading the archives right here).

I left the conversation guessing that whatever dreams he has will never become a reality because he refuses to be teachable.

If you hope to be published and have success, you need outside feedback (good luck ever publishing a novel if you refuse to be edited; your publisher will drop you like a hot potato).

I don't care if you think you're the best gift to literature since Shakespeare; you need to improve and learn what that means for your work.

You need to reach out and make the connections. Don't isolate yourself in a tower and think you know best when others can support you and help you thrive.

Don't think you have all the answers. I can guarantee that whoever you are, you don't.

Learn the ins and outs and expectations of what a writer does, how publishing works, and what that means for you personally.

If you're serious about writing, you'll never be in a place to sit on your laurels.

Don't look down your nose at someone who is suggesting that maybe this part of your story might work better if you revised. They just might know what they're talking about. And remember: they're trying to help you, not pull you down.

Bottom line: Learn what it means to be a professional. And then behave like one.

The Future of Publishing

A popular post from July 2011

by Annette Lyon

The internet's filled with people rabidly taking sides on the debate about what the future holds for publishers and writers.

Will independent authors publishing e-books become the norm?

Will agents become obsolete?

Will publishers become obsolete?

Are agents and publishers quaking in their boots because people like J. A. Konrath, Amanda Hocking, and Victorine Lieske have made good (like, really good) money self-publishing e-books?

Some people take the side of the traditional publishing route, saying that while there are some random successes out there in the indie e-book world, that really the only good way to publish is still the mainstream way, and writers should shun the indie e-book path altogether.

Some on the opposite side of the spectrum insist that traditional publishing is somehow an evil plot and the gatekeepers (agents and editors) preventing great writers from breaking out are finally out of our way.

These last people are the ones who sort of wigged when Amanda Hocking signed a traditional publishing contract.

The others cheered when Barry Eisler turned down a contract to go indie.

From what I've seen online, it appears that neither writer is choosing one side or the other. They're pursuing both paths.

Which goes to show that there is no single right answer. It's a complicated issue.

Seth Godin (famous for Purple Cow, Tribes, and other books), insists that he'll no longer publish traditionally because he doesn't need anything the publishing houses offer. He can do it all on his own.

Well, sure he can. Now. His former publishers helped him get to the point he's at, with an eager audience just waiting to buy his next (self-pubbed) e-book. But he wouldn't be in that position without having had a traditional publisher first.

E-books are definitely going to be a big part of the future in publishing. I doubt anyone will argue that. How big a part and in what way is the question. More and more people own e-readers and devices that can read books (iPads, smart phones) than ever. Last Christmas reportedly had the biggest spike in e-book sales ever thanks to all the people who'd opened up Kindles that morning.

What's a writer to do? Should you embrace the indie e-book world? Shun that world and cling to traditional publishing?

How about shunning neither?

Educate yourself on what your goals are for your writing and what it takes to reach that goal. What does success look like to you?

Be realistic. Don't use Amanda Hocking as reason to self-publish e-books (that's just as silly as using JK Rowling as an excuse to go the traditional route).

I've done both: I've traditionally published seven novels and a cookbook. I've self-published a grammar guide (originally in hard copy, but now also in e-book form). After my first two novels went out of print and I got the rights back, I spit-polished them and made them available as e-books. Very soon I'll have a totally different e-book up too, one that's never been published (and one that's not in my usual genre: it's a YA fantasy).

I have every intention of publishing more e-books, because it's been as successful as I intended it to be.

But I also have every intention of pursuing traditional publishing as well, for different reasons.

When forecasting the future of publishing, the only thing we really know right now is that we don't know.

Bob Mayer is a hugely successful writer who straddles both worlds. (And he's got a great blog. Here and here are two posts to read if you're at all interested in this issue, but he's got lots more.)

By pretty much any definition, he's a success in both. First he published something like 40 books the regular route over the course of 20 years before dipping his toes in indie waters. He's been there for two, and now sells over 1500 books a day.

At the end of THIS POST, he says:

No one really knows what is going on. All the industry experts can predict all they want, but the reality is they’ve underestimated digital and the effects ebooks would have on authors and readers—the people who drive this business. It really is an exciting time to be an author. The key is to educate yourself, know and understand your options and make the right decision for yourself.

So write the best book you possibly can. Learn your options. Learn what to expect. Know what you're getting into. Define "success" for yourself and know the likelihood of reaching that through either path.

And then review that path (and your definition of "success") as the industry changes and grows, because what's true about publishing and e-books today very well may not be true in a year or two.

Guest Interview: Chuck Sambuchino

by Annette Lyon

I was thrilled to snag an interview with Chuck Sambuchino, part of the Writer's Digest family (a magazine I've been reading for over sixteen years).

Chuck is behind the Guide to Literary Agents blog and the editor of WD's annual directory of the same name.

He's also now the author of something new. In September, his new book hit shelves: How to Survive a Garden Gnome Attack: Defend Yourself When the Lawn Warriors Attack (And They Will).

As someone with an insider's view to the agent world and as an author himself, Chuck is in an unusual position, and today, Writing on the Wall readers are lucky enough today to get a peek into his know-how. Below is our interview.

WOTW: In your experience with Guide to Literary Agents, what have you found to be some of the most common misconceptions about how to get an agent and/or what an agent does?

Chuck: One of the more common misconceptions is that you have to know somebody in the industry to get published. The truth is anyone anywhere can get published. All it takes is hard work, education and patience. As one agent once put it: “I will sign a guy living in a cave in the Ozarks if he can write.”

WOTW: What are some common missteps writers often make that turn off agents or sour a writer/agent relationship?

Chuck: I’m not sure if you’re talking about before they sign with an agent (the submission phase and first contact) or after, when they’re already together. I think you mean the latter. Problems in an agent-author relationship usually have to do with a lack of communication or one side not delivering on what they promised. If a writer agrees to do some major overhauls on the work prior to submission but then reneges, you’ve got a problem. If the agent is overloaded with other projects and has no time to dedicate to submitting your work to editors, there’s another problem. In other words, problems take all shapes and sizes—it’s a tough question.

WOTW: Many people describe the writer/agent relationship as courting and marriage, yet many writers are thrilled to get any agent. Why is the right agent for you more important than having any agent?

Chuck: Because if you have a bad relationship, then nothing gets done and you have to break up. And breaking up with an agent is much like a divorce would be, I imagine—horrible. You have to tell them they’re fired, and that is going to be one heck of an awkward conversation. And then you have to find another agent, who themselves are wondering why you broke up with the first agent. After all, it may be a sign you are a tough writer to work with. Whether that’s true or not, it may cross the second agent’s mind.

WOTW: You often remind readers that new agents are great opportunities. Elaborate on that: What benefits might a new agent have over an established one? What could be the downsides of having a new agent?

Chuck: Good question. New literary agents are usually in the course of actively building their client list. They are eager to sign writers and get submissions out there to editors and get those first sales on Publishers Marketplace. They still want excellent submissions and writers, but they are usually willing to give your work a longer look and consideration. (Keep in mind what I just said is usually true, but not always—once again showing that writing is full of principles, but has no hard-and-fast, 100-percent rules.)

The downside of having a newer agent (again, this is common so but not guaranteed) is that they have less experience and connections than an experienced agent.

WOTW: What lessons from your blog did you use in seeking an agent and going through the publishing process?

Chuck: I got an agent around the same time I started the blog, but I have followed my own advice through the process thereafter. I made writer friends because they are the ones to trumpet your book through social media. I sat down and wrote a lot. The publishing process is slow and real hit-and-miss. You need to write a lot to 1) succeed, and 2) keep your sanity. Lastly, I tried to have a good time doing it. Somebody in Hollywood once said, “If you’re writing a spec script and you’re not having fun, something’s wrong.” What they meant was: If you’re writing a project for you (rather than working on an assigned project for money), you better be having fun doing it. Otherwise, what’s the point?

WOTW: Describe your book and where the idea came from.

Chuck: How to Survive a Garden Gnome Attack is the first and only survival guide against these little malicious garden dwellers. While gnomes pose as merry creatures of the earth, I believe they are actually little murderers that kill for sport. (I had many FBI files to prove this but they have all disappeared. Methinks the gnomes took them.) The book is a quick read and includes lots of color photographs of garden gnome shenanigans in action. It’s a good gift for that relative who loves to garden.

The idea for the book first came when thinking about The Full Monty (the 1997 movie). There is a scene with a garden gnome in there, and I started getting the heebie-jeebies during that scene because gnomes creep me out. Then it hit me that if garden gnomes creeped me out, certainly they creep other people, as well. I started writing some jokes and knew within an hour that there was a book there.

WOTW: How did you develop your pitch for Garden Gnomes?

Chuck: I took a ridiculous subject (safety prevention against garden gnomes) and then treated it with absolute seriousness and a dash of college professor vernacular. Luckily for me, I was able to easily show my agent/editor that readers enjoyed survival parody books (zombies, vampires, robots, etc.) and they also enjoyed garden gnome books—so putting them together would be an explosion of awesomeness.

WOTW: A regular feature on your blog has published authors listing seven things they've learned so far. As a writer yourself, name a couple of items that would make your list of things you've learned so far.

Chuck: I’ve already mentioned some in this speech—including the fact that we have to keep writing and not put all our eggs in one basket. Another one is to seek out new markets, including new agents. That’s about all I can say because I actually talk about my “7 Things” when speaking to writers conference audiences live. It’s a big speech I save for live audiences only as something special to give to them at events. I can’t put everything on the blog or else no one would come out to events! (If you want to see where I will be in 2010-2011 see HERE.)

WOTW: What's next for you?

Chuck: 1) Brainstorming more humor book ideas. 2) Deciding whether to rewrite kids novel #1 or move on to brand-new numero dos. 3) I’m writing two screenplays with a buddy and we’re excited about those projects, though we have no idea if they are going somewhere or not. 4) And of course, begin the next cycle of Guide to Literary Agents as well as Children’s Writer’s & Illustrator’s Market (the 2012 edition's due out next summer).

PEG: Many writers have quirks—rituals to find their zone, places to write, and so on. What's a writer quirk most people probably don't know about you?

Chuck: I typically listen to one song over and over again when writing a project. If I can find one song that gets the brain synapses firing, I have no problem listening to it over and over—even for weeks at a time if that’s what it takes. I will tell you that, for the last two large projects I wrote, the two songs that I listened to were “Heroes of Our Time” by Dragonforce, and “Walking in Memphis” by Marc Cohn. Don’t try to make sense of it all—you can’t. It’s just a quirk. Besides that, I am most creative very late at night.

Thanks, Chuck! Best of luck with your book!

Fall 2009 Writers Conferences

Writers conferences are a great way to network with writers, agents, editors, and to learn the most up-to-date information about the publishing industry. Not to mention fine-tuning your craft.

Various PEG editors will be teaching workshops at the following Writers' Conferences this fall:

The League of Utah Writers: 2009 Conference
September 18-19, 2009: The Homestead Resort in Heber, Utah
(Lu Ann Staheli and Heather Moore)

The Book Academy: A conference for Writers and Readers
September 24, 2009: Utah Valley University, Orem, Utah
(Annette Lyon, Josi Kilpack, and Heather Moore)

Teen Writers Conference--Registration deadline May 25

Quick reminder to get registration mailed in for

the Teen Writers Conference.

Deadline is May 25, 2009

Details:

Saturday, June 6, 2009

Weber State University

Ogden, Utah

Ages 13-19


Registration Information: http://www.teenwritersconference.com/

Full schedule is posted. Best-selling authors including:
Jessica Day George, James Dashner,

J. Scott Savage, Lisa Mangum,
your PEG editors, and many more!

Conference Chair: Josi S. Kilpack
Contact: info@teenwritersconference.com

Parental Permission form required for ages 13–17

$39.00 Registration fee (includes lunch)

Enter the Writing Contest!

Sponsored by Precision Editing Group

Don't Panic

One of my favorite writers for science fiction, Douglas Adams, wrote the book Hitchhiker's Guide to the Galaxy. Across the front of the guide is written in big friendly words, "Don't Panic."

This is good advice for all of us. I know a lot of people are worried right now about the economy and what the economy is doing to the publishing world, but I think we are like chicken little running around saying the sky is falling when we're just getting a little rain. I know there are many would-be authors who are rethinking finishing their books because they think the market is too sour right now and no one is acquiring new work.

Dave Wolverton (aka David Farland) is a friend of mine and he has a "daily kick in the pants" email he sends out for writers on writing. Last week he sent out an email regarding the state of the publishing world in these economic times. I am going to paraphrase him and outright quote him here, because he had some good logical things to say. Have the bookstores and publishers taken a hit recently? Yes. Of course, they have. We have all the bad news about the layoffs and book returns flooding in. However:

A decline will occur any time that a huge national "event"
occurs. if you had a book that came out during 9/11, your sales
dropped through the floor. I had a novel that came out during the first
Gulf War, when pictures of missiles exploding over Baghdad played on television
every night. Sales were down by more than 32 percent across the country on
books, and I took a hit. If your book comes out during the Olympics, you
need to worry. Similarly, when O.J. Simpson was on trial, people were
glued to the television, and book sales plummeted.
In short, any huge, extended national event like this will cause
authors some grief: but it has nothing to do with the recession!That's why in
Canada, sales were up modestly at the same time they were down in the United
States. The Canadians weren't glued to the television trying to figure out
which politician to vote for.

There was a report recently that a large book chain that services the
airports had disappointing sales a couple in September and October―about a 12.6%
decline that affected mostly nonfiction, while fiction sales were actually up by
one percentage point.
But guess what? Another report by
mainstream news organizations mentioned that air travel in the United States was
down that month by about 12.8 percent. So of course book sales were down
in airports proportionally!

Thanks, Dave. This is all very good information to help give us perspective. In essence, the message is, "don't panic."

The market will bounce back; it always does. And editors at publishing houses ARE acquiring new work. I'm part of an email list for youth writers and I swear, every day, someone is writing in about their new book sold.

But if you're still worried, may I suggest you contribute to the solution and buy someone you love a book this year for Christmas? My kids get books for every Christmas and Birthday. And I usually get them signed books (this is a benefit of having lots of friends who write for the children's market). Check out your local bookstore and see what authors are going to be signing over the next couple of weeks. Stop in, say hello and get a perfect gift.

Save the industry--buy a book.