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Showing posts with label Janet Reid. Show all posts
Showing posts with label Janet Reid. Show all posts


You started a blog. Congratulations!

But nobody’s reading it.

Sigh.

Don't give in to despair. It takes a while to build a readership. Usually a long while. For the first six months I blogged, my followers consisted of my mom and my critique group. The other day I found my journal entry from my blog's first anniversary. I was totally jazzed because I was up to 36 followers. A year later, I had 600. (Now we've got 1652 and 1025 subscribers: thanks, everybody!)

So what happened in that second year?

1) I started commenting on other blogs and got some guest gigs. This is the part of blogging that most beginning bloggers skip. But nobody can follow you if they don't know you're there. You have to get out and meet other bloggers. Commenting on their blogs is the best way to to that. Here's my post on how to comment on a blog.

2) I learned how to blog. That took some trial and error. Lots of error. In fact, I'm still learning. I'm talking about format here, not subject matter, which I've blogged about before and will again soon. Here's one of my posts on What Should an Author Blog About?

Short version of the subject matter question:

  • An author can blog about anything. Just make sure it's interesting to somebody other than your family and your cat. 
  • Don't use it as a personal journal. Everything you say is "in public." 
  • I don't recommend new bloggers start another "how to write" blog, because we've got gazillions of them, and they don't attract non-writing readers. 
  • Fiction usually doesn't do well on a blog, and there could be copyright issues, so it's usually best to make it mostly nonfic. 
  • Write about stuff of interest to the readers you want to attract.

Once you do get a few people stopping by, you’re more likely to keep them coming back if you write content that's formatted for the Web reader.

A blogger is a "content provider"—and writing Web content isn't exactly the same as writing an essay or a magazine article.

Unfortunately most of the info you find on writing Web content comes from marketers and tech people, not novelists, and their stuff can be so riddled with jargon it might as well be written in Klingon.

Like this article I found about using hyperlinks with keywords (#7 below):

"What will help Google disambiguate the #entities - people, brands, places, industry terms, etc. - to which you refer in your copy? Through strong copy, understanding hierarchies and emphasising industry terms (without links), we can ensure that indexers have confidence in our content, thus render it in #SERPs with more certainty."

Uh-huh. I know that's probably solid info, but I'd be so grateful if people would write it in regular English.

For me, learning to blog meant unlearning a whole lot of what we were taught about writing prose back in the 20th century.

  • We learned to use topic sentences and avoid cutting to a new paragraph until there's a new topic.
  • We wrote for people who paid money for our words and read every one.
  • We wouldn't put a title on a serious essay that looked like a cheap tabloid headline.
  • We avoided repetition. 
  • We would never offer an outline instead of an essay.
  • We substantiated our information with footnotes.
  • We never heard of "tags" or "SEO"

Unfortunately, the majority of people don't read on the Internet; they skim. In fact, most people don't even skim the whole article. In a recent piece in Slate titled "You Won't Finish This Article", Farhad Manjoo said only half the people who visit a site read past the first hundred words.

So how do you get them to come by...and stay?

Throw out the rules you learned in school and use a copywriter's tricks for grabbing your audience and not letting them go. Here are some copywriting techniques you might want to add to your writing skill set.

1) Write whiplash-inducing blog headers



C. Hope Clark said in her March "Funds for Writers" newsletter:

"You might be surprised at the key factor I use in deleting or holding to read: The quality of the subject line. Hey, when time is crazy limited...the words have to snag me as I rush by. That means first and foremost that the subject be crisp, sharp, attractive, intriguing, or whatever adjective you want to use that gives me whiplash. It has to shout, "HEY, READ ME OR YOU'LL REGRET IT."

She's right. Headers might be the most important element of your blog content, and it's the one most novelists don't get. We want our blogs to sound creative and literary like our books, not cheesy like a supermarket tabloid.

But tabloid and advertising writers know what they're doing. They have only a moment to grab a reader going through that checkout line, so they need an irresistible hook. 

In our case our headers need to make whiplash Tweets and shares that will snag a reader in the endless stream of content they can choose from.

So how do we do that? 

a) Don't be generic.


"An Interview with…" Isn't going to grab anybody unless it's "AN INTERVIEW WITH JUSTIN BIEBER AND VLADIMIR PUTIN TALKING ABOUT THEIR THREESOME WITH KIM KARDASHIAN" or something else involving trending news. 

b) Make it Tweetable.  


That means avoiding enigmatic, one-word headers. I recently saw a title in the London Review of Books that exemplified the one-word header that doesn't work well in the age of Twitter. The article was called "Ghosting." It turned out to be about Andrew O'Hagan's experience ghostwriting for Julian Assange, a fascinating subject.

But you wouldn't know from the title. It might have been a piece about ectoplasmic apparitions, or a remake of the Dan Ackroyd-Bill Murray movies, so I didn't bother to retweet it since I didn't have time to write a new header. You don't want that to happen to your posts. 

c) Promise a quick read 


Everybody's in hurry online.

In a March 2014 piece in the Web Writer Spotlight, Jillian Mullin wrote: 

"....you have to compete with Facebook and Twitter, as well as with their family and work. The fact that they managed to land on your site is something to be thankful for. Generally, an average web user only spends 10 to 30 seconds reading Internet content. People rarely read web pages word-per-word. Instead, they scan the page for related keywords, bullet points, subtitles, and quotes."

So one of the best ways to make that promise is with numbered lists. "The 10 Best Ghostwritten Books" or "5 Signs Your Computer is Possessed."

d) Promise solid, helpful information that's YOU oriented, not ME oriented 


Like: "How to Become a Ghostwriter" or "5 Simple Snacks to Serve at Your Next Exorcism," rather than "I'm Making a Living Now" or "Another Sleepless Night in My New Apartment."

e) Ask a question that stirs curiosity 


Try appealing to greed: "Make REAL Money as a Writer!" Or paranoia—sorry, but it works: "Is Your Cubicle Haunted?" or "Who or WHAT is Flushing Your Toilet in the Middle of the Night?".

f) Use keywords in your header


So what are keywords? They're the words that most effectively let the public (and the search engines) know what your post is about. Like this one is about 1) blogs 2) blog content 3) authors

So let's say you're blogging about how you think your new house may be haunted by the ghost of an elderly lady who died there. Don't call it "Mildred Biggins Walks at Night", as much as it appeals to your storyteller's instinct. Call it "10 Signs Your House is Haunted: My Encounter with a Ghost".

That's because "haunted house" and "ghost"are your keywords.

In other words, just tell us what it's about. That's what will draw the most readers and it uses your keywords. (That's called SEO—more on that below.)

2) Put your most important info in the first few words 


Make sure your lead is visible as soon as somebody opens your blog. People do a lot of reading on phones and small tablets these days, so those first words are all-important for today's reader.

It's also what Google shows in the search results. And those opening words will help the spiders decide what searches will pick it up, so you need some keywords there, too.

And since most people won't read past the second paragraph, you don't want to save your best stuff for the end.

Half a century ago, journalists were taught to "humanize" stories by starting with a human interest line. "Susie Scrivener shouldn't have a care in the world. She's a pretty 30-something freelance writer living in a gorgeous Victorian triplex in Old Town. She's sitting on the front porch of the house she moved into last month with her cat Hortense. The three-story home was once owned by one Mildred Biggins, who died in 1924…"

The reporter could get to the lead (then known as the "lede" to differentiate from the metal originally used to make type) in the third or fourth sentence, but these days, you've got to give us the facts in the first ten words.

"Susie Scrivener thinks her house is haunted by the ghost of its former owner." Bam. Just say it.

3) Learn to use and format subheaders


Subheaders aren't just for drawing the eye through and letting the reader know what's coming up. They also need to spell out your most important points. And include keywords.

That's because subheads get picked up by search engines too.

So for your Mildred Biggins post, you might use subheaders that contain words like "ghost", "haunted", and "poltergeist", rather than "Who flushed that toilet?" or "Mildred and Hortense".

NOTE: Be sure to use the "subheader" mode in your blog program, and not the "normal" setting. I didn't even know there was a "subheader" category until this year, when I stumbled on it. (Stumbling is how I found out most of this stuff.)

For Blogger users, the subheader menu is on the left-hand side of the toolbar, where you see the word "normal". That window has a menu, where you can choose Heading, Subheading, or Minor Heading.

For Wordpress users, here's the skinny from Romance Author Autumn MacArthur:

 "WP users wanting to use headings and subheadings in a post need to bring up a second toolbar by hitting the "Toolbar Toggle" button on the far right of the toolbar. That adds a second toolbar, with a dropdown box labelled "Paragraph" as the first item. Headings are under there. Whether they act the same as Blogger Subheadings from a Googlebot point of view I'm not sure, but they look pretty!" 

When I started using the appropriate format, our blog stats soared. Why? The Google spiders pay attention to subheaders the way they do to headers and hyperlinks.

4) Break up blog text


No big hunks of indigestible verbiage. Nothing is more daunting to a Web reader.

I subscribe to Publisher's Lunch, the daily report on traditional publishing's latest news. But like so much of traditional publishing, it's stuck in the 20th century. The information on new book deals comes in one in one big, passive-aggressive block of text in a tiny, gray, sans-serif font. I find myself dreading opening it every morning. Recently, I've just been skipping it.

So break up those word hunks. Forget what you learned in school about topic sentences. Don't write a paragraph more than a few sentences long.

I know. Your high school English teacher is rolling in her grave, but skimmers read the first sentence of a paragraph and maybe the last. Make your big points in those two spots.

5) Write blog content in a simple, conversational style


A blog is not the place to show off your encyclopedic vocabulary. If somebody has to click around to look up a word, they probably won't come back.

It's also not the place for the kind of jargon I quoted in my intro. Don't write in geekspeak, legalese, or that "most scholars agree" phony-tony style you used for college term papers.

Many tech people write in a language comprehensible only to them. It identifies them as one of the people "in the know." But an "in crowd" blog isn't going to get as many followers as one that's friendly and welcoming.

I agree completely with Ann Timmons, the Communications Artist who wrote in a March 2014 post about how her eyes glazed over at a conference when listening to:

"...all sorts of undoubtedly English language words used in combinations I could not make sense of. Not knowing the context, I was lost. Some people call this 'insider language'. Others call it 'jargon.' Whatever you call it, it is bound to frustrate people."


Marketers and SEO specialists are some of the worst offenders. I have read dozens of blogs about something called "Google Authorship" but I still haven't got the slightest idea if it's a software program, an app, a Google Plus circle, or the name of Larry Page's cat. Nobody seems able to define it. They only put people down who don't have it.

You're not going to reach the general public if you write in Klingon and act smug.

6) Arrange blog text in a scannable format


Scanning is easier with lists, bullet points, and bolding. Italics can be useful too—anything to draw the eye along the text.

MS Word makes this a breeze. Unfortunately Word formatting probably won't translate to your blog program, so you may have to resort to primitive means like numbering your own lists or using asterisks for bullet points.

*Lists: a numbered list has a three-fold benefit:

  1. It provides lots of white space.
  2. It draws the eye through.
  3. It gives you fodder for your headline. (See the "header" section.)

*Bullet points: Like lists, bullet points are easy to grasp at a glance and they let people know they're just getting the "good parts."

*Bolding: Especially for headers and other significant information.

*Italics: Putting a quote in italics sets it apart from the normal text.

7) Use informative text for hyperlinks


What are hyperlinks? It's okay to ask. I had no idea how to make a hyperlink for the first six months I blogged. 

You make a hyperlink when you turn an ugly url like this: http://annerallen.blogspot.com/2009/07/beware-bogus-literary-agents.html into a live bit of text you can click on like this link to one of my very first blogposts: Beware Bogus Literary Agents. (Where you will see my early urls in all their ugly, unhyperlinked glory.)

You make a hyperlink by selecting the text you want people to click on and going to the icon that looks like two links of chain up there on the menu bar. Or in Blogger it is cleverly identified with the word "Link".

See how I didn't make the link above with the word "here" or "this link"? That's because the words "here" and "this link" don't mean anything to the Google spiders (the reason these robot/algorithm things are called "spiders" is they "crawl" around the Interwebz looking for content.) 

Those algorithms only notice links with identifying text. So either use the title of the piece as I did above, or say something about it, like "the time agent Janet Reid visited my clueless-newbie blog."

That means somebody searching for info on Janet Reid might run into my post. Also searches for "clueless", "newbie" and "blog".

I think the article I mentioned in the intro was trying to tell us that using keywords in links isn't as important as it used to be. But in any case, it's still better than just saying "click here."

8) Use significant tags


The "tags" or "labels" you put on the end of your post look as if they're for helping you organize your archives. And of course that's their primary purpose. But they're also noticed by those all-important spiders. So use as many tags as possible, including all your keywords, plus the names of people you're quoting or writing about.

If they're tagged, those people may get a Google alert that you've mentioned them. That means they may grace your blog with their presence, which is what happened to me with Janet Reid, on my fifth blogpost ever. I had twelve followers, but there was the QueryShark her ownself, telling me I had a "nicely written post." Oh, how I basked!

One caveat: once you've used a tag it's part of your blog for life. They can't be deleted. So now I have a lot of names in my tag list that I probably won't mention again. I'm hoping the number of tags isn't limited.

9) Keep SEO in mind, but don't lard your blog with repetitive words.


I know SEO (Search Engine Optimization) is one of those eye-glazing Klingon-jargon things—and a lot of people think it means repeating the same words over and over.

But search engines actually favor using regular speech, so you don't usually need to do anything that strange to "optimize" for a search engine. All you have to do is use simple keywords to help Google and other search engines find you with those algorithmic spider thingies.

Using keywords just means using the most basic words about your topic. So when you're writing your copy or header, think of what words somebody might put into a search engine on the topic you're writing about. Can you tell which would work better for SEO?

#1 My Cat Hortense is a Genius
#2 Can Your Cat Learn to Use the Toilet?"

If you're catching onto this keyword/SEO/header thing, you chose #2.  A person looking for information on cat hygiene is more likely to type "cat use toilet" into Google than "Hortense" and "genius."

So if you want somebody to read your piece about how Hortense learned to flush the toilet, leading you to believe there was a poltergeist in the bathroom of your new apartment, use a header that the Googler might think up if she had an interest in toilet-flushing cats.

Alexis Grant wrote a great post on Robert Lee Brewer's blog last year called "SEO Myths that Scare Writers" that helped me understand a lot of this stuff.

She suggests you just "write like you always write, and then go back later and look for ways to optimize for search traffic.

So check after you write to see if you have keywords in the following:
  • Headline
  • First paragraph
  • Subheaders
  • Anchor text for hyperlinks. 
  • Tags 
And don't worry a lot if you can't cram them all in there. Treat the list as helpful guidelines, but don't obsess, or your prose will sound stilted and boring. 

Writing for a blog isn't hard, but it does require developing a slightly different skill set from what you use as a journalist or fiction writer.

And you may find the new "skimmable" prose style can help your fiction as well. According to new reports, skimming on the Interwebz has changed our reading habits. So next month I'll be talking about 21st Century prose and how even fiction is evolving in the age of skimming. (Whether we like it or not.)

Attention Wordpress users! For more details on how to do all this in Wordpress, check out Jami Gold's great post on Blog Tips and Tricks. She also has some valuable words to say for all bloggers on knowing our goals.

What about you, scriveners? Do you skim on the Internet? How about fiction? Have you been using any of these tricks to get more people to your blog? Any other tips to suggest?  


BOOK OF THE WEEK

In honor of all the chocolate delivered by the Easter Bunny this morning, Food of Love is only $2.99 in ebook on Amazon US or Amazon UK, Amazon CA, iTunes and at Barnes and Noble . It's available in paper in the UK and in the US for $8.54.



A hilarious romantic-comedy thriller about dieting, friendship, and a small nuclear bomb.

After Princess Regina, a former supermodel, is ridiculed in the tabloids for gaining weight, someone tries to kill her. She suspects her royal husband wants to be rid of her, now she’s no longer model-thin.

As she flees the mysterious assassin, she discovers the world thinks she is dead and seeks refuge with the only person she can trust: her long-estranged foster sister, Rev. Cady Stanton, a Christian talk show host who has romantic and weight issues of her own.

Cady delves into Regina’s past and discovers Regina’s long-lost love, as well as dark secrets that connect them all.

"I loved everything about this novel, the quirky humor and larger than life characters above all. The plot took me in unexpected directions and I could not guess what would happen next. This is a delightful surprise package skillfully bound by the author's immaculate writing. And like all stories involving a princess, it has a happy ending. HIGHLY recommended!"
...The BookKeeper


OPPORTUNITY ALERTS


The Literary Hatchet: Paying market for Dark Fiction and Poetry - Pays $15 a story. They welcome prose and poetry that scares and shocks readers. Open to horror, paranormal, and speculative fiction. Word length: 500-3000 words/story, and under 100 lines per poem. $15/story, $5/poem. Deadline is July 1, 2014 for the August issue. Read guidelines here - See more at: http://writingcareer.com/

The Saturday Evening Post "Celebrate America" fiction contest. $10 ENTRY FEE. The winning story will be published in the Jan/Feb 2015 edition of The Saturday Evening Post, and the author will receive a $500 payment. Five runners-up will each receive a $100 cash payment and will also have their stories published online. Stories must be between 1,500 and 5,000 words in. All stories must be previously unpublished (excluding personal websites and blogs). Deadline July 1.

The Golden Quill Awards: Entry fee $15. Two categories: Short fiction/memoir (1000 words) and Poetry (40 lines max) $750 1st prize, $400 2nd prize in each category. Sponsored by the SLO Nightwriters and the Central Coast Writers Conference. Entries accepted from April 1-June 30th.

NOWHERE TRAVEL STORIES $15 ENTRY FEE. $1000 prize plus publication. Award-winning literary travel magazine, Nowhere, is teaming up with Outside Magazine for the first Nowhere Spring Travel Writing Contest. Stories can be fiction or nonfiction. Entries should be be between 800-5,000 words and must not have been previously chosen as a winner in another contest. Previously published work is accepted. Deadline June 15

E. M. Koeppel Short Fiction Award: Entry Fee: $15 A prize of $1,100 and publication on the Writecorner Press website is given annually for a short story. Submit a story of up to 3,000 words. All entries are considered for publication. Visit the website for complete guidelines. Deadline April 30th

Amazon’s literary journal Day One is seeking submissions. According to Carmen Johnson, Day One’s editor, the litzine is looking for “fresh and compelling short fiction and poetry by emerging writers.” This includes stories that are less than 20,000 words by authors that have never been published, and poems by poets who have never published before. To submit works, writers/poets can email their work as a word document, along with a brief description and author bio to dayone-submissions @amazon.com.


The list of million-seller "indie" authors is growing every day. Self-publishing has not only become mainstream—it's edgy and cool. Persuasive blogs by self-publishing stars like Joe Konrath, Dean Wesley Smith, David Gaughran and Kris Rusch have inspired a staggering number of new writers to self-publish in the past two years.

Publishing your own work is a way to save yourself from the sometimes-horrific treatment of authors by "legacy" publishers (the indie term for the old guard) who have acted greedy and desperate as the e-publishing revolution shakes up their world.

Indie publishing has also become a successful road to traditional publishing superstardom and major Hollywood deals for authors like E.L. James and Hugh Howey.

And this week, an indie even made it into the august pages of the New York Times Book Review.

But self-publishing is not an easy road—and a number of factors are making it more difficult than it was a few years ago—as I wrote in last week's post—so I urge new writers to carefully weigh their options. There are alternatives that aren't making so many headlines, but may be better for you personally.


I often hear from new authors who are feeling pushed into self-publishing by "experts" who tell them they are being foolish to query agents and small publishers. Or even that all publishers "hate" writers.

Yes, some traditional publishers and agents have behaved very badly recently, especially ones who used to rely on the mass-market paperback and have seen their markets evaporate. The must-read Passive Voice blog is full of hair-raising stories about publisher/agent bad behavior.

Some self-publishers have behaved badly too. The review-buying scandal of last summer is still having repercussions.

But John Locke's scammy review schemes and Harlequin's rotten contracts shouldn't sour you on either route. Authors on both paths still have highly successful careers.

So you shouldn't be looking at the rotten apples when you make your publishing decisions. You should be looking at yourself. Your own personal goals--and skills--should matter more than following trends.

Some people dream of running a mom-and-pop business. Others thrive working at a big corporation. Still others prefer to work for a local small business with only a few employees. None of these paths is wrong. It's about what suits your personality, and only you know which path is right for you.

All publishing roads are going to take patience, hard work, and the ability to deal with setbacks.

In order to make an informed decision, it's important to educate yourself about all publishing routes. If you're a beginning writer, you should be reading Agent Rachelle Gardner and the Query Shark as well as Konrath and Dean Wesley Smith.  (And BTW, learning to write a great query and synopsis is just as important for indies, since you'll have to query reviewers and learn to write great blurbs)

Read The Passive Voice, but also subscribe to the free Publisher's Lunch newsletter. Another must-read is Being Human at Electric Speed, the blog of former Writers Digest publisher Jane Friedman (which includes a weekly state-of-the-industry post from Porter Anderson.)

Don't let fourth-hand information on writers' forums push you one way or another. Absolute Write tends to be the comfort zone for a lot of people going the trad. route and the Kindleboards are home to some enthusiastic self-publishers. They are both great resources, but take any advice from individuals there with several shakers of salt. (Especially if they're cranky. As a general rule, I think it's safe to assume people who are in a chronic state of rage probably don't have all the answers.)

When you publish a book, you're entering an industry, so you need to know all aspects of it. Whether you go the traditional or indie route, you're starting a business, and you need to be aware of the marketplace. Things have changed a lot since the Kindle was introduced five years ago and you don't want to make a decision based on out-of-date information.

As I said on the blog last week, new retailers like Kobo and the newly-improved Smashwords are opening up the market. It may be more difficult to get your book noticed than it was at the beginning of the indie revolution, but a lot of self-publishers are doing very well. Friend of the blog indie author Saffina Desforges recently had three of her books in the top three spots in thrillers in the UK, and Catherine Ryan Hyde, my collaborator on HOW TO BE A WRITER IN THE E-AGE…AND KEEP YOUR E-SANITY has seen her career soar since she started self-publishing the books she had previously only been able to traditionally-publish in England.

And I should point out that the decision isn't really "either/or." An increasing number of top-tier authors like Saffi and Catherine are moving to the "hybrid" model, with an equal number of self-and traditionally published titles and a career aided by an agent/manager. The two "roads" are merging.

Consider the following:

1) Most self-publishing successes like Konrath, Eisler and Locke have agents.

2) The majority of self-publishing superstars started out traditionally published—with a strong platform built in partnership with their Big Six publishers.

3)  A lot of the biggest names in "self-publishing" sign with traditional publishers as soon as they get a good offer.

4) Indie publishing (small press or self-publishing) can be a dead-end in the traditional world if you don't have spectacular sales, so be wary of using self-publishing as a way of "getting noticed" by the trads.

There's a reason I put "FIRST STEP" in the title. Going from trad. to self-publishing is easier than going from self-publishing to trad., unless you have big sales. Like 20,000-book sales. Agent Janet Reid wrote a must-read post on the subject in October. She points out, "Publishers love debut authors, cause they're easier to pitch to retail accounts. It's easier to launch a career than revitalize one."

5) Other more "traditional" alternatives to the old Big Six paradigm are appearing all the time.
  • The new Amazon imprints are offering more lucrative contracts than the Big Six right now. 
  • There has been lots of innovative thinking from agents recently, in both the US and the UK, as Porter Anderson reported in this week's Writing on the Ether. Agents are becoming managers who help authors self-publish and traditionally publish at the same time. 
  • New small digital publishers are springing up every day.  They usually offer at least a 50% royalty and also help with promotion to your target market. For a great list of some of the new digital publishers (with ratings!) check out Patricia de Hemricort's blog Publishing a Book is An Adventure. 
  • Big Publishing is opening its doors to unagented work for the first time in decades with new digital imprints from HarperCollins and Random House . (Not to be confused with  Simon and Schuster's new experiment in vanity publishing--which is something to avoid.) 

So what does all this mean to the new writer?

It means the most important thing is to keep your options open, because what's true today may not be true tomorrow.

And how do you do that?

1) I urge new writers who aren't schooled in business to consider querying agents and smaller publishers before taking the self-publishing plunge.

I know—I can hear the groaning from everybody who's read the stories that all agents have horns. But the horror stories you've heard are about agents have been desperately clinging to the old paradigm. Most of those won't be around much longer. The agents who are succeeding in the new digital world are learning to be managers of the hybrid career. Having somebody on your side who knows the ropes can make or break a career, especially if you're not a born negotiator.

Here's what Porter Anderson had to say after attending London's FutureBook conference this week:

"If anything, the digitally enabled rise of self-publishing is emblematic of the transformation that agents, like publishers, are having to contemplate. And if there’s a single term for what agents do up ahead, “manager” seems to be part of it."

(But check them out at Writer Beware and don't sign away any rights or "in perpetuity" contracts.)

Yes, some books in some genres can't get an agent's interest no matter how well written, but everything's cyclical. A few years ago, chick lit was poison to agents, but recently I've seen a lot of them asking for it. And lots of small romance publishers were eager for it the whole time.

2) Take a good long look at your own goals and talents.

Self-publishing is about becoming a small business owner. Were you born with the entrepreneurial spirit? Do you love playing with numbers and marketing statistics? Are you a self-starter who prefers working alone? Then you're a born indie. (And you might be interested in the post today at the Writers Guide to E-Publishing about how to set up your publishing business as an LLC.)

But if the thought of balance sheets, market analysis and accounting fill you with loathing, opening your own publishing business could be a nightmare.

A huge amount of a self-publisher's time is spent in promotions and marketing. Yes, traditional publishing involves putting in a lot of marketing time, too, but you'll usually have some guidance and help. If you're indie, you're on your own.

As Self-Publishing advocate Ruth Ann Nordin said last week at the Self-Pub Authors blog

"If you don’t feel like doing all the work that self-publishing requires, then you probably should pick another business to go into because it’s harder to do this than a lot of authors will tell you." 

She also says in one of the comments: "I hate the blogs that preach overnight success. It’s doing so many authors a disservice. Those blogs make it sound like all you need to do is publish a book and watch the sales come in. If it was that easy, we’d all be hitting the bestselling charts."

But she also adds: "...if you don’t mind doing all the work, then I think it’s one of the most worthwhile professions a person can have.  If you love it, it’ll be worth it."

Running a small business can be bliss for people who are bottom-line-savvy self-starters with a lot of patience. It also helps to have some capital saved up.

But if you work better with enforced deadlines, moral support, and a team to urge you on, consider alternatives:
  • Consider a small digital press in your specific niche. I'm very happy with my boutique press. My editor works with me on every aspect of my writing and book marketing. And I'm not alone. A literary author I know has recently signed with JMS books, a LGBT press which does promos and helps with target advertising and has got him a great collection of reviews many Big 6-ers would envy. 
  • Join an authors' collective: Indie authors are banding together to hire editors and designers and do joint publicity. I was just followed on Twitter by an interesting one called Indie Visible
  • Start your own affinity group. Author Claude Nougat is actively working on starting a new genre, Baby Boomer Lit, and has formed a Goodreads group to promote it. This is the kind of innovative thinking that will drive the new publishing business.
  • Keep your eye on the new digital imprints from the bigger publishers.

But before you join any small press or collective, make sure you read some of their titles and contact their writers in order to make sure they are 100% legit and professional. And always check with Writer Beware.

Finally take the current market into account. Does your genre sell better in ebook or pbook format? Indies depend on ebooks for most of their sales.

  • Right now, mostly adult genre fiction (especially thrillers, romance and erotica) and nonfiction books with a specific niche sell best as ebooks.
  • People who buy pbooks (paper books) are more likely to buy literary (or literary women's) fiction and children's books.
  • Children's books are finally starting to sell as ebooks, (up 300% in the last year) because of the new tablet technology. The black and white Kindle of a couple of years ago was no place for a children's picture book. But on the iPad or KindleFire, it's fantastic. Still, children's books do best in hardcover.
  • Romance writers do best as self e-publishers. A survey last May said romance (especially erotic romance) did better than science-fiction, fantasy or literary fiction. 
  • Young Adult books are popular in both formats, and they are still the darling of agents and trad publishers. At the last writers' conference I attended, all the agents represented YA. Only one would even look at adult fiction. So if you write YA you've got a great array of choices.
Whatever path you take as you start to publish, it's important to keep in mind that you'll have a much better chance of making a career out of your writing if you do two things first:

1) Establish a strong online platform in your genre

This doesn't mean making a lot of writer friends you chat with. You do want to network with other writers, but don't count on them as your core readership. Your fellow authors are not your audience unless you write how-to-write books or novels about writers. Network with people who read your genre. That means it's much better to blog about films or review books in your genre than it is to blog about fighting writers block and how to write a query letter.

2) Build inventory

It's hard to start a business. And it's very, very hard to start a business when you have only one product to sell. There's a classic Saturday Night Live skit from the late 1970s about a pathetic mall store that sells nothing but Scotch tape. It's hilarious. Fred Willard's clueless, doomed optimism is pure comic genius.

But do you want to be that guy?

WIN A FREE COPY!


If you're just finishing up your first or second book and all of this feels overwhelming, let me remind you that Catherine Ryan Hyde and I have written a handbook for beginning writers called HOW TO BE A WRITER IN THE E-AGE…AND KEEP YOUR E-SANITY.

Between us, we've got experience with Big Six publishers, small presses, boutique digital presses and self-publishing. We don't favor any one road and provide lots of advice for authors on all paths.

In honor of the holidays, Catherine and I are running a promotion this week of HOW TO BE A WRITER. We are giving away:

THREE FREE PAPERBACK COPIES OF HOW TO BE A WRITER IN THE E-AGE 

plus

THREE FREE E-BOOKS OF HOW TO BE A WRITER IN THE E-AGE--for Kindle or Nook (and they come with free updates.)

Anybody who would like to be eligible for the free give-aways, just mention "free book" in the comments and your preference of pbook or ebook. If you go over to Catherine's blog and comment on the give-away post, you'll get your name in twice. The contest will go until 9 PM next Saturday, December 15th. Winners will be announced on this blog next Sunday.


Oh, yes, and I have a little bit of news of my own. NO PLACE LIKE HOME, the fourth Camilla Randall mystery, is now available for purchase ("Likes" always appreciated.) And the boxed set of the first three Camilla books is now at a special holiday reduced price of $2.99. (also available at the reduced price in the UK.)

It was suggested to me that I ask people to nominate this blog for WRITER'S DIGEST'S 101 BEST WEBSITES FOR WRITERS. If you felt like nominating us, Ruth and I would be ecstatic. Submit an email with the subject line "101 Websites" to writersdigest@fwmedia.com to nominate http://annerallen.blogspot.com/ .

So what say you, scriveners? Do you aspire to a hybrid career at some point, or are you aiming to be 100% indie or 100% traditional? Do you have an entrepreneurial spirit? Or would you rather work with a team? Don't forget to say "free book" in the comments if you don't have a copy yet and you'd like to win one.

NEXT WEEK: We'll have a guest post from romance novelist and uber-blogger Roni Loren with some solid advice on using social media to promote your work. 


Writers Conferences: Are they Relevant in the E-age?



 Oh, the lure of a Writers' Conference! A luxurious place where writers can polish craft, learn the latest publishing trends and hang with successful authors, agents and publishers--undistracted by mundane life.

It's a mini-university course that just might get you published.

With parties.

The modern writers conference began in the U.S. in the 1920s with Vermont's famous Breadloaf Conference, but you can now find them all over the world. They last from a day to several weeks, usually in an exciting or idyllic location.

But they can cost a hefty chunk of change. And at some of the bigger conferences you get a chance to book a personal pitch session with an agent—for even more money.

So are expensive conferences a shortcut to publishing success? Are they still relevant? What role does the writers’ conference have in this fast-changing publishing world? 

Most agents and editors do recommend them. Many suggest attending a conference or two before even sending a query.

But these days, a lot of writers are bypassing the endless, frustrating agent-hunt system and going indie—either with small presses (once called indie) or self-e-publishing (the new definition of indie.) They’re totally over the whole idea of pitching to agents.

So conferences are catching up with the trend, and now provide more than just a course in traditional publishing. California's Central Coast Writers Conference, where I'll be teaching this weekend,  featured Smashwords founder Mark Coker last year. And I read this week about the conference in York, England where Irish e-publishing guru David Gaughran and indie chick-lit superstar Talli Roland gave a joint workshop for self-pubbers. 

Is a conference worth your time and money in the electronic age? Can't you get all of David Gaughran's advice in his book Let's Get Digital and learn from Talli at the Writers Guide to E-publishing?

Yes, you can--but real-world conferences have many other benefits. As a veteran of over a dozen, I can say each one was worthwhile for me—not because they helped me land an agent or publisher. But I got some solid instruction in how the industry works, plus some painful reality checks and a couple of ego boosts--and  most importantly, I met great people.

I first got to know my co-author Catherine Ryan Hyde at a conference. I never would have dreamed back then that the author of Pay it Forward would ever want to co-write a book with me, and I'm sure she didn't suspect it either. But as both our careers have grown, we stayed in touch.

I've also had a chance to hang out with my idol, the ever-classy Nathan Bransford, and share wine with super-savvy "Agent Savant" Laurie McLean and get to know Danielle Smith, the Book Review blogger I knew from "There's a Book" (I had no idea she was my neighbor.) I also met dozens of wonderful not-yet-published authors. We scriveners are solitary animals, so connecting with members of our species in the real world helps keep us healthy.

But for those of you who can't afford to go to a conference this year, you can find a mini-writers' conference in the book I wrote with Catherine, HOW TO BE A WRITER IN THE E-AGE...AND KEEP YOUR E-SANITY. Which will be FREE for Friday and Saturday this week.


The E-Book Will Be FREE Sept 21-22!
The paper book is now available from Amazon.com for under $10, and under £8 in the UK . And the ebook for Kindle will be absolutely FREE on Friday September 21st and Saturday, September 22nd in both the US and the UK  (In October, it will be available for Nook and Kobo.)

We wanted to make the book free for people taking my course at the Central Coast Writers Conference--so we're also making it free for all of you!

So even if you can't come to beautiful San Luis Obispo for this weekend's conference, you can have a FREE virtual conference for your Kindle or computer's Kindle app. 

But be aware that Writers’ Conferences come in all shapes and sizes—and one size does not fit all. Here are the basic categories you’ll have to choose from:

1) Scenic-Destination Literary Retreats

These can last a week or two and are the Maseratis of conferences. Held in lush resorts and exotic locales, they offer workshops from literary superstars and MFA professors. The emphasis is on Literature with a capital “L”, and applicants can be screened with Ivy League selectiveness.  

But some turn out to be more like fantasy camps for Scott and Zelda wannabes than training grounds for professional writers. I’ve heard it’s cleaned up its act, but the revered Breadloaf Conference is also known as “Bedloaf” for a reason. In a famous 2001 article for the New Yorker, Rebecca Mead said, “The triple compulsions of Bread Loaf have, traditionally, been getting published, getting drunk, and getting laid.”

These big, luxurious conferences seem to be faltering in our belt-tightening age. The Maui Writers Conference has disappeared, and he grand old Santa Barbara Writer’s Conference—where I got to stroll on gorgeous beaches between lectures by the likes of Charles Schultz and Ray Bradbury—went on hiatus for a few years. Although I see it is reinventing itself and sprang back to life in 2012 as our economy recovers.

If you ever have a chance to go one of these, and money is no object, you’ll probably have a memorable time. I’ve heard the one in San Miguel de Allende is fantastic.

But will these fabulous vacations help you get a book published? Probably not.

2) National Genre Organization Conferences

These usually run three to five days and serve as the annual meetings of national organizations for writers of genre fiction like Mystery, SciFi/Fantasy, Christian, Children’s, Romance, etc. With professional organizations like RWA, MWA, SCBWI, SFWA you have to become a member of the organization to attend. Others, like Bouchercon and Left Coast Crime are for readers and fans as well as writers. Some are moveable feasts that set up camp in a different large city each year and others, like Washington D.C.’s Malice Domestic, have a permanent home.  

These aren’t cheap, especially if you don’t happen to live in the city where they’re held, but they often provide a crash course in the publishing business in your particular area of the market. You’ll also have a chance to meet agents who are specifically looking for books in your genre.

One of the most important aspects of these national conferences is the awards. Being a finalist for an Anthony, Agatha, Nebula, or RITA award can make a career.

3) The Intensive Big-City Weekend Conference

More and more conferences are of this type—equally emphasizing “craft, commerce, and community” as the San Francisco Writer’s Conference advertises. Like the genre conferences, these are usually held in big city hotels.

The conferences themselves will probably cost between $600-$800, but on top of that you may have pitch-session and extra-workshop fees—and of course, your hotel bill. (And the tab from the bar from the night you tried to schmooze that agent.)

These can be exhausting and stressful—agent Betsy Lerner says she usually walks away from a conference “quasi-suicidal”—but you’ll meet fascinating people, learn a lot about the business, and the agent you treated to all those shots of single malt may remember you when you send your query.

4) Marketing Seminars

You’re not going to get any get-in-touch-with-your-muse writing workshops here. They’re all about selling.

a) Agent pitch-a-thons. New York’s Backspace Agent-Author Seminar is the pioneer in this cut-to-the-chase style conference, where you get “two full days of small-group workshops and panels with ONLY literary agents on the program.” At $500+, it’s a little pricey, but if you’re shopping for an agent, this is the place to meet them up close and personal.

b) “Boot Camp” sales-motivation talks. Some marketing conferences are mostly marathon sales pitches by direct marketers. These may have “boot camp” or “university” or “summit” in their name. They tend to be less like writers’ workshops and more like Amway Conventions or “Become a Real Estate Zillionaire with No Money Down” lectures. Their websites are often flashy and loud—and their approach is hard-core/hard-sell. Personally, I recommend staying away from these.

5) The Small Regional Conference: These are usually held at a local college campus and aimed at authors who can commute from home. Often they're aimed at a particular genre. They usually last no more than three days and are timed with the assumption the attendees have day jobs. They tend to be considerably less expensive and offer a lot of bang for your buck. The Central Coast Writers Conference has hosted great speakers like Nathan Bransford, Catherine Ryan Hyde, and Mark Coker. Because only a few hundred people attend, you get a chance for one-on-one chat with them.

If you want to learn more about specific conferences check out the Shaw Guide to Writers Conferences.

And if you do go, here are some tips to help you get the most out of your experience:

1) DON’T dress to impress. At one conference I attended, a woman came dressed as a tree. Shedding real leaves. Don’t do this. Also, dressing as one of your characters WILL get you noticed, but not in a good way. Wear neat but comfy clothes. The days will be long and intense.

2) DO wear something distinctive: a scarf, hat, or jacket every day that will help people remember you.

3) DON’T pitch your project unless you’re in a specified pitch session. (Especially when the pitch comes from the next stall in the ladies’ room. Don’t do this. Agent Janet Reid posted this hilarious video on how not to pitch a book at a conference.)

4) DO offer to get an agent or other presenter a cup of coffee or ask how she’s enjoying the conference. Or ask what books he reads for fun. It will give you great material for your query letter.

5) DON’T cart around all 800 pages of your magnum opus and try to thrust it upon faculty members. Something that can be helpful—if requested—is what’s called a “one sheet”. It’s mostly a convention in the Christian book world, but it’s useful for any kind of book gathering. It’s a printed page with your photo, bio, contact info and a short pitch for your book including word count, genre, target audience and short synopsis.
 
6) DO perfect your pitch beforehand, so you can tell an agent or editor in three sentences what your book is about. (See my post on “Hooks Loglines and Pitches.”) Then ask if you can query. (If you’re querying a novel or memoir, make sure to say if it’s complete.) If she says yes, you can put “REQUESTED” in the email header. A big plus.

7) DON’T compete for faculty attention like a needy two-year old. The accolades will come when you perfect that book and get into print.

8) DO bring a notebook, several pens—and if you are attending a hands-on critique session workshop—a first chapter, story, or a few poems. Business cards, if you have them, will help with networking. Also, bring some protein bars and energy drinks and/or water. Your breaks may be too short to grab real food.

9) DON’T forget to have fun. You’re there to make friends as well as learn. One of the most important aspects of a conference is meeting fellow writers.

10) DO remember agents and editors are people too. As the late, great Miss Snark said “It’s like visiting the reptile house. They're as afraid of you as you are of them. Honest.”

I should warn that writers' conferences do have their dark side. I've seen a few instances of  bullying and verbal abuse. Some workshop leaders seem to think "tough love" (skipping the "love" part) is the best way to teach a fledgling writer to produce great prose. Editor Victoria Mixon wrote a series of blogposts on bad writers' conference experienceslast month that's hilarious.

And at one conference, I witnessed an incident of workshop bullying that was so scarring it turned into the inciting incident of my mystery GHOSTWRITERS IN THE SKY. (If you'd like to know more about the dark side of writers conferences--and laugh at them a bit--GHOSTWRITERS is available at the US Amazon.com for $2.99 and the UK Amazon.co.uk and at Barnes and Noble for Nook and Kobo.)

How about you, scriveners? Have you had good or bad experiences with writers' conferences? Were they worth the money? We'd love if you'd share some of your stories. If you've never gone to one, are you planning to? What do you hope to get out of it?

Attention Email Subscribers! Feedburner has had a hissy fit and is no longer sending emails to many people subscribed to this blog. This seems to be happening all over the blogosphere. Many bloggers are switching to other email programs, but I'm such a cybermoron, I'm going to need to get some tech help. Meanwhile, if you'd like to get notifications of new blogposts, and Feedburner has let you down, just send me an email at annerallen at yahoo dot com. I will put you on my list of personal blogfriends and send you a notice when the Sunday blogpost is up. (I promise not to spam you with anything else.)



I’ve had a number of people ask me that "now what" question in the last few months. There’s tons of info out here in Cyberia, but not everybody knows how to access it. And along with the good info, there’s plenty of bad—especially from predatory vanity publishers and bogus agents.

So here are some basics for the newbies around here.

You’ll see I don’t get to the self-publishing option until #22. That’s because I think the query process is the best way to learn about the publishing business as well as hone your writing and sales skills. Learning to sell a book to an agent prepares you for selling your book to readers. Because promoting and selling books takes at least 50% of your writing time, I think you should write and polish at least two novels before you think about self-publishing. 

Plus a good agent can help the self-publisher as well as the author who wants to be traditionally published. Most of the self-publishing gurus like J. A. Konrath, Barry Eisler and John Locke have agents. (And Eisler is married to one.) 

NOTE: Don’t sign any agency contracts without having them looked at by a lawyer or somebody who knows intellectual property law. Some agencies have pretty bad contracts these days, and you don't want to sign one that gives them a cut of your profits even if you terminate the relationship.

So your book has been critiqued, edited, and polished to a glittering sheen. What do you do next?

1) Celebrate!

Break out the champagne, chocolate, fireworks, old Prince CDs, or whatever puts you in a festive mood. Contact a few people who remember who you are after your time in your writing cave, and toast your accomplishment. 80% of people in the US say they want to write a book. A fraction of a percent actually do. You’re one of them. Woo-hoo!!

2) Make sure you know your genre.

This isn’t always as easy as it sounds, but pick one to three genres as a tool to help agents and publishers—and especially, readers—know what kind of book they’re dealing with. When you’re querying, make sure you use established categories like “paranormal romantic suspense” not “vampire bunny western.” Creativity doesn’t work in your favor here.

But you are allowed change genres according to who you query. Genre boundaries are oddly flexible these days. Both Charlaine Harris’s “True Blood” vampire books and Lisa Lutz’s dysfunctional-family comedies are categorized as mysteries. Women’s fiction is an umbrella that covers everything from Danielle Steel to Margaret Atwood. And anything with a protagonist under 19 can be YA (the most sought-after genres are in YA these days.)

Two caveats here: 1. don’t call it “literary” unless the writing is to-die-for gorgeous (an MFA helps.) 2. Never use the term “chick lit” unless you’re querying a small press that specializes in the genre. You’ll find it listed on most query websites, but it’s still the kiss of death in New York.

3) Research and read the latest books in your genre(s) if you haven’t already.

It’s important to have an idea of the market. A query letter is more effective if you can offer “comps”—similar titles that are selling (but not blockbusters—that looks like bragging.) Also, the authors of these books may blog or Tweet and you can follow them and get advice. Network. Find out who represents them. Eventually you might even get a recommendation, which is a golden ticket out of the slushpile.

4) Write your synopsis, hook, author bio and a basic query letter template
.

You can find helpful guides in any number of places. AgentQuery provides solid basics. Most agents have similar information on their websites.Nathan Bransford’s blog gives the info in a fun and friendly way, and Janet Reid's Query Shark Blog is a boot camp for query writers. A number of forums and agent blogs provide critiques of queries—as well as Public Query Slushpile I give the basics for writing an author bio here.

5) Start a blog or build a website if you don't have one already.

Don’t spend a lot of money on it. In fact, a free blog like this one makes a fine author website. If you want to blog, I’ve got all the skinny on how to start a blog here. On some blogging platforms you can even have a static first page just like a formal website.

But if you don’t want to deal with the responsibility blogging, and you don’t have a lot of money, you can build a simple website on a shoestring at GoDaddy, iPage , HostBaby or dozens of other hosts.

Even if you have the money for a drop-dead gorgeous design, this isn’t the time to do it. And you don’t want anything you can’t update yourself. Waiting until a designer is free to change things can make your site look dated very quickly.

All the site needs is a professional-looking photo and a simple bio, with your contact information and something about your book and/or other publications. Nothing fancy. No bragging. Nothing is sadder than a pretentious website for an unpublished writer. And don't post any excerpts from your work that you're trying to sell. You'll be publishing it and making it unmarketable.

Facebook, Goodreads or other social networking sites that require membership aren’t a substitute for a website. Be Googlable, reachable and professional.

6) Start researching agents.

You can do this by subscribing to WritersMarket.com, but you can also get free information at AgentQuery.com, which has a searchable database. You can put in your genre and immediately find what agents represent your work. Then check QueryTracker.net for further information on the agents you’ve chosen and get valuable comments from other queriers.

Then start Googling: look for interviews and profiles of agents to fine tune your queries.

If you write YA, a lot of the research has been done for you by the wonderful Casey McCormick and Natalie Aguirre. They have a blog called “Literary Rambles” that is a treasure trove of profiles of agents who rep YA (worth a check even if you don’t write YA, since many agents rep a wide spectrum of genres.)

Literary Rambles was named one of the top 101 Sites for Writers by Writers Digest! Very well-deserved!!  Casey has been doing these profiles for a number of years and last year Natalie joined her on the blog. (Congrats, you two!)

7) Send out your first five queries.

You only do this after your book is finished, honed and polished. You knew that, right?

8) Start your next book.

Yes. Right now. Don’t sit around waiting to get rejected and depressed. Start writing when you’re feeling great about yourself for sending those queries.

9) Get rejections. Mourn.

Yup. You now are officially a member of the professional writing community. The one thing we all have in common? Rejections. For more on rejections, read Ruth Harris's great post on exactly what they mean: nothing

10) Send out five more queries.


Tip: If you join QueryTracker’s premium membership, you can track your queries on their site. It’s a useful service. And their forums are a great place to network. (No, I'm not affiliated with QueryTracker in any way. I'm just impressed with their great work and up-to-date information--most of which is free.)

11) See if you’ve had any silent rejections.


Go to the websites of agents who don’t send rejections. Under submission guidelines, it will say “if you haven’t heard from us within two months, it’s a no.” There will be some silent “no’s”.

Mourn. Fine tune your query. But NOT your book. Not yet anyway. Chances are your book is just fine. Queries, on the other hand, are worth taking a second (and third and fourth) look at.

12) Sent out five more queries.


Yeah. This time you think you really nailed that puppy. You’ve got it down to three paragraphs and your synopsis is 250 words of distilled brilliance.

13) Maybe get a request for a partial! (The first few chapters of your book.)

But before you send it, go to the agent’s website and double check guidelines for formatting and sending documents. Most formatting is pretty standard, and they will probably ask you to send it as a Word (.doc or .rtf) attachment. But some agents are quirky and will request something like “no italics” or “number your pages on the bottom of the page.” Do whatever they say, no matter how silly.

Celebrate.

14) Get the partial rejected.

Nobody gets their first partial accepted. This is part of the process.

It may come with a note. This will say something like “I couldn’t connect with these characters,” or “the protagonist wasn’t strong/sympathetic enough,” or “the plot is too complex/simplistic” or even “this is perfect, but I have no idea where to sell it.” DO NOT take these too seriously or start rewriting your book.

They’re mostly just polite words to say, “It didn’t give me screaming orgasms, so it’s not worth the energy it would take to sell it.”

Mourn.

15) Get a request for the full manuscript!!

Remember to check those guidelines. Some agents still want to see a ms. on paper. If so, put a big rubber band around it—do not bind—and mail it in a flat-rate box from the P.O. with a #10 stamped, self-addressed envelope inside for their reply. NEVER send it in an annoying way that requires a receipt. 

Celebrate. Get the really good chocolate this time
.

16) Send out more queries. Don’t wait for that full to be read. It may take a year. It will probably first be read by a young unpaid intern. If she likes it, she’ll give it to the busy agent, who will put it on her pile of 150 TBR manuscripts.

17) Get another partial rejected
. And another. Start building calluses on your soul.

But—if the rejections start to sound the same—like everybody says the same thing about your unsympathetic, wimpipotamus hero, this is when you might give your ms. another once-over to see if you can figure out how to tweak things without doing serious damage to the book.

18) Get the full rejected.

You may get some more detailed feedback on this one. Pay attention, but don’t despair. It may not be your book that needs a rewrite. Maybe you’re targeting the wrong agents or pitching your book wrong. Maybe it turns out you’ve written a domestic drama (women’s fiction) not a romance. Try changing your query and hook before you change your book.

Mourn.

19) Finish book #2.

Woo-hoo! Don’t forget to celebrate. It may not feel as momentous as your first ms. But it’s a triumph. You’re now acting like a professional writer. That means you ARE a professional writer. Even if nobody’s paying you quite yet.

20) Start all over again with #2, but keep sending out #1 until it collects at least a few hundred rejections.

If you’re luckier than me, you may…

21) Land an agent somewhere along the way here.

22) If you don’t, you may want to consider a small press or self-publishing
.

This isn’t “settling” or giving up. All this means is you’ve discovered your work isn’t part of the predicted trend curve at the moment and may not be what corporate marketers think is the hot item for next season.

This is the point at which people like Amanda Hocking, Saffina Desforges, and John Locke jumped into self-publishing. And look where they landed. 

Some agents consider the successful self-pubbed ebook the best query these days, so if you’re good at marketing and you know you’ve got the best books you can write, go get yourself Kindlized. You could be the next self-pubbed millionaire. Just make sure you have some inventory before you start (Amanda Hocking had eight books completed before she self-published.)

Or if you’re a little more traditional like me, you might start querying presses that don’t require agents.

Even some bigger presses still take unagented work. If you write SciFi, you can still direct-query Daw (Penguin) or Tor (MacMillan). And for romance writers, a few Harlequin lines also take unsolicited manuscripts. There are also a number of mid-sized mystery publishers that welcome writers without agents. (Alas, Midnight Ink now requires an agent.)

Or start researching the smaller presses. There are hundreds of them. Here’s a list of presses that don’t require agents. Be sure you talk to other authors, though, and check Writer Beware and other watchdog sites before you query. They operate on shoestrings and can often go under, leaving your book in limbo and your royalties unpaid.

But I’m working with two small presses, and it’s working very nicely for me.

Just don’t let that book languish in a drawer!

What about you scriveners? Do you have advice for new writers who are beginning to learn the publishing ropes?

RUTH HARRIS NEWS!

Ruth has another new book coming soon!  

It's something completely different: 

Africa. An orphan. A love story. 



INDIE CHICKS: There's one more post! Melissa A Smith's heartfelt piece about how losing her mother prompted her to become a writer. WRITING OUT THE GRIEF is on the Indie Chicks page.

How Do You Learn To Be a Writer?


I’m often approached by parents or grandparents of children who’ve shown a talent for writing. They ask how a child can learn to be a writer. Or sometimes a person going through a mid-life job change will ask my advice about going back to college to pursue a long-deferred writing dream.

I have to tell them the truth: learning to write is hard--and earning money from writing is way harder.

I’m not saying certain types of writing can’t be lucrative—“content providers” can find careers in advertising and various tech fields—but that’s usually not what the doting grand/parents or career-changers are thinking. They might be imagining plays or screenplays, or even journalism—fast-fading professions too—but mostly they’re thinking memoir and novels.  

But writing book-length narrative is one of the toughest ways to earn a living—and it’s getting tougher all the time. The average book advance is less than half of what it was ten years ago. Almost all writers need day jobs.

So the question arises: how much money should people put into educating themselves to be writers? 

Anybody who visits a lot of writing sites has probably been followed around the ’Webz by ads for college creative writing degrees. Do those give students a jumpstart or prepare them for a writing career? 

Unfortunately, they usually don’t. They’re often based on very old ideas of what the publishing industry is like. 

If you have the privilege of attending college, by all means take courses in creative writing. Also take courses in business management, advanced string theory or Athenian red-figure vase painting—whatever interests you. None of your time learning will be wasted, and a college education is massively helpful to any career.

But don’t go to college expecting to be taught how to be a professional writer who can enter the workforce and earn back the cost of college like somebody studying accounting or medicine. It won’t happen.

I’m not saying degrees in creative writing will hurt, but they’re not necessary for a writing career. And they’re usually expensive.

Thing is: the number one thing that’s NOT necessary to any creative career is…DEBT. Debt is a prison that can keep you locked into a job you hate, living in noisy, crowded circumstances, and plagued with anxieties that are the enemy of creativity

“But, wait!” says Aspiring Young Writer, “What about an MFA? That gives you a leg up into the publishing business doesn’t it?”

Um, not really.

Not with most agents and publishers (although a prestigious school can provide valuable contacts.) What an MFA will do is steer you in the direction of literary writing, which tends to be less lucrative for a publisher (and you.)

An MFA DOES qualify you to teach creative writing at the college level, and as a day job, college teaching is a pretty good one. But be aware of the implied trade-off.

Think of getting an MFA like studying ballet or learning to play classical music—you’re entering a fiercely competitive field with a niche audience and not much remuneration…but a lot of prestige. For those who love it, there’s also a fulfillment that can come no other way. If writing and teaching literary fiction is your bliss—follow it! The world needs you to carry on that tradition.

But if your goal is writing popular fiction, treat your education more like preparing for musical theater, playing roots music, or ballroom dancing—and take a more eclectic route in your training. (And prepare to work a day job.)

Of course you first need to learn the basics just like a literary writer: grammar, sentence structure, spelling, and word usage. If you didn’t get that in high school or college, you need to take some brush-up classes. Language is your instrument, and you need to learn to play before you can get in a band.

NOTE: Don’t count on some hired editor to clean up your stuff after you write it. Editors cost a bundle and they can’t do it all. Good language skills are essential. You wouldn’t try to be a carpenter if you couldn’t pound a nail.

But once you have that down, what do you do?

There’s still a whole lot to learn. Straight-A grammar skills don’t help you with learning how to tell a story. You need to educate yourself on story structure, how to create compelling characters, pacing and all the rest.

For that, the best approach is to study widely. Get as much education as you can from many sources as you can find. There is no one right way. You can enroll in inexpensive classes at your local adult ed. or community college extension programs. Short online courses can be really helpful, too, especially ones that concentrate on structure and story-telling techniques. Read the classic books on writing. Go to writers’ conferences, especially local ones where you don’t have to pay for room and board.

Sometimes professional writers will offer workshops in person or online. A short course from a well-known author is usually worth the price, because their name will hold weight in a query and you may be lucky enough to have them mentor you.

If you live in a place where there’s a local writer’s club or chapter of organizations like RWA, SCBWI, or Sisters in Crime, join. Clubs like those can be amazingly valuable resources. And a good critique group can sometimes teach you as much as a college class about how to write. (But beware group-think. Critique groups are only as good as their members, and ignorant people can spread bad habits. See my post on Bad Advice to Ignore from your Critique Group ) 

And these days, a whole lot of what you need to learn is available on the Internet for free. I know people who have learned a huge amount by working with other writers in various writers’ forums.

To become a professional, you need to learn the business side of publishing as well as grammar and story structure. They are equally important these days. Agent blogs are a valuable resource here. Agents like Rachelle Gardner , Kristen Nelson and Janet Reid offer mini-courses in publishing in their archives.

And you’ll need to learn to use social media. It’s as important to a writer today as it is to know how to use an apostrophe. I recommend Kristen Lamb’s valuable blog and her book We Are Not Alone: The Author’s Guide to Social Media. 

If you ask most professional writers what’s the best way to learn to write, they’re going to tell you two things:

1) Read
2) Write

And some will add:
3) Live

Malcolm Gladwell’s dictum that you need to do something 10,000 hours in order to learn to do it well is a valuable one to keep in mind. The corny old joke about how to get to Carnegie Hall applies: practice, practice, practice.

Writing may not be a lucrative profession, but creating worlds out of words is still one of the most exciting ways to spend your time, so I tell those parents and grandparents and mid-life career-changers that nobody should be discouraged from following their dreams.

But I also warn them not get talked into expensive college courses they can’t afford. (And people should especially beware writing degrees from for-profit colleges. Recruiters can tell a lot of half- and un-truths and provide a slick, easy path to a lifetime of debt.)

The electronic age may bring more responsibilities to writers—social media and online marketing can seem like a huge time-suck—but it also opens up hundreds of new paths to our goals, many of them inexpensive or free. So I say embrace the journey and accept the abundance of information at your fingertips.

Now I could use your help, scriveners. Tell me how you learned/are learning your craft--and how you’re educating yourself in the business of writing for a living. I’d love for you to give some tips and suggestions for things that worked (or didn’t work) for you.

NEWS: On Wednesday, March 7th, I'll be talking to Roz Morris at her blog Memories of a Future Life for her Undercover Soundtrack series. I'm talking about the "soundtrack" for my Fitzgerald-themed mystery, THE GATSBY GAME. This one is from another Fitzgerald: Ella. 


DECADES CONTEST: Our two winners, selected by Random.org, are Steven J. Wangsness and Martha Reynolds. Congrats! Steven and Martha, contact Ruth at rca.harris at gmail dot com for your free books. 

INDIE CHICKS: This week’s amazing installment is from Barbara Silkstone, whose comic mysteries were inspired by some pretty grim real-life villains.