The Publishing Sandbox

A popular post from April 2009

by Annette Lyon

This past weekend I attended writing conference and sat in our own Josi's class about building your own writing community. It's a topic I hadn't thought much about as a topic, but when I stopped and sat back, I realized just how important it is.

I'm sure Josi will do a much better job of explaining it another time (please do, Josi!), but for now, I want to mention it and encourage writers to build their own communities.

You'll have many types as your career progresses, and they're all important in their own way. I can safely say that without some of mine, I wouldn't be where I am today.

Networking Opportunities
For me, the start here was with the League of Utah Writers and my local chapter meetings. Look around where you are to see if there's a similar organization where you live.

From chapter meetings, I branched out to attending LUW's annual conference (boy, was I terrified for that first one!) and then their spring workshops. I made several writer friends I'm still in contact with today.

I learned a ton, but even better, thanks to some of those contacts, I ended up landing in my next type of community:

Critique Group
I joined a group with several aspiring, but unpublished, writers. Over nine years later, we're all published, several of us are award-winning, and we've all got writing careers and deadlines.

But it's more than success our group has brought; it's also provided us with emotional support. There are some things only other writers understand, and those are the things you can share around the critique group table. I know I get antsy and on edge if I miss too many weeks of meetings. I need my group to keep me in balance.

Online Communities
These encompass a lot of things:

E-mail lists made up of lots of writers who are in the same market you are.

Your blog and the blogs of others you read and the relationships you build through them.

Online critique groups, forums, and other organizations you belong to.

Online marketing efforts.

Social networks.

And more.

These can all be amazingly powerful in many ways. My online communities have given moral support, provided answers to research questions, and brought me many friends and professional contacts.

The longer I'm in this business, the more I see that those who are willing to give and help each other out are the ones who will succeed the most in the long run.

Keep in mind that how you present yourself to some of your communities is critical. My critique group doesn't mind if I occasionally whine and throw a pity party, but you won't see the same kind of thing on my blog, where I need to maintain a bit more professionalism. Whining isn't a way to make people want to buy my books.

By the same token, be aware of how you present yourself in blog comments, at conferences, and in other professional interactions.

With blogs and e-mail in particular, you might be trying to be funny but come across in a way you didn't intend, because tone can be hard to interpret correctly in those venues.

Always be genuine and honest in every community. Be yourself. But that doesn't mean publicly criticizing someone else in your market or otherwise demeaning another person.

As Josi said in her class, publishing is a small sandbox; play nice.

What you put out will come back to you in spades, whether it's positive or negative. It's definitely worth sending out the positive.

Show Me The Money!

A popular post from April 2012

Josi S. Kilpack

With tax day over and done, inquiring minds want to know what you made on your books last year. With an ever changing industry, there are more factors determining success than ever and yet, as always, money is that elephant in the room. We're all curious about how the other guy is doing, we're all setting goals and working toward them, but we hear very small bits of information and we're always a little nervous to just put our info out there when everyone else is nervous too. This is your chance to share your earnings anonymously so as to avoid anyone making judgements or hitting you up for a loan. Unpublished authors get to see what they can expect, and those of us who have published, get to see how we fit into the spectrum and how the money works between multiple markets and formats.

Here's what we're looking for in your comment:

1. Choose "Anonymous" for your comment profile.
2. State your GROSS royalty or advance income, stating which type it is.
3. State whether this is from traditional publishing agreements or self-published works.
4. State whether this is LDS specific or national market.
5. State how many titles are included in this income statement.
6. Share your personal thoughts if you like.

Here are some comment format examples:

$19,500--royalty

Traditional publishing

National market

2 titles. 

*It's been a good year for me, I'm happy with my sales and hopeful that 2012 will be even better

$1,200--royalty, self-published (Kindle only) 

National market

1 title.

AND

$3,500--royalty, traditional publishing

LDS market

3 titles (All at least two years old)

$125,000--advance, traditional publishing

National Market

One title--first of four series.

*Book won't be out until 2013, this is what I got after paying my agent but before taking out taxes. It's the first of three installments I expect over the next year assuming I can fix the plot holes my editor found.

So, those are the rules--thanks for taking the time to educate all of us! I've featured this a few other years on my personal blog. If you'd like to see previous years, click HERE.

Tips From an Agent...With my two Cents

A popular post from March 2010.

By Josi S. Kilpack

I was not familiar with Chip MacGregor of MacGregor Literary until I followed a link to his blog this morning where he listed a "Laundry List" of 30 tips for writers. I found myself nodding and nodding over the points he made and since I couldn't come up with a blog topic of my own, I'm shamelessly borrowing a few of his points I'd like to expand on. Feel free to check out the whole list, however, at his blog at www.chipmacgregor.typepad.com

10. Understand what makes superb writing (great themes, the deep questions, wrestling with morality, decision making, choices that may not be correct)

 There are a lot of great books out there, and there are a lot of mediocre books and there is a great deal of poorly written fiction. As I read the elements Chip listed here I was impressed with how he honed in on those points that really do make a book 'impactful' to me. Now, not every book is written to change lives, but by having these types of elements in your story you can make even an 'entertaining' read an edifying one. Think about your favorite books; the ones you bought copies of even though you initially checked them out from the library. The ones you read ten years ago but still find yourself thinking about. What made them great? Can you break it down? Can you hone in on what it was that captured your attention? Take that piece, that little filigree of greatness and hold it up against your book. Can you do the same thing within the world you are creating on paper? 

28. Politeness counts (express appreciation to others -- success should be matched by grace)

When someone makes a difference, be sure they know that. Whether it's a blogger who reviewed your book or a friend who gave you feedback, or a newspaper editor that ran an announcement for your upcoming event. I love how he said "Success should be matched by grace" therefore as your career grows, you should be more and more gracious to those who played a part in that growth. I once set a goal for myself to write one thank you card a week--whether it was to the 14 year old who obviously worked hard on the two minute talk she gave at church, or the person who just spent 20 hours editing my manuscript. I kept it up for awhile but after reading this I think I need to move it higher up on my priority list. I love getting validation that the time I spent helping someone else was appreciated--and I notice when I have made a sacrifice that has gone unnoticed. Each time someone thanks me for something I've done, big or small, it encourages me to do it again, as opposed to thanklessness which makes me pull into myself, not wanting to take the time or risk the exposure of helping someone along. I was really glad he included this as it's one I definitely need to put some focus into. It reminded me of the parable of the ten lepers, only one came back--I want to be that one who goes back and expresses gratitude.

30. Keep perspective on your life and work (publishing doesn't make you smart or pretty or holy; getting your name in print doesn't validate your life)

I'm the last one to say that getting published isn't a BIG deal, it is. If it weren't, then it wouldn't be worth pursuing. But Chip is exactly right in that it doesn't make up for what you might be lacking in other ways. Publishing hasn't made me more spiritual--but it has helped me tap into the 'plan' I believe I was sent here to fulfill. It hasn't made me a better mother--in fact it has made me a worse one at times when I've let it overwhelm my family time. It hasn't made me a better friend or neighbor or wife either. The success I have in literature, does not fill up the voids I have in other areas of my life. While writing is definitely worthy of your time, never do it at the expense of the other people in your life, the other areas of development you need. There are, of course, times when other things needs to sacrifice for writing, but those should be infrequent and when they pass you should try to make up for the effect left on the other things you put aside. I have had many, many times when I have lost this perspective and the memory of those moments is painful for me to look at. As you move forward, do what you need to do to keep your perspective. Setting a regular time to evaluate how you are spending your time can be helpful--maybe once a month. Getting to know other writers and how they balance their lives can help you see how their tricks might apply to your life. Set realistic goals and make sure that YOU are the person making the biggest sacrifices to acheive them. Don't sacrifice everything that matters to you personally, but if it means giving up your Bunco night for writing time, or not getting your nails done so that you're not paying for postage on your 150 queries from the grocery money, do those things that in the long run preserve your family and keeps your priorities straight. Someone once told me that perception IS your reality. I might not think that my writing is more important than my children, but if they see me chatting on facebook more than chatting with them, what is their perception? What is their reality?

There were many more excellent points on Chip's blog and I encourage you to read through them and find one or two you can bless your writing, and your life, with.

Happy writing!

"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.

Conference Tips

by Annette Lyon

The entire Precision Editor Group staff will be at a writers conference this weekend as presenters. We love participating, both as speakers as well as attendees.

Conferences are a great place to do lots of things:

Learn the craft.

The first conference I attended was nearly 14 years ago. In that time, I've had the chance to listen to some amazing (and, okay, some less-than-stellar) speakers. I know a lot about writing, but I can always learn more. I attended a friend's class a few years ago simply to support her. While most of the workshop was a review for me, I still learned . . . and came away with some fantastic ideas for developing my characters further. There's always a nugget to be learned, regardless of how "good" you are.

Learn the industry.

I recall attending a conference where the visiting agent was getting questions that I thought were elementary. It wasn't until that moment that I realized that six years prior, I hadn't known the answers to those very questions. I'd come a long way!

Meet other Writers.

Some of the people who are now my best friends are those I met through conferences and other writing networks. Writing is a rather solitary profession; it's just you and your keyboard. I'm still amazed at the positive impact that a strong support network of friends who GET what being a writer means (and have been there, done that) can be.

Meet Industry Insiders.

As unfair as it sounds, the reality is that very often it's not necessarily the best manuscript that gets published. Often it's who knows who and what manuscript lands on the right person's desk on the right day. The more writers, editors, agents, and other professionals you know, the greater the chance of reaching the right person when your time comes.

As we've mentioned before, these kinds of meetings can sometimes happen in pitch sessions and manuscript review appointments. Prepare for them, but be professional. Don't stalk the agent and start with your elevator pitch WHILE IN THE ELEVATOR.

Recharge Your Batteries

Even if you think that you won't learn much from a particular conference, chances are that if you go, you'll leave pumped to write and improve. I know that every spring after this conference, I come home jazzed to get back to the keyboard and do what I love most: WRITE.

I can hardly wait for this weekend to arrive, when I get to see the friends who understand me best, be immersed in the writing world, and come home totally on fire.

I'm Writing . . . Now What?

by Annette Lyon

Today I was asked what turns out to be a pretty common question, basically:

I know I want to write, and I'm working on a book. Now what?

The best advice I figured I could give was to start hanging around places where there are other writers, like conferences, workshops, and local writer groups.

First off, that's where you'll learn the craft better. Every workshop you attend, every lecture you listen to, is a learning experience. Soak it all in. Learn as much as you can.

Second, that's where you'll learn about the business, including how to submit and who to submit to, the etiquette of publishing, and SO much more.

But third, that's also where you'll make writing relationships. These are the supports that will keep you going during rough times, give you critical feedback, and maybe even connect you with industry insiders to help you succeed.

Not in an area where you can hang out in person? Try hanging out with other writers virtually. Writer's Digest is one of many places where you can go online and find forums for writers, writing blogs, articles, online workshops, videos from national conferences, and more.

Many sites offer critique swaps. One relatively new but fast-growing one is Review Fuse. Search online for more.

I can say without qualification that my writing relationships are directly responsible for my being published and for succeeding as far as I have. But I wouldn't have them if I hadn't gone to conferences and the like as much as I did. In many cases, that's where we became friends. In others, a member directory is how we found one another.

Best of all, my writer friends are some of the few people in the world who really "get" me and my bizarre writer brain.

As Mastercard would say, they're priceless.

Author Copies & Review Copies

By Josi S. Kilpack

Author Copies:
Included in traditional publishing contracts is a clause called "Author Copies", which are exactly that--copies of the book that are given to the author at the time the book is released. I've been offered between 10 or 20, but I write in that I want 20 and no one has argued with me about it yet. I know other authors that receive more, and a few that have received less. The coolest part is that they are FREE. However, once these books are used up, you have to buy your books--at a price outlined in your contract (usually 40-60% of the retail price).

Thus, it behooves us to use our Author Copies wisely.

For my first book I gave away all 20 of my copies to family and friends. I was excited and wanted to share my excitement. It was a good feeling to hand over the books and get people's compliments and such. However, a couple months later I was asked to come to a book group and donate a book--I didn't have any books. I ended up buying a case of books--for about $120 and wished I'd held on to a few of those author copies. I learned from that to be more careful on who I gave my free books to and also to make sure I always had copies of my books on hand--even if I had to buy them.

I also learned, the hard way, that some people think I get unlimited free books. People would just ask for a copy--and I gave a few away thinking they would pay me later. They didn't. I still have people that think this, that because they know me and since I have infinite copies to just throw away, they are entitled to one. I've had to learn all kinds of nice ways of letting people know that my books aren't free--which makes those author copies even more valuble because they were.

I also learned later that several people I gave the author copies to never even read it.

On my next book I ran into another problem. Because I had given those 20 people free books, they expected free books again. I was older and wiser and had a different plan for these author copies, wanting to use them in a way that would adequately thank those people that had sacrificed on behalf of the book or in a way that would create more sales rather than just giving them away. A couple people commented on it and a couple other people just never bothered to find a copy, therefore they never read my second book at all. To me, this was pretty clear feedback--author copies should only go to people that appreciate the book.

Now a day's I have it figured out in a way that works best for me, yours might be different, but the point is to think it out and decide what do do with those author copies so that they aren't wasted.

1--The first person to get a book is myself. I write a note about the writing process, where I am in my life, things I learned or wish I'd done differently. It becomes a kind of journal entry about that book in particular. It then goes into my cedar chest. Eight books in--it's fun to go back and read my entries that now span a decade.

2--The second book goes to my husband--who is the person other than myself that sacrifices the most to have any book published. I write a little note in it, pointing out anything specific he did with that particular book.

3--The next two books go to my mom and my mother in law--two women who are very supportive about my writing.

4--The next copy (or copies) go to whoever I dedicated the book to, if they aren't already included in the first two categories. I figure if they inspired me enough to be in my dedication, they deserve a book. I don't do this if I've dedicated the book to a group--just if it's individuals.

5--The next copies go to anyone that did susbstantial editing for me before I turned it in. These are freinds/other writers that usually read through the whole book--I usually have three or four people that have earned their book.

6--The next copies go to professionals that might have given me a lot of guidance on details I used in the book--details I needed help with. I don't give a book to everyone that helped me, just those that made significant differneces.

7--At this point I'm usually out of books or nearly so. If I have enough I dedicate one to each of my children--I'm keeping a set of my books for each of them but don't give it to them until they are old enough to take care of them. I want it to be a keepsake for them. If I'm out of books, I'll often work on this later on when I have to order a case for something else.

**One thing to check out with your publisher is what happens to returned copies of your book. They are unable to sell returned copies for full retail, so they often sell them through an outlet, or to individuals that buy in bulk and then put them on Amazon for $2. I try to buy as many of these copies as possible--either through my publisher (if they will, not all of them do), through the outlets, or even on Amazon. If I pay 60% of retail, that's anywhere from $8-$12 a copy. If I can buy those for $3 instead--I'm much happier. I think use these books to give away or sell at a discount etc. A freind called me a few weeks ago, she'd found one of my books on a clearance table for .99. She bought 40 copies--I'm set!

Review Copies:

In the beginning I thought review copies and author copies were the same thing--but they aren't. In your contract there should be an outlined amount of books that are set aside as review copies--generally your publisher will send these out to reviewers, trying to get your name out there by garnering reviews from places readers will then read and want to go buy the book. Some publishers expect their authors to send the review copies out, and yet some authors don't know this and therefore no review copies are sent. If you send out your own, spend some time finding those reviewers that have a large enough audience to make it worth while--for instance if they have a blog, but only two or three comments on average, you won't be reaching many readers. If your publisher takes care of review copies for you, ask for a list of who recieved a book so that you can look for the review, follow up, or add other reviewers you may have a relationship with.

Check your contract, get familiar with how author copies and review copies work, and plan accordingly. Both can be easily fettered away, or can be adequately taken advantage of so as to be an asset in your tools of promotion.

The Perfect Pitch

I believed writing would be something almost spiritual. I believed I would sit upon the rocky cliffs overlooking the ocean in a white dress, while the waves would splash my toes with ocean spray. With this perfect setting, I would write feverishly, pen to paper. The muse would sit on my shoulder and whisper in my ear.

I've grown up and learned a few things--writing is more like chaining myself to my chair and having the willpower not to check email or visit my friend's blogs. And the muse? I think my muse is busy flirting with somebody else's muse because she has never once been helpful. There's a reason why my muse never gets any credit on the acknowledgement page of my novels.

But worse than the harsh reality of writing is the harsh reality of publishing. I never once imagined that this art form I am so in love with would equate to me having to become a SALESMAN.

Yet here I am.

I went to a pitch session last week with Kevin Wasden (my fav artist) for a project we collaborated on. My legs felt like water, my pulse raced, and the editor had strategically placed himself in front of the window so he was a dark shadow against the bright light of day. I felt like I was facing down a mob boss.

In just a few minutes, I had to give him the perfect pitch--the one that would entice him to ASK for MORE. I had to become a salesman.

I hate selling. It's so crass to consider literature as a product to peddle. And I wonder, is it worth it, especially for people who aren't usually as well-spoken as they are well written?

Yes. Meeting face to face with an editor or agent personalizes you to them. If they like you they will WANT to like your manuscript too. They will want to give you a chance to prove you're worth your weight in words.

First things first, the words you will use in a pitch are not the words you would see on a book flap. You don't want vague danglings of description in your pitch, you want to be brief and concise. Get to the point and do it fast (this is my biggest flaw, I have no ability at brevity).

But I started thinking of my novels as products that needed to be sold. It helped me to understand what exactly I wanted to accomplish at a pitch session. In my younger years, I dreamed of being a high powered advertising executive riding the subway and wearing a black power suit. I put that dream back to use when I realized I needed to sell my own product. Give yourself three to five sentences in which to describe your book. Keep it quick and to the point. Don't tangent on minor characters or minor plots. You need to give them something they can take back to their marketing team and SELL.

Be prepared. My husband has spent a lot of time in an acting career. He never goes to an audition unprepared. This means he records himself doing his monologue and then listens to it while he's driving. He practices everywhere he goes over and over and over until he has it down perfect. Your pitch needs to be like that. You need to be able to smile, say hello, and give your pitch with ease. Practice it. Time yourself so you know how long it takes. Be prepared, so when you meet that favorite agent, you aren't stuttering. Part of being prepared at an actual pitch session is being comfortable talking a bit about you as an author--give your ideas, your vision, prove you can go the distance and deliver. You have to genuinely believe that what you have is what they want.

Whenever someone starts a conversation with the words, "I really don't know what I'm doing and don't have anything to say, I take them at face value and automatically tune them out. If you don't believe in you, don't expect me to.

Know what category your book falls in. Do not say, "Well it's a mystery sort of romance, with some action adventure thrown in. It all takes place in a fantasy world, but with science fiction technology." You have to know where this book sits on a shelf in a bookstore. As in advertising, if a company walks in with a new product, the ad company needs to know who they are going to market it to in order to be able to run a successful campaign. If you were going to walk into a bookstore right now, in what section would you look for your book? What similar books are out there? Why is yours different and therefore worthy of notice?

Know who you're pitching to. If an agent comes to your conference, and they only agent for bodice ripping romances, they may not be the best person for your picture book. Don't waste your time or theirs. Familiarize yourself with what clients the agent has, or what books the publisher has recently produced. Yes, this does sound a little like sucking up, but what it means is that you were clever enough to do your own research. It means you are professional enough to do your homework. It means you're worth working with.

Don't defend yourself. I kid you not, I was standing outside the door of a hotel room once during pitch sessions and I honestly heard an author tell the editor she was pitching to that he had no clue what he was doing. I may be wrong, but that may not be the best way to get a contract. I'm still staggered by the absurdity of not taking the advice of a trained professional simply because you're feeling a little bruised and prideful.

Don't gossip, backbite, or act like a fool. The writing industry is a small community. You never know who knows who. Play nice in the sandbox, remember the golden rule, and don't monopolize an agent or editor's time.

I am giving this advice because I am preparing to go to New York where I will be doing a lot of pitching. This little blog is a good refresher course for me too. May we find favor with the kings and queens of ink and paper.

Killer Campaign--Are Booksignings Effective?

By Heather Moore

This blog installment is part of a killer campaign organized by Maria Zannini. Today several fellow authors will be blogging about booksignings, the good, the bad, and the ugly. To find out what other authors are saying today about booksignings, jump over to Maria's killer campaign post.

Here's my take:

In this era of internet marketing, booksignings are not necessarily as important as they used to be. Or are they?

When you read about new books coming out by bestselling authors, you can click on their websites and see a list of booksignings they have scheduled. But it seems that they are becoming fewer in number.

Over the years, I’ve had great booksignings and not-so-great ones. You just never know if it’s the weather, the local rival football game, American Idol finals, etc. that keep people home.

So whether you choose to do them or not, I have lots of tips.

1. Bring something to hand out. This breaks the ice and allows you to introduce yourself. I’ve handed out bookmarks or author cards, by saying very simply, “Have you heard about my book. It’s about _____________ ______________ ______________.” That’s the ten second approach. The customer will take the bookmark (98% of the time) and read it when you’re no longer staring at them.

2. Have your table near the front door, or near the register. This will allow you to either 1) greet each person as they come in, or 2) chat with the people standing in line. Ideally, it’s nice for a store employee to stand with you and introduce you to customers. Oh yeah, don’t EVEN plan on sitting. Stand, walk around, approach people.

3. A candy dish? I usually eat more than anyone else, and it doesn’t seem to help my sales. Of course, if you are writing for kids, you will get more attention from them. But if you bring a treat for the store employees . . . now that might make a difference.

4. Back to the store employees—it’s what a booksigning is all about. Surprised? Your job as an author is to get to know the employees, find out what they like to read. In essence, ask THEM questions. This makes them your new friend, and you can bet that the next day when they’re working a long shift, they’ll be recommending you left and right. Even if they haven’t read your book yet.

5. If the store isn’t going to provide posters or fliers about your booksigning, then drop by a couple weeks in advance (or mail) and provide them yourself. All of my books have been released in the fall, and I’ve found that I see just as much store traffic during a Friday lunch hour than I do a Saturday afternoon (yeah, it’s the football games). You might consult with the store manager about a good day and time.

6. Back to bookmarks. I like them because I can get a cover jpeg, a couple of endorsements, and my website all on the bookmark. Then with the store manager’s permission, I’ll walk around the store and slip my bookmark in other books that are similar to mine. Hmmm. The advertising that continues long after you’re gone.

7. Try an attention-getter at your table. Hold a drawing or bring an article of interest that goes with your book. Writing about a Mayan mystery? Bring a look-a-like ancient Mayan sword. Have a romance? One friend had a magnetic bulletin board and the customer gets to pick a number off of the board. Depending on what it says, the customer gets a candy bar, etc . . .

8. When you chat with a customer, keep your book pitch very brief. You can tell by their eye contact if they’re interested beyond the 10 second pitch. Then turn the tables and ask them, “So, what kind of books do you like to read?” Suddenly they perk up and chances are, they’ll make their way back to your table, or purchase your book on their next store visit.

9. NEWSLETTER SIGN-UPS. Yes, there’s a reason it’s in all caps. A NY Times Bestselling author told me this should be my #1 strategy. Both on your website, and at a booksigning, you should be capturing emails. Offer a newsletter sign-up sheet. Then promote it by saying you include reviews, recipes, other author interviews, or giveaway contests. And of course, your list won’t be shared with anyone. As long as they don’t unsubscribe from your list, you’ll have them part of your target audience for life. One last thing on newsletters. Don’t send anything out more than once a month, quarterly is best. You don’t want to be annoying, but you don’t want to be forgotten either.

10. Be patient. It wasn’t until my third book came out that I had people showing up to my booksignings to meet me specifically. These were mostly people that signed up for my newsletter at an earlier booksigning or on my website. They ended up buying a book, liking it, and wanting to come back for another.

Posting Excerpts on Your Blog

From one of our readers:

Hi. I am not sure if this would be good for your blog readers in general, but it seems to be a growing concern/confusion amongst many writers. Should we put up excerpts of our novels or other works we hope to see published (i.e., articles that may go into a book, a short story from a collection, a novel excerpt, etc.) on our blogs? Several other writers and myself have been reading lately that publishers won't publish anything that has been, even in part, "already published on a blog."

This is timely question since there are many publishers who don't like authors to publish exerpts of their contracted novels on blogs or websites. You need to get permission from your publisher in order to post an excerpt--even if it's still in preproduction.

If you have a novel you've written, but it's not under contract, it's all right to post an excerpt. But make sure to label it as a work in progress--and that it shouldn't be quoted in a review of your final book.

Posting an article that you are trying to get published is probably not a good idea. Most magazines ask for first rights until after it has been published by them (often, they give back the rights and you can take the same article elsewhere, but you must obtain permission). The magazine wants an "exclusive" per se and doesn't want it to be posted elsewhere.

A short story falls in between a novel excerpt and an article. If the short story is part of a collection, it is probably okay to label it as a "preview from my short story collection". But if it's a stand-alone, then a magazine won't be happy if the short story is already available to everyone. After all, why would their audience purchase their magazine to read your story when they can read it for "free."

Any other thoughts, anyone? Or personal experiences?

Conferences: As Good as Gold

by Annette Lyon

I recently returned from a fantastic writers conference, which gave me a boost as I move forward with my work.

The weekend was a reminder to me about how important conferences are to writers and why we attend them.

Workshops
These are, of course, one of the biggest elements of any conference, whether they're breakout sessions or keynote addresses. No matter how experienced a writer you are, you can always learn more. Sometimes it's from someone who is farther along the path than you are, and sometimes it's a colleague who looks at a topic in a new and fresh way that can help you improve your work.

About a year ago I attended a class taught by a good friend. I did so to support her, not because I necessarily thought I needed work on my characterization, the topic of the workshop. Her approach to creating characters was so different from my own that it opened up a totally new way of viewing the process for me. I left the class with a boatload of notes and a better understanding of the heroine in my WIP.

Agents and Editors
If the conference hosts an agent and/or editor, soak them in. Hang onto every word they say—they know the markets, the business, the craft. If you have the opportunity to meet with them one on one in an appointment, do so. If you see them hanging out in the hallway, talk with them and get to know them.

Note that unscheduled meetings (sharing an elevator, cornering them in the restroom, and so on) are not the time to pitch your book. Just get to know the editor or agent and to learn from them.

This last weekend I had several opportunities to chat with both an agent and an editor, whether during a meal or in the hall. Those were definite highlights of the entire conference. Because of some of the things they shared during those conversations, I'll be doing some specific revisions on one of my manuscripts.

Networking
I think a lot of writers can relate when I say that many opportunities I have had came about in large part thanks to my friendships with other writers.

Writing is a solitary field; it's just you and your keyboard. When attending a conference, get out of that bubble and rub shoulders with like-minded people. I know, I know; it's hard. Writers tend to be shy and introverted. Break open your shell and speak up. Get to know other writers. You may be surprised at how supportive they can be with everything from cheerleading to helping you track down a fact for research.

You may also find new avenues and possibilities for your work. Best of all, you'll (finally!) be hanging out with people who think like you do and "get" the life of a writer. They know what it's like to have writer's block or have characters bugging them in their sleep or to be rejected . . . again.

Networking is so important that, to me, it's even worth missing out on a workshop if it means you get to chat with someone in the hall who might turn out to be a terrific writing friend or ally.

I recall one conference I attended while expecting my second child. I was so exhausted from the pregnancy that I was about to fall asleep during a keynote address. I slipped out of the room to walk around and stay awake. In the corridor I met up with an author also stuck outside, keeping her baby happy. We struck up a great conversation and friendship. Her first novel was about to be released, and we talked a lot about that.

In the years to come, she became a great help to me as I navigated the publishing waters. I have no memory of who the speaker was that I missed, but I wouldn't give up that friendship I made the hallway for anything.


Take advantage of writers conferences whenever you can. Then while you're there, don't waste a single moment. Learn, network, talk, and enjoy.

Working Together

By Julie Wright

Collaboration: to work together

Obviously you can collaborate with people on anything you do, but today I want to look at collaboration in writing.

It happens more often than you can imagine. I’ll be sitting in a booksigning and someone will come up to me and say, “I have a great idea for a book. Maybe I should tell it to you, and you can write it, and we’ll split the profits.”

They always look so genuine when they say these words, as if the idea is the hard part and writing is a snap. I smile and say, “Why don’t you write it yourself?”

I’m not being coy, sarcastic, or cranky when I say this. If I write it, chances are good they won’t be happy with what I did to their idea. Because instinctively, I will twist it and turn it inside out and make the idea my own (meaning it will very little resemble the original “great idea”) before I’m through. If I write it, I will want to be in control. But they will want to be in control because it’s their idea.

If I write it, I will have done the majority of the work and feel as though I am in complete ownership of the project. If it was their idea, they won’t be happy with that at all.

Collaboration of this sort very seldom works well.

That said . . . I have been involved with collaboration that does work. Kevin Wasden, an artist, came to me with an idea and said, “You write; I’ll illustrate.” I’m thrilled to be working with him. It’s been a joy to have someone to unravel my literary tangles, and to have someone to work ideas through with.

Collaboration is sometimes a good thing and sometimes a nightmare. A lot depends on who you’re working with, and whether or not both parties are 150% committed to the project. With Kevin, we both know our roles and we strive to honor eachother's opinions.

Some things to remember:

• There is no 50/50. I put in my all, you put in your all, and we see what comes from it.
• Have a contract in advance so no one gets surprised later on.
• Know, understand, and have written down exactly what each member of the collaboration is in charge of.
• Remember that friends don’t always make the best partners.
• If friendship comes after the collaboration begins, count your blessings.
• Reliability and flexibility are absolutes.
• Your word should always be your honor.
• Ask yourself if you’re the type of partner you’d want to have. If you aren’t, you may want to rethink dumping your issues onto someone else.

A long time ago, I was married in a room of mirrors meant to resemble eternity. The man marrying us said that the only way to see eternity is to take your eyes off yourself, and focus on the other person. It was kind of like a recipe for a happy marraige . . . and the man was right.

Collaboration of any kind, writing included, works like a marraige. Take your eyes off yourself focus on the project, and things should work out okay.

Chicken or the Egg?

Recently I read a blog by Maria Zannini in which she interviewed Maya Reynolds, author of Bad Girl.

You can read part of the interview below. Many times I've heard other writers say that they don't worry about grammar and punctuation when they're preparing a manuscript for submission because "that's what an editor is for." Poor editor, I say. If we submit sloppy work their time investment is that much greater, and in this highly competitive market, the sloppy writer with a great story will always lose out to the fastidious writer with an equally great story.

Maya gives us an excellent explanation of why the business of writing includes perfecting the craft:


Maria: You blog a great deal on the business of publishing at www.mayareynoldswriter.blogspot.com . How important is it for writers to understand the nuts and bolts of the industry? Isn't that what agents and publishers are for?

Maya: This is one of those chicken-and-egg questions. It’s vitally important that writers understand publishing is a business. Agents and publishers invest a great deal of time and money in authors. If the agent doesn’t get a contract, s/he makes NO money. It’s a form of sales except that the agent may spend months trying to make that sale. By the same token, a publisher invests a huge amount of capital in editing, printing, distributing and marketing a manuscript. Given that, if you were the agent or editor, which kind of client would you want to have? One as ignorant as an egg, or one who understood how the cow ate the cabbage?

I always cringe when I hear a newbie writer say, “I don’t worry about punctuation or spelling. That’s for my agent or editor to deal with.” Well, if an agent has to spend two months cleaning up a manuscript, that’s two months of overhead without any revenue coming in. Which manuscript do you think s/he will be most interested in: the clean ready-to-market one or the sloppy need-to-edit one? It’s simple economics.

Well said, Maya. We need to pay attention to the little things. Spell check is not enough. Pass your manuscripts to readers before submitting. Read the submission guidelines. Which font should you use? Double-spacing? Sample chapters or query only? When I submit my manuscripts to my publisher, I continually edit and correct until the publisher's editing process is about to begin (you might have several months between acceptance and the start of the editing process). Then I tell my editor that I've made some additional corrections and forward the most updated manuscript to her.

Do You Need a Pen Name?

By Heather Moore

As soon as your first novel comes out do you expect to be recognized everywhere you go? Perhaps people in your neighborhood and at the grocery store will tell you about the book they’re working on and demand a referral to your agent. Or, since your book will be an overnight success, you’ll start receiving phone calls right in your own home from readers around the world.

Most authors don’t have pen names. Why? Because they’ve received advice from authors who do—which is: I wasn’t an overnight success and it was a lot easier to market myself when I was really myself.

Of course pen names still exist and serve the following purposes:

1. When the writer jumps genres. A well-known romance writer will have a hard time selling to men when she writes that first suspense novel. So a pen name might be in order. Publishers have even gone so far as to say “by Betty Brown, writing under the name of Carl Clegg.”

2. A female author is trying to push back the stereotypes of being a romance author. Men will pick up books by R.J. Turner, but probably not Rosalee Jenkins Turner. (And they won't be bothered if someone walking by notices what they’re reading.)

3. The author writes for two different markets. This is more common than you think. Some writers will publish under a pen name for the Christian Market, while they use their real name for other works.

4. Create mystique—commonly used by fantasy authors. The fantasy author creates a pen name that is unique and appealing. Sometimes the reader doesn’t know the real name of the author for a while and that adds to the intrigue.

5. Positioning your book—yes, it’s what it sounds like. Some publishers will create a pen name to cater to a specific place on the book shelf. If you write YA fantasy, of course you want new readers to see your books displayed next to JK Rowling’s—so maybe your publisher will choose a last name that starts with “R”.

6. Switching publishers. Had a bad experience? Burned by your last publisher? Your new publisher might want to wipe your slate clean and give you a pen name so that your past won’t come back to haunt you.

My advice is to not get too worried about choosing the perfect pen name, but keep your options open.

The Cons of cons

By Julie Wright

I'm doing a sequel to last week's blog. I started thinking about conferences for writers and then cringed at several of my own (and worse, if you can believe it, other's) errors while attending conferences.

The Pros of Cons is that people get to meet you and know who you are.
The Cons of Cons is that people get to meet you and know who you are.

If you have a tendency to shoot off your mouth before your brain is fully loaded, you might want to consider duct taping your mouth shut before entering the conference arena. What you say can and WILL be used against in court of publication decision making.

Some basic rules for cons are:

1. Never bring a manuscript to hand off to an editor or an agent. This isn't just a flippant rule either. No, you are not the exception. Editors and agents do not want to lug your manuscript through airports and taxis along with all their luggage. Agents and editors usually use their travel time to read manuscripts they've asked for. This is valuable time for them and it really, really ticks them off to have someone try to eek into that time.

2. Never try to upstage a panel of authors, agents, and editors when you are in the audience. There is a reason why people are in the audience; it is to listen to the people with the microphone. If no one handed you a microphone, then don't assume anyone wants to hear from you. Honestly. I've been in some conferences where an audience member will tie up ten minutes of time while they pontificate about their half-written manuscript. Don't do this. I was talking to an agent afterward and he said he'd written the name down of the guy who wouldn't shut up, so he knows who to immediately reject. I think the agent was joking, but I think he was being honest too. Make yourself someone who is likable. Agents have so many reasons to reject a manuscript, do not spoon feed them more.

3. Use this time to socialize and network. Don't underestimate the importance of good friends. Even if you didn't get to buddy up with the editor of Scholastic, if you made other writer friends, you had a successful con. Writer friends are immensely valuable when the rest of the world thinks you're insane for trying a career at writing.

4. Feel free to talk ask questions during Q and A. Even if you don't have a microphone, you CAN ask a question. Questions are great to ask so long as they aren't, "Hi, My name is Joe and I just wrote the next Harry Potter. Will you publish it?" or "Why did you reject my manuscript?" Asking a well formed question can get you noticed in a positive way. Asking an off-the-wall-not-pertinent-to-this-discussion question will get you noticed in a negative way. If you aren't sure which side your question might fall on, error on the side of caution and don't ask.

5. Editors and agents are people too. So if you get a chance to be in an elevator with them, feel free to talk to them. Ask about how they like the conference. Talk to them like normal people. I think people get tongue twisted and freaked out because they forget that these guys are human. Even if you don't end up with a professional relationship with the agent or editor, you could end up as a well respected acquaintance, or even a friend, and that is something worth having.

6. This is not the time for off-color jokes and crude humor. We aren't in junior high; let's not act like it. I only mention this because I witnessed a scene that has forever scarred my mind. That guy will never be published.

8. Don't gossip. It's a small world. You never know who knows who and more--who LIKES who. You'd hate to be in need of a surgical procedure to remove the foot in your mouth. Never speak ill of others. It saves you the trouble of needing to apologize later.


7. Respect their time. I cannot tell you how often I see someone who has pounced on an agent or editor in the hallways between classes and panels and cons and they talk and talk and talk and . . . you get the picture? The agents eyes roam desperately for some escape, but they don't want to be rude . . .
Don't be the guy everyone is running from. If the agent looks at a watch or seems to be looking around, understand they likely had somewhere to go. Ask for a business card and shake their hand and leave it at that. Later, when you query them, you can say, "We met at the conference and you gave me your card."

8. If you got the card, send the query. Don't sit on business cards. Publishing is a dynamic business. editors and agents change houses and companies all the time. If you've got the card, you want to query immediately while the Con is still fresh in their mind. If you've got the card, the only thing holding you back is you.

Marketing Your Work

by Heather Moore

Sometimes when all the writing and editing have been done, you finally get that publishing contract. But then what?

Do you sit back and add up royalty checks? The more effort an author makes to promotes his/her work, the more successful a book will be.

Even if you aren't published yet, you need to establish an internet presence. In today's techno world, the internet is a major catalyst for marketing. One way to do this is start a blog or become a contributor to a blog.

If your first book is about to be released or you've just received your first book contract, you need to create a website right away. Readers today are web savvy and they like to connect with their favorite authors.

If you have a book (or two) already published and your sales have been lackadaisical, consider the following self-promotion ideas:

1. Drive-by signings. Call the store manager in advance and tell him you'll be "dropping by". Bring bookmarks to leave in the store, sign the stock they carry of your book, and chat with store employees. J.A. Konrath gave some great tips in the June 2007 Writer's Digest.

2. Hold contests on your website or blog. This can range from youth writing contests to answering trivia questions about a character in your book. The prize? A free copy of your book, of course.

3. Volunteer to speak at writer's groups or conferences. You may find that by sharing your experience or knowledge you are gaining lifetime readers in the process.

4. Post flyers around your community about book group speaking engagements. Make yourself available for conference calls to book groups farther away.

5. Compile a newsletter/e-letter list. At every booksigning or author event, ask people to sign up for your newsletter.

These are just a few things you can do. Gone are the days of the reclusive author. You need to be just as much of a salesman as a good writer in order to make your book a success.

Things we never expect from our career: Part Two

By Julie Wright

As mentioned in last week’s blog, I had to learn to deal with readings and signings and selling myself in general. Things only grew worse with time. People called me to ask me to speak at schools, to speak at church functions, to speak at writer’s conferences. People asked ME to speak.

I guess I’m fussing over this because I’m speaking next month to a thousand teenagers ranging from fourteen to eighteen in age, and I’m flat-out terrified. I think the largest group I’ve ever spoken to is 300. One thousand people. That’s a lot more than 300 for those of you (like me) who don’t do math.

The number terrifies even if the talks are the same.

I share all of this with you, not because I enjoy pointing out my own lack of courage, and the possibility that I will vomit in front of one thousand teenage witnesses, but because if you really want to be an author, you need to prepare yourself for being in the public eye.

Not in the public eye like JK Rowling. It’s unlikely you’ll need a pseudonym to keep the paparazzi at bay, but you will be asked to speak on panels, to teach classes and to give entire motivational seminars for aspiring writers. This means if you’re a victim of chronic stage fright, you might want to take a few speaking classes.

Toastmasters is a great place for beginner speakers. They’ll help polish out your rough edges. They’ll eliminate, or at least diminish, your um’s, er’s, and ah’s. I’d encourage you to give a few evenings to toastmasters to help you out. You can learn about the program and locate the chapter nearest you here:
http://www.toastmasters.org/about.asp

I heard once that the anxiety caused from having to speak in public actually sets off healthy endorphins in your brain. I have no idea if that’s true or not . . . I likely read it on the internet and you know you can’t trust anything you read on the internet . . . (hey, wait a minute . . .)

Speaking in public really is a great tool. It allows you to connect with your readers and allows you to connect with people who are potential readers. If you fear it--get over it.

And don't forget: it’s all about the staff at bookstores when you do signings.

What we never expected from our writing career . . .

By Julie Wright

When I was in high school, the entire world scared me. Standing in front of others made me physically sick. My voice squeaked and turned into violent hacking fits whenever an oral report came due. And even when I imagined myself coming off as some super funny amazing presenter, I could barely make my voice rise louder than the rasp of a terrified little girl who was more likely than not to throw up as soon as I finished the presentation.

Naturally being an author appealed to me. I could still share my thoughts and ideas with the world –only I’d never have to look any of them in the eye.
I’d type feverishly from the safety of my chair in front of my computer and change society with my every written (NOT spoken) word.

These are the pretty dreams of new and naïve writers.

Imagine my surprise when my publisher scheduled me for my first reading.
“You want me to what? In front of who?”

They wanted me to read my book out loud to people. Then they wanted me to peddle myself to the public and do a book signing. My first readings and signings were torture. I stuttered and blushed, spent hours beforehand being sick—until I did something brilliant, something that could forever change (in a good way) book signings for authors.

I got over myself.

Book signings aren’t about me. They are about the people who come in needing a gift, the people coming in who don’t want to buy a book from you ever, but want to know if you could help them locate JK Rowling’s new book. They are about the people who don’t want to buy your book, but want to tell you all about their secret dream to become an author. They are about the person who needs something new to read to get over a bad day at the office. They are about the staff.

They are MOSTLY about the staff. Get to know the employees of the bookstore. Bring them a treat, even a small one. Some authors bring treats for the customers. That's nice too, but I bring mine for the staff. After all, you’ve got to be with them for several hours; you might as well start it off friendly.

Ask them questions about their lives. Find out how many kids they have, what kind of dog they have, what their favorite movies are, what their major in college is.
Don’t you dare sit down and thumb-twiddle at a signing. This is your book . . . your baby. No one but you cares whether or not you reach the goals you’ve set for yourself.
The bookstore employees are your frontline salespeople. Even if they never read your book, they will remember that you were kind to them and easy to talk to. They will remember and recommend you when you’re gone.