I can easily look around my neighborhood and get ideas. The older couple on the corner, how he seems to spend endless time in the garage and she never gets our names straight. The younger couple on the other corner, how she seems to work tirelessly and he always has a beer in one hand. Then there’s our "crazy" next door neighbors.
I could easily write a short piece about any of them, a slice of real life. But if I want to do something more involved, I need to find a stronger reason for staying there. l also need to give the reader a reason to stay.
I could interview each of these neighbors and find out they actually are fascinating individuals all on their own. Then it’s not fiction, though. It’s a magazine article. Plus, the gig’s up—they’ll know I’m watching them.
So I have to make stuff up.
Our next door neighbors intrigue me the most. A husband and wife with two young children. The mother and the children never go outside on their own—they only accompany the father. They travel as a protected group (safety in numbers?), in darker hours. I want to write about her, about them, but lately, I’ve been stopping short of what I don’t know. My love of the ordinary and the real has bred an apprehension of the imagined. Because now I have to plunge into make believe and make it—well, believable. Harder work. I don’t want to get it wrong, as if there is a "wrong." Because sure there is reality, but my fiction is this story’s reality. I just want to make it the "right" reality.
Because it is fiction, I do normally bend the truth: a shift in time, a change of personality, a line that maybe wasn’t so funny in real life. But with a longer, more complex piece, I must plunge into complete pretend and not panic. I hang on to real bits along the way: the style of the home, her hair colour, a name I think I can safely use. Bits of bread crumbs dropped along the way, like I need to be able to remember my way back.
But most important, I need a character based on Me. That is my strongest foothold. If there is a Me character (a nosy neighbor, perhaps?), then if I feel I’ve gone too far into the make believe world, I can always come back to her.
Of course, she isn’t exactly like me. Maybe she’s taller, maybe she speaks her mind more. Me but not me. She watches on the periphery. This helps calm the anxiety of going places unknown.
I’m not alone.
Showing posts with label Inspiration. Show all posts
Showing posts with label Inspiration. Show all posts
Tuesday, November 4, 2008
Applesauce, Alligators and Alliteration
Are you writing a scene that is moving as slow as a sloth? Is your essay only earning you an earful of exasperation? If so, try spicing your writing with a dash of alliteration.
You may be thinking, “I don’t want to over do it.” There is good intention to be cautious in this area, because you don’t want your readers to feel like you’re doing back flips to get their attention.
The trick here is to start using alliteration like you would use salt on a tomato. You want a little salt and a whole lot of tomato.
As you can see from this essay, titles are good places for alliteration. Humorous works can also gain a wispy, song-like quality from this technique. Don't expect the alliteration alone to make people laugh. Try saying something that is silly, yet true. Make people snort! And then sprinkle your draft with sassy samples of alliteration.
Keep in mind that serious works can also benefit when words flow together like honey. Read your work out loud. Does it sing? If not, try a taste of alliteration. As with all writing techniques, if your work feels like it is being forced, then delete it.
So experiment with words and expand your mind at the same time. Expect to write things that exalt! And remember not to over-salt your tomato.
You may be thinking, “I don’t want to over do it.” There is good intention to be cautious in this area, because you don’t want your readers to feel like you’re doing back flips to get their attention.
The trick here is to start using alliteration like you would use salt on a tomato. You want a little salt and a whole lot of tomato.
As you can see from this essay, titles are good places for alliteration. Humorous works can also gain a wispy, song-like quality from this technique. Don't expect the alliteration alone to make people laugh. Try saying something that is silly, yet true. Make people snort! And then sprinkle your draft with sassy samples of alliteration.
Keep in mind that serious works can also benefit when words flow together like honey. Read your work out loud. Does it sing? If not, try a taste of alliteration. As with all writing techniques, if your work feels like it is being forced, then delete it.
So experiment with words and expand your mind at the same time. Expect to write things that exalt! And remember not to over-salt your tomato.
Writing Down the Funny Bones
Yesterday, for the first time, I noticed that I really like other writers. I mean, really. Joining this website, reading about Julie’s potato gun and the Cajun dog (please see the Humor forum), and coming across blindingly funny quips in the novels I’m reading made me realize just how outrageously hilarious we are. It also got me thinking about why we’re so amusing. How is it that most writers have an unfailing, uncanny sense of humor?
The thought plagued me most of last night and today. This afternoon, in an attempt to abandon rational thought for a while, I decided to take a long bath. While I was trying to have an erotic date with Dean Koontz, courtesy of the showerhead, the lead to my latest (unrelated!) story suddenly came barging into my precious fantasy. Internally, I pled for it to leave, while capturing glimpses of Dean, but the mental editing continues and overtakes me. My lead drags its anecdotal ass so entirely into the picture that Dean gets frustrated and leaves. By the time I get rid of the damn thing (only after much cajoling and a final agreement that yes, I will use fewer adjectives), I’m stuck with images of my boyfriend again.
Then it hits me. This is why writers have an unflagging sense of humor. What other normal (read: sane) person would have a flow of words and sentences intruding upon her, um, private time? What other normal person would happily wear a ten-year-old, out-of-style sweater to family gatherings at the holidays and smile through abusive questions like, “So, darling. Have you found a real job yet, or are you still playing on the computer all the time?” Who in his right mind would receive hundreds of rejections, yet still plug away and do the same thing over and over and over? What healthy female fantasizes about Dean Koontz instead of Brad Pitt?
At the mere mention of a 9-to-5, our knobby knees, skinny from lack of food, start knocking and sweat breaks out on the upper lip. Friends tease us and say, “So how’s that book coming, Champ?” Significant others adopt an eye-rolling, nodding routine when we start spouting off how we will be the next Alice Sebold, or how Stephen King’s fame is just one draft away.
In order to persevere, we’ve adopted the most dependable and resourceful defense mechanism we possess. We learned that if we didn’t laugh at ourselves, we’d get sucked down into such a deep depression that Eeyore would seem like a Doodle Bop in comparison; so we started making funnies. We became likable. Some even called us witty or charming. People got used to our outrageous behavior and started calling us “eccentric,” as they smiled indulgently at us.
All the while, unbeknownst to them, we’re thinking. We’re plotting. The words flow almost unceasingly through our heads as we wait to grab hold of the perfect phrase or sentence. People haven’t a clue they’re being studied and used. The only difference now is that instead of villains, we might make them hookers on a street corner. If they call us “sweet” and “funny” just enough, they might get upgraded to selling newspapers or Frappucinos instead of poonany.
Maybe that’s the real reason we all walk around with smiles, ready for a good laugh. We have the freedom to create lives out of anything and anyone we see and to be as ridiculous as we want in the process. So while they’re sitting ‘round the Christmas table in their Roberto Cavalli dresses, sneering at our outdated sweater and more so at our careers, we’re secretly plotting revenge. We’re going to write about them…
“So, Aunt Mildred, what do you think of transvestite ballerinas with flatulence?”
The thought plagued me most of last night and today. This afternoon, in an attempt to abandon rational thought for a while, I decided to take a long bath. While I was trying to have an erotic date with Dean Koontz, courtesy of the showerhead, the lead to my latest (unrelated!) story suddenly came barging into my precious fantasy. Internally, I pled for it to leave, while capturing glimpses of Dean, but the mental editing continues and overtakes me. My lead drags its anecdotal ass so entirely into the picture that Dean gets frustrated and leaves. By the time I get rid of the damn thing (only after much cajoling and a final agreement that yes, I will use fewer adjectives), I’m stuck with images of my boyfriend again.
Then it hits me. This is why writers have an unflagging sense of humor. What other normal (read: sane) person would have a flow of words and sentences intruding upon her, um, private time? What other normal person would happily wear a ten-year-old, out-of-style sweater to family gatherings at the holidays and smile through abusive questions like, “So, darling. Have you found a real job yet, or are you still playing on the computer all the time?” Who in his right mind would receive hundreds of rejections, yet still plug away and do the same thing over and over and over? What healthy female fantasizes about Dean Koontz instead of Brad Pitt?
At the mere mention of a 9-to-5, our knobby knees, skinny from lack of food, start knocking and sweat breaks out on the upper lip. Friends tease us and say, “So how’s that book coming, Champ?” Significant others adopt an eye-rolling, nodding routine when we start spouting off how we will be the next Alice Sebold, or how Stephen King’s fame is just one draft away.
In order to persevere, we’ve adopted the most dependable and resourceful defense mechanism we possess. We learned that if we didn’t laugh at ourselves, we’d get sucked down into such a deep depression that Eeyore would seem like a Doodle Bop in comparison; so we started making funnies. We became likable. Some even called us witty or charming. People got used to our outrageous behavior and started calling us “eccentric,” as they smiled indulgently at us.
All the while, unbeknownst to them, we’re thinking. We’re plotting. The words flow almost unceasingly through our heads as we wait to grab hold of the perfect phrase or sentence. People haven’t a clue they’re being studied and used. The only difference now is that instead of villains, we might make them hookers on a street corner. If they call us “sweet” and “funny” just enough, they might get upgraded to selling newspapers or Frappucinos instead of poonany.
Maybe that’s the real reason we all walk around with smiles, ready for a good laugh. We have the freedom to create lives out of anything and anyone we see and to be as ridiculous as we want in the process. So while they’re sitting ‘round the Christmas table in their Roberto Cavalli dresses, sneering at our outdated sweater and more so at our careers, we’re secretly plotting revenge. We’re going to write about them…
“So, Aunt Mildred, what do you think of transvestite ballerinas with flatulence?”
Tapping Into Your Daydreams
If you want to write, first you need to relax. Flex your fingers. Pour a cup of hot chocolate. Let yourself daydream.
Okay, I know you want to get published. You want to make money. It’s a tough market out there. Shouldn’t we writers bust our behinds to crank out stories?
Yes and no. Yes, there’s a lot of work involved with writing. Yes, I make myself write everyday. And, yes, I make myself revise. But my first step is always to relax. I don’t believe the act of writing should be stressful. There are tons of stressful careers to follow: astronaut, FedEx delivery person, bear trainer. With writing, all you really need to do is sit and string words together, so why not have fun with it?
Your audience will know when you’re having fun. And they’ll be bored if you’re bored. So during your first draft, let yourself go. If you want to write about jeeps on the planet Jupiter, then do it. If you want to use words that only start with the letter V, well that would be hard, but do it because it makes you happy.
If you love to write, then give yourself those precious hours of joyful creation. Edit later. You need to write at the top of your game to get published, and you can’t do that if you sit at your desk biting your nails and worrying about the future.
So relax. Now go forth and create.
Okay, I know you want to get published. You want to make money. It’s a tough market out there. Shouldn’t we writers bust our behinds to crank out stories?
Yes and no. Yes, there’s a lot of work involved with writing. Yes, I make myself write everyday. And, yes, I make myself revise. But my first step is always to relax. I don’t believe the act of writing should be stressful. There are tons of stressful careers to follow: astronaut, FedEx delivery person, bear trainer. With writing, all you really need to do is sit and string words together, so why not have fun with it?
Your audience will know when you’re having fun. And they’ll be bored if you’re bored. So during your first draft, let yourself go. If you want to write about jeeps on the planet Jupiter, then do it. If you want to use words that only start with the letter V, well that would be hard, but do it because it makes you happy.
If you love to write, then give yourself those precious hours of joyful creation. Edit later. You need to write at the top of your game to get published, and you can’t do that if you sit at your desk biting your nails and worrying about the future.
So relax. Now go forth and create.
Unique Content? Gleaning Fresh Material from Forums
We non-fiction writers are always looking for fresh new topics. Fortunately, there are places all over the Web where people gather to talk about what’s hot, tell what’s on their minds, and ask questions: forums.
Forums abound for every topic under the sun. Some are broad, others highly specialized. There are forums for growing heirloom tomatoes, raising kids, investing in the stock market, and choosing the latest, greatest PC hardware. The people on them are your audience, and they’re more than happy to talk about the things that really interest them. They also talk about what’s upcoming or what’s new, so a vigilant writer can scan for seasonal topics in subject areas like gardening or holiday planning, or for cutting edge topics like technology.
So how do you milk forums for all they’re worth?
Forums abound for every topic under the sun. Some are broad, others highly specialized. There are forums for growing heirloom tomatoes, raising kids, investing in the stock market, and choosing the latest, greatest PC hardware. The people on them are your audience, and they’re more than happy to talk about the things that really interest them. They also talk about what’s upcoming or what’s new, so a vigilant writer can scan for seasonal topics in subject areas like gardening or holiday planning, or for cutting edge topics like technology.
So how do you milk forums for all they’re worth?
- Look for well-moderated boards. Moderators do part of the work for you by culling anything that is off-topic or offensive.
- Try newsgroups. Google newsgroups are precursors to modern forums. Some are moderated and some are not. You can usually configure your mail client to deliver messages straight to you, and individual newsgroups often have excellent FAQs (Frequently Asked Questions) that cover the basics of the topic.
- Consider interviews. Regulars on forums love to talk about their subjects, otherwise they wouldn’t be there. Lurk for a bit and get a feel for who is friendly and knowledgeable. Most forums allow some method of private contact, whether it’s private messaging or a profile containing contact information.
- Give back. Being helpful to others keeps you in the good graces of the moderators and members.
Look to the mundane for inspiration.
I used to live in the city and write about Marilyn Monroe, old boyfriends, JFK, capuchins for paraplegics, Bill Holden and solicited phone sex. Maybe I had to write about those things before I was able to find the really inspirational, the truly motivating.
The mundane.
Because then I moved to the suburbs.
There is a routine. Get up at 6:00 every morning, drink coffee, feed the kids, wash hair in the laundry room basin, make the beds, pick out clothes, etc, etc. There are moments it seems meaningless, or just boring. But then there are moments that make it worthwhile. It can be like reading Shakespeare and finally getting it. It can be like finding the blue jellybean that was hidden in April, except now it’s June.
It’s life, stripped bare. Plain and simple.
This doesn’t mean you can’t write about Marilyn Monroe or solicited phone sex or secret agent ninjas or whatever—just don’t forget the ordinary amidst the extraordinary. It breathes life into a story. It makes something real.
Today, my little girl had two of her friends over and I had to go upstairs to tell them to stop jumping on the bed. One of her friends looked up at me and said,
Why not?
And I thought right away,
What a great line.
Actually, the first thing I thought was,
I don’t know why not.
Which is what led me to think,
What a great line.
Look to the mundane for inspiration. It’s happening all around you. You just have to see it.
The mundane.
Because then I moved to the suburbs.
There is a routine. Get up at 6:00 every morning, drink coffee, feed the kids, wash hair in the laundry room basin, make the beds, pick out clothes, etc, etc. There are moments it seems meaningless, or just boring. But then there are moments that make it worthwhile. It can be like reading Shakespeare and finally getting it. It can be like finding the blue jellybean that was hidden in April, except now it’s June.
It’s life, stripped bare. Plain and simple.
This doesn’t mean you can’t write about Marilyn Monroe or solicited phone sex or secret agent ninjas or whatever—just don’t forget the ordinary amidst the extraordinary. It breathes life into a story. It makes something real.
Today, my little girl had two of her friends over and I had to go upstairs to tell them to stop jumping on the bed. One of her friends looked up at me and said,
Why not?
And I thought right away,
What a great line.
Actually, the first thing I thought was,
I don’t know why not.
Which is what led me to think,
What a great line.
Look to the mundane for inspiration. It’s happening all around you. You just have to see it.
Inspiration: Don’t Feel Guilty For Seeing The Story In The Suffering
When my youngest was almost a year old, he fell into a table and split his bottom lip open and had to get three stitches.
I wrote a story about it.
My daughter has just mastered the two wheeler with no training wheels. Trying for a fancy curve the other night, she wiped out and split her bottom lip open.
I wrote a story about that too.
Sounds callous, I know. I was there to hug and reassure, to drive to the hospital, dab at the open sore. The split lip wasn’t really the story, anyway. It’s everything that happened because of the split lip. My boy was so little he couldn’t understand why it hurt, and I had to hold him still for the doctor and (unsuccessfully) try not to bawl my eyes out. During all this, my daughter pulled on my pant leg and asked if she could have her snack now.
I told her to sit down.
Then when she became the victim of gravity and the pavement, my youngest patted her on the back gently. Her screams could be heard down the block. But when we started to carry her inside, she started to scream louder.
“I want to keep riding my bike,” she wailed.
I’m not saying inspiration only comes in the form of blood and tears. But seize those moments when it does happen and don’t feel guilty for seeing the story in the suffering. It’s not really about the suffering anyway. It’s about those two beautiful matching scars my kids now sport. It’s about them, and me, and fate or luck, happenstance, whatever. It’s life.
I wrote a story about it.
My daughter has just mastered the two wheeler with no training wheels. Trying for a fancy curve the other night, she wiped out and split her bottom lip open.
I wrote a story about that too.
Sounds callous, I know. I was there to hug and reassure, to drive to the hospital, dab at the open sore. The split lip wasn’t really the story, anyway. It’s everything that happened because of the split lip. My boy was so little he couldn’t understand why it hurt, and I had to hold him still for the doctor and (unsuccessfully) try not to bawl my eyes out. During all this, my daughter pulled on my pant leg and asked if she could have her snack now.
I told her to sit down.
Then when she became the victim of gravity and the pavement, my youngest patted her on the back gently. Her screams could be heard down the block. But when we started to carry her inside, she started to scream louder.
“I want to keep riding my bike,” she wailed.
I’m not saying inspiration only comes in the form of blood and tears. But seize those moments when it does happen and don’t feel guilty for seeing the story in the suffering. It’s not really about the suffering anyway. It’s about those two beautiful matching scars my kids now sport. It’s about them, and me, and fate or luck, happenstance, whatever. It’s life.
Monday, November 3, 2008
How to turn a Writer's Dreams into Reality
All writers have dreams of becoming best-sellers or full-timers. Here's a simple four-step plan to make your dreams come true.
Writers are many things but, above all else, they are dreamers. We spend an inordinate amount of time thinking about issues, creating characters and developing ideas.
But what about the dream ~ the writing dream?
Whether you dream of being a bestselling novelist, an in-demand freelancer or making a full-time living from the written word ~ the first step to achieving it is to conceive it.
Now, think about the last time you resolved to do something. Maybe it was at midnight on December 30 with the traditional New Year's Eve resolution.
Can you still remember what you resolved to do? More importantly, have you turned that dream into a reality?
For most people, their New Year's resolution is either forgotten or broken by the end of the first month.
It's a shame ~ it happens every year ~ but it's a good example of what does and will happen to other resolutions you have, if you don't back them up with action.
The second step in achieving your dream is to develop a road map. That is, setting goals and deadlines that work toward you achieving your desire.
Here's a simple strategy to get you moving in the right direction:
1. Define your goal
Get specific. What do you really want to achieve? Where do you want to be in one month, or in one year? Yes, you could write this in one sentence but try for a page or more. How will it make you feel? Sell yourself the features and benefits of achieving this goal. The more detail you have, the better.
2. Outline what you need to do
If your goal is to go pro this year as a writer, what do you need to do to make it happen? Break your goal down into stepping stones or mini goals which are easy, achievable and will bring you closer to attaining your dream. This may mean setting mini goals, such as study to prepare yourself for business; developing a business plan; identifying markets for your work or making important business contacts.
Make sure that each of your mini goals directs you ultimately to achieving your overall goal. Be aware of your overall goal, but don’t focus on achieving it. Keep your mind on one mini goal at a time, working toward its completion.
3. Attach deadlines
A goal is merely a dream unless you attach a deadline to its achievement. When you have a deadline, you become serious about your goal. By continually being aware of your goals and their deadlines, you generate a sense of urgency within you. You need a target otherwise it is too easy to drift off course.
4. Live your goal
Now we’re making progress. You have a goal, you have broken it into bite-sized goals with reasonable deadlines for achievement. Now, think about your overall goal, picture it in your mind, dream about it ~ 'see' it already in your life. 'Enjoy' the benefits it brings in your imagination.
Visualization is an integral part of meditation, and an important tool for achieving goals.
I have made this a part of my every day life, and you can too.
Get used to 'day dreaming' about your goal. Imagine that it's already a part of your life and, by methodically working on your mini goals, it will be sooner than you think.
There's no magic wand to setting and achieving goals. It takes a small investment of time up front and a commitment to its achievement.
Think about all of the things you have already achieved in your life ~ they all came at a cost ~ a commitment from you. But each was worth it, right? Well, the same applies here.
Here's what four other writers had to say about dreams . . .
"A dream is just a dream. A goal is a dream with a plan and a deadline." ~ Harvey Mackay
"Most people never run far enough on their first wind, to find if they've got a second. Give your dreams all you've got, and you'll be amazes at the energy that comes out of you." ~William James
"You see things and say 'Why?' But I dream things that never were and I say 'Why not?'" ~ George Bernard Shaw
"Dreams are renewable. No matter what our age or condition, there are still untapped possibilities within us and new beauty waiting to be born." ~ Dale E. Turner
Remember, it’s never too late to reinvent yourself. And, there's no better time than right NOW.
Writers are many things but, above all else, they are dreamers. We spend an inordinate amount of time thinking about issues, creating characters and developing ideas.
But what about the dream ~ the writing dream?
Whether you dream of being a bestselling novelist, an in-demand freelancer or making a full-time living from the written word ~ the first step to achieving it is to conceive it.
Now, think about the last time you resolved to do something. Maybe it was at midnight on December 30 with the traditional New Year's Eve resolution.
Can you still remember what you resolved to do? More importantly, have you turned that dream into a reality?
For most people, their New Year's resolution is either forgotten or broken by the end of the first month.
It's a shame ~ it happens every year ~ but it's a good example of what does and will happen to other resolutions you have, if you don't back them up with action.
The second step in achieving your dream is to develop a road map. That is, setting goals and deadlines that work toward you achieving your desire.
Here's a simple strategy to get you moving in the right direction:
1. Define your goal
Get specific. What do you really want to achieve? Where do you want to be in one month, or in one year? Yes, you could write this in one sentence but try for a page or more. How will it make you feel? Sell yourself the features and benefits of achieving this goal. The more detail you have, the better.
2. Outline what you need to do
If your goal is to go pro this year as a writer, what do you need to do to make it happen? Break your goal down into stepping stones or mini goals which are easy, achievable and will bring you closer to attaining your dream. This may mean setting mini goals, such as study to prepare yourself for business; developing a business plan; identifying markets for your work or making important business contacts.
Make sure that each of your mini goals directs you ultimately to achieving your overall goal. Be aware of your overall goal, but don’t focus on achieving it. Keep your mind on one mini goal at a time, working toward its completion.
3. Attach deadlines
A goal is merely a dream unless you attach a deadline to its achievement. When you have a deadline, you become serious about your goal. By continually being aware of your goals and their deadlines, you generate a sense of urgency within you. You need a target otherwise it is too easy to drift off course.
4. Live your goal
Now we’re making progress. You have a goal, you have broken it into bite-sized goals with reasonable deadlines for achievement. Now, think about your overall goal, picture it in your mind, dream about it ~ 'see' it already in your life. 'Enjoy' the benefits it brings in your imagination.
Visualization is an integral part of meditation, and an important tool for achieving goals.
I have made this a part of my every day life, and you can too.
Get used to 'day dreaming' about your goal. Imagine that it's already a part of your life and, by methodically working on your mini goals, it will be sooner than you think.
There's no magic wand to setting and achieving goals. It takes a small investment of time up front and a commitment to its achievement.
Think about all of the things you have already achieved in your life ~ they all came at a cost ~ a commitment from you. But each was worth it, right? Well, the same applies here.
Here's what four other writers had to say about dreams . . .
"A dream is just a dream. A goal is a dream with a plan and a deadline." ~ Harvey Mackay
"Most people never run far enough on their first wind, to find if they've got a second. Give your dreams all you've got, and you'll be amazes at the energy that comes out of you." ~William James
"You see things and say 'Why?' But I dream things that never were and I say 'Why not?'" ~ George Bernard Shaw
"Dreams are renewable. No matter what our age or condition, there are still untapped possibilities within us and new beauty waiting to be born." ~ Dale E. Turner
Remember, it’s never too late to reinvent yourself. And, there's no better time than right NOW.
Wednesday, September 24, 2008
The Writing Process: More on Inspiration
The last couple of articles have had little to do with writing, and more to do with marketing and publishing. At this point it is easy to become weary of the entire project and after one or two rejections, which are as good as inevitable, the danger is that you stop thinking about yourself as a writer. You have finished one novel, and have not had time or mental space to think of the next. And yet, this is the moment when remembering you are a writer is of extreme importance. It is all too easy to take the rejections as being your worth as a writer and if the need for external success overcomes you, you might decide not to write another novel. But remember, you started writing because you had something to say, felt the urge to say it, and felt incomplete without it.
I have reached that point too, have wanted to give up and ignore the whispers of new ideas that tried to be heard.
And not long ago I had that feeling again. Around that time I had received an invitation to participate in a writers weekend in Amsterdam, an invitation I ignored. Then the organiser, a wonderful woman called Jonette Stabbert who is invaluable to the English language writing community here in the Netherlands, phoned me, and asked why I had not added my name to the list. She invited me again, only now as a panelist as well as participant. This time I said ‘ yes’.
What a wonderful weekend it turned out to be. Imagine spending a weekend with a group of people, all with the same quirky view of the world, the same desire for originality, the same need to make their opinions known. It is the greatest source of inspiration I know. These were all talented, dedicated people. These had all gone through the rejection process in one way or another. And all of them were renewing their promise to themselves to have faith, and to continue to regard themselves as writers. By attending that weekend, I too was rejuvenated.
Nothing in the world beats spending time with creative souls. Their is a level of truth in the communication, a sense of trust and sensitivity that sometimes gets lost in the workplace. When writers get together something extra happens. Something new creeps in, something bigger and more vibrant.
So when inspiration fails you, when you doubt your position as a writer, find a creative environment or organise a gathering of creative people, and be reborn as a writer.
I have reached that point too, have wanted to give up and ignore the whispers of new ideas that tried to be heard.
And not long ago I had that feeling again. Around that time I had received an invitation to participate in a writers weekend in Amsterdam, an invitation I ignored. Then the organiser, a wonderful woman called Jonette Stabbert who is invaluable to the English language writing community here in the Netherlands, phoned me, and asked why I had not added my name to the list. She invited me again, only now as a panelist as well as participant. This time I said ‘ yes’.
What a wonderful weekend it turned out to be. Imagine spending a weekend with a group of people, all with the same quirky view of the world, the same desire for originality, the same need to make their opinions known. It is the greatest source of inspiration I know. These were all talented, dedicated people. These had all gone through the rejection process in one way or another. And all of them were renewing their promise to themselves to have faith, and to continue to regard themselves as writers. By attending that weekend, I too was rejuvenated.
Nothing in the world beats spending time with creative souls. Their is a level of truth in the communication, a sense of trust and sensitivity that sometimes gets lost in the workplace. When writers get together something extra happens. Something new creeps in, something bigger and more vibrant.
So when inspiration fails you, when you doubt your position as a writer, find a creative environment or organise a gathering of creative people, and be reborn as a writer.
Tuesday, November 6, 2007
Becoming an Instant Garden-Writing Expert
Yeah, we know. There's no easy way to sell yourself as an expert these days without having been to the mountain and scaled Everest. Or is there?
Actually, when it comes to garden writing, many "experts" are born over a matter of hours, rather than years. After all, haven't you been a gardener forever? Haven't you grown philodendron, dracaena, and ivy in pots all around your house since you went away to college? And perhaps planted an apple and pear tree in the back yard of that first little place in which you and the spouse set up housekeeping? And haven't you had your share of luck growing roses and carnations?
So, the truth of the matter is that you very likely are an expert gardener--at least to a degree. Now the only question is, how do you convince that hard-nosed editor that you're also an expert garden writer?
You can (and should) list your history of gardening successes on any resume, author's bio, or query letter you send out, of course. But you should also have a history of publishing gardening articles.
Ouch!
What's that you say, bunky? You haven't sold a single gardening piece in all your years as a writer? Well, for starters, you don't need to have sold a piece, you need to have published one. Something that an editor can pick up and scan to reassure himself that you're good enough to create reliable gardening articles for him. How do you get to be a published garden writer without having sold any gardening articles?
Oh, yes, the Web.
Think about it. Here we sit, in the midst of the greatest technological revolution in history--the WWW, or World-Wide Web--and you're asking so silly a question. Go to http://google.com/ and type in the search box, "gardening." See how many hits come up. Visit a few of the sites. Evaluate them. Do they run gardening columns? Do they have a "Contact" e-mail address? If so, write them and ask if you can submit a gardening piece or two for their consideration--free of charge. If they say yes, go for it. We don't often recommend that writers write for nada, and we're not doing that here. When you write free-of-charge gardening pieces for a Web site, you're helping to build a resume to show to an editor who--and this is the ultimate goal, of course--will be more likely to give you an assignment for that paying piece down the road. Think of it as an investment in your future.
Then, when you go to query that editor, print out a copy of the piece and mail it to him ... or paste it into the body of your e-mail query, if that's the editor's preferred method of querying, being sure to indicate where the piece was first published.
Most gardening editors want to know only two things: can you write with authority on gardening subjects; and do you have a history of publishing on the subject in the past.
Convince them that the answer is "yes" to both questions, and it's practically a done deal. Just be careful, be factual, and be inventive. And, above all, remember the advice that Steve Martin gave to the landscapers laying new sod at the end of the movie, My Blue Heaven. "Green side up, green side up!"
Actually, when it comes to garden writing, many "experts" are born over a matter of hours, rather than years. After all, haven't you been a gardener forever? Haven't you grown philodendron, dracaena, and ivy in pots all around your house since you went away to college? And perhaps planted an apple and pear tree in the back yard of that first little place in which you and the spouse set up housekeeping? And haven't you had your share of luck growing roses and carnations?
So, the truth of the matter is that you very likely are an expert gardener--at least to a degree. Now the only question is, how do you convince that hard-nosed editor that you're also an expert garden writer?
You can (and should) list your history of gardening successes on any resume, author's bio, or query letter you send out, of course. But you should also have a history of publishing gardening articles.
Ouch!
What's that you say, bunky? You haven't sold a single gardening piece in all your years as a writer? Well, for starters, you don't need to have sold a piece, you need to have published one. Something that an editor can pick up and scan to reassure himself that you're good enough to create reliable gardening articles for him. How do you get to be a published garden writer without having sold any gardening articles?
Oh, yes, the Web.
Think about it. Here we sit, in the midst of the greatest technological revolution in history--the WWW, or World-Wide Web--and you're asking so silly a question. Go to http://google.com/ and type in the search box, "gardening." See how many hits come up. Visit a few of the sites. Evaluate them. Do they run gardening columns? Do they have a "Contact" e-mail address? If so, write them and ask if you can submit a gardening piece or two for their consideration--free of charge. If they say yes, go for it. We don't often recommend that writers write for nada, and we're not doing that here. When you write free-of-charge gardening pieces for a Web site, you're helping to build a resume to show to an editor who--and this is the ultimate goal, of course--will be more likely to give you an assignment for that paying piece down the road. Think of it as an investment in your future.
Then, when you go to query that editor, print out a copy of the piece and mail it to him ... or paste it into the body of your e-mail query, if that's the editor's preferred method of querying, being sure to indicate where the piece was first published.
Most gardening editors want to know only two things: can you write with authority on gardening subjects; and do you have a history of publishing on the subject in the past.
Convince them that the answer is "yes" to both questions, and it's practically a done deal. Just be careful, be factual, and be inventive. And, above all, remember the advice that Steve Martin gave to the landscapers laying new sod at the end of the movie, My Blue Heaven. "Green side up, green side up!"
Monday, November 5, 2007
Editors Q & A: Where Has All the Inspiration Gone?
Q. I was wondering about something. It seems like more and more publishers, book publishers, require that writers submit their material exclusively through agents. Some come right out and say that unagented material will be returned unread. This seams ridiculous to me. Is it some sort of good-old boys club, in which you have to be a member, go through the hoops, hire an agent before a publisher will stoop to reading your stuff? I don't understand the concept. Do you? - Mark G.
The Editors Respond
We're not sure what the percentage of publishers demanding agented submissions is, but we agree that it seems to be growing, and for good reason. Basically, publishers use agents as a filtering mechanism. Since quality agents (those who don't charge reading fees and who actually think long and hard before taking on a new client) only handle quality writers, writers dedicated to writing--not only today, but also years down the road--the submission of a writer's material by an agent to a publisher automatically weeds out the wannabee-writers and those with no talent and nothing to say. Sure, there are some unscrupulous agents who will handle anyone for a "fee" (something no scrupulous agent would ever do); but it doesn't take long for a publisher to identify those agents and steer clear of them and their writer-clients, both. So, it makes sense from a publisher's point-of-view to demand to see the works of agented writers only, although it does put more pressure on a writer to do things "by the book." Still, if you wanna run with the bulls, you have to go to Spain. Or something like that. The bottom line is, if you're unagented because you haven't been able to find a legitimate agent to handle you, stick to submitting to publishers who will accept material from writers lacking agency representation (there are still a lot of them around). Otherwise, start looking for the agent of your dreams ... and, hopefully, of your very successful future. - The Editors
Q. Hi. I have read the many frustrating emails, and it is the same old stuff about editors and how busy they are and not wasting their time or ticking them off. I say this is a very arrogant profession and we work very dedicatedly to get the job done and it is like walking on eggs with them. I see Stepford editors and ones who have no heart or retrospect about how hard it is to get started out here. To me and many of my writer friends it seems that it is all about "who one knows" and it seems to be if that is the case it can be 10%talent and 90% who one knows and that really gets on my last nerve. I just wanted to express truth rather than fiction for it works for the real world and not this stuffy little society whom I believe gets their cookies off of rejecting people. I say they are drunk on power and I suggest that they hire more editors so that the bunch of little know it alls who corner the market can find some real talent. New and untapped talent is constantly being rejected, and when the books come out it is the same old rehash of something everyone already read or a take off of it. That is ridiculous, and I say get more editors and get ones who have some compassion and have not forgotten about how hard it is down here since they are at the top. Sincerely, IGAA
Do you feel that the role of the writer and publisher have changed in light of the information age. In other words don't people want information that is both accurate and fast. This would obviously not apply to fiction. But what about a book that is non-fiction and more or less investigative.
Point in question. I have spent up to 4 years working on a book covering the assassination of JFK. It is speculative to a degree, but I feel rather accurate. It has only something like 15,000 words and several publishers have turned it down because it's too short. Many thanks, Bob Cornell
The Editors Respond
Without a doubt, publishers today--especially those having any connection to the Internet whatsoever--are being asked for more information delivered more quickly than ever before (yet, without sacrificing accuracy). In essence, our Information Age has revitalized and revised an entire industry. But it has also placed an enormous strain on our information-gathering resources, i.e., the modern-day journalist.
As for your work on JFK, we understand your frustration with not having been able to place it with a publisher because of its shortness, but that's the nature of the beast. Books, are of essence, book-length. Have you considered either trying to sell the work as an investigative article to someone such as Mother Jones or Rolling Stone magazine? Or, at the other end of your options spectrum, make it longer and try it again as a book. You may feel there is no more new information "out there" to warrant expanding the work to, say, 60,000 words. But there's plenty of history and new ways to present previously published material that could bolster your own investigative findings. - The Editors
Q. I have a question that may sound stupid, but just exactly what does S.A.S.E. mean? I see it most often in writers' sights, and I know it has something to do with submitting your work for publication. But what is it exactly (please excuse my ignorance, I'm pretty new at all this). - Doris J.
The Editors Respond
Ohmahgawd, it's been a long time since we've seen that question. But that's good! It means new writers are still coming along ... and still anxious to learn everything they possibly can about the writing game. S.A.S.E. means simply Self-Addressed Stamped Envelope, which is what most publishers expect you to enclose if you want your material returned in the event that the publishers chooses not to publish it. Agents and other media professionals, too, are increasingly demanding an S.A.S.E. for the return of your work.
As a phrase, S.A.S.E. is used most often like this: "Enclose S.A.S.E." or like this: "If you don't enclose S.A.S.E., we won't return your manuscript" or, in worst-case scenarios, like this: "Listen, blockhead, either enclosed an S.A.S.E. or we're sending Guido to your front door to have a little 'talk' with you, get it???"
We get it. And so should you. Good luck with your writing. - The Editors
Q. Where Has All the Inspiration Gone? - I'm not normally the kind of person who needs to be inspired in order to write, but I was thinking that a shot in the brain on a regular basis might be just the thing I need to get my creative juices flowing first thing in the morning. Do you know of any worthwhile inspirational books for writers? - Frank J.
The Editors Respond
Hmmm, we're almost positive we've seen a book on just that subject (inspirational messages arranged by day of the year) somewhere, but a recent search of Writer's Digest and a few other likely sources turned up negative. Perhaps a leisurely perusal of the Amazon.com e-bookshelves will help. As an alternative, you might try taking one of your favorite authors and keeping one of his or her books close at hand. Read a few paragraphs a day before starting your own writing program. In that way, not only will you enjoy what you're reading and be inspired by it (knowing that your favorite author would never steer you wrong!), but also you'll subliminally pick up on the author's literary voice, mannerisms, etc., and get your brain primed to create. We think that will help. In the meantime, if anyone else knows of a book of inspirational sayings suitable for writers, just click here to send us an e-mail so that we can put your submission in print. - The Editors
Q. About That First Novel - This may sound like a silly question, but I'm wondering how you know if you're ready to try writing that first novel. I've written numerous short stories and even had some published, both in anthologies and on the Web. But I really want to write a novel. I've had the idea for years. Of course, I want to do it right so that it gets published. But maybe I lack the confidence to just do it, or is there a way of telling when you're ready? - S. J.
The Editors Respond
There's really no gauge that tells anyone, "It's first-novel time!" If you want to write it, go ahead. It won't get written, remember, unless you get started. Now, if your hesitation stems from a lack of understanding how to write a good novel, that's another matter. There are numerous books on the market, telling at least one author's approach to writing a novel. There are also numerous courses and workshops--both real-time (at colleges and universities, mostly) and on-line. Of the on-line workshops, the best offer personal attention (since novel writing is such a personal matter, you really need someone guiding you through your work, step-by-step). One of the most effective we've ever seen is our own: From Outline to Publisher ... Guaranteed! It not only guides the writer through the act of writing the novel he wants to write, but also involves an agent in the presentation of the manuscript to one or more suitable, legitimate (not vanity) publishing houses. The rest, as they say, is history (or, in this case, future history?). You can check it out by clicking on the workshop's title, above. So get going, and good luck! - The Editors
Q. What Do Publishers Want? - I'm wondering, with all the rejection slips I've accumulated lately, just what is it that publishers want? Sometimes I get the feeling they don't even read what I send in, just tack a "No thanks" slip to it and send it back. Could this be true? If that's the case, how does a new, unpublished writer ever get published? - L. J.
The Editors Respond
Certainly we understand your frustration with getting published. And, yes, we have heard of and even seen proof of some editors moving a manuscript from the "in" to the "out" pile without ever even glancing at it. However, that is relatively rare. Most editors will at least read the first few paragraphs of an article or short story and the first chapter or two of a book to see if they feel excited about it. If so, they'll go on to read the rest. Fair? Perhaps not. But you have to remember that few editors have the luxury of excess time on their hands. Some we know actually have to take manuscripts home with them to read at night, because their other duties (copy editing, jacket copy creation, scheduling, meetings, etc.) don't allow them enough in-office time.
With that said, it becomes obvious that you want your best "stuff" loaded up front in whatever it is you write. Catch an editor's eye early, and you'll do the same with the reader after your work is published.
As for what you may be doing wrong, possibly nothing. Many published writers, including some of our most famous, spent years collecting rejection slips before breaking into print. We do have a few suggestions for you to follow in approaching editors with your work that might help boost your chances for publication, however.
1.) Query first. Either by fax, phone, e-mail, or snail-mail, depending upon the publication's preferences (check the market listing). Make your query short, punchy, and to-the-point (and, yes, you can be light and even humorous, if so inclined). Spell out your idea and why you think the editor should review it. Never submit your work without a query letter unless the publication specifically requests that you do so (as in their market listings).
2.) Always include an SASE (self-address, stamped envelope) with every query letter submission and short article or story submission or include sufficient return postage for longer works, like books. Failing to do so alerts the editor to the fact that you're a novice, probably therefore not good enough to be published by him, and/or unconcerned about traditional values within the publishing industry.
3.) Don't telephone, fax, e-mail, or write to check up on a query letter or a submission unless the editor has had it for an extraordinarily long time. Remember, editors are busy. Your cutting into an editor's work day with unnecessary correspondence will hardly place you in a good light. If the market listing says an editor reports within four weeks and you haven't heard anything for five, we suggest a short letter or e-mail requesting if the editor received your query or submission.
4.) Follow up when asked. Sometimes an editor will turn down your suggestion or submission but tell you to feel free to query again. This is an open invitation saying that the editor likes your writing and your approach. So make sure you follow up with something you feel might be appropriate! - The Editors
Q. On Failing To Sell - I have a question that may or may not be appropriate here, but I hope so. Lately, I've been getting some positive responses to my queries, but when I write the articles (most of them are travel or sports-related) and send them in, they've been getting returned to me, along with a nice letter, as not being right for the publications submitted to. I've gotten four in a row, now, and it's disappointing from several points of view not the least of which is all the work I put into the articles without getting anything back. Is it the economic climate we're in? And why would these editors (all different publications by the way) request an article and then turn it down? The pieces are pretty well written, if I do say so myself, so that's not the problem. What gives? - Don Martindale
The Editors Respond
It's impossible to know for sure, but we wonder if you're "overselling" your ideas. We know from talking with numerous editors that a query letter written too creatively can lead the editors to expect one thing and get something else. This may not be the case with you, but it may. The only way to find out for sure is to write or call the editors, express your concern ("I'm worried that I might have misled you with my query and, if so, would certainly like to know so that I don't do so again in the future" is a good way to phrase yourself), and ask for some clarification. If you are overselling your ideas in a query letter, back off. Present your queries honestly and concisely, without the "puff" so many beginning writers, especially, like to throw in to catch an editor's eye. Remember, catching an editor's eye with a query letter doesn't result in a check--making him happy after reading your article does. Good luck, and keep us posted if you learn more. - The Editors
The Editors Respond
We're not sure what the percentage of publishers demanding agented submissions is, but we agree that it seems to be growing, and for good reason. Basically, publishers use agents as a filtering mechanism. Since quality agents (those who don't charge reading fees and who actually think long and hard before taking on a new client) only handle quality writers, writers dedicated to writing--not only today, but also years down the road--the submission of a writer's material by an agent to a publisher automatically weeds out the wannabee-writers and those with no talent and nothing to say. Sure, there are some unscrupulous agents who will handle anyone for a "fee" (something no scrupulous agent would ever do); but it doesn't take long for a publisher to identify those agents and steer clear of them and their writer-clients, both. So, it makes sense from a publisher's point-of-view to demand to see the works of agented writers only, although it does put more pressure on a writer to do things "by the book." Still, if you wanna run with the bulls, you have to go to Spain. Or something like that. The bottom line is, if you're unagented because you haven't been able to find a legitimate agent to handle you, stick to submitting to publishers who will accept material from writers lacking agency representation (there are still a lot of them around). Otherwise, start looking for the agent of your dreams ... and, hopefully, of your very successful future. - The Editors
Q. Hi. I have read the many frustrating emails, and it is the same old stuff about editors and how busy they are and not wasting their time or ticking them off. I say this is a very arrogant profession and we work very dedicatedly to get the job done and it is like walking on eggs with them. I see Stepford editors and ones who have no heart or retrospect about how hard it is to get started out here. To me and many of my writer friends it seems that it is all about "who one knows" and it seems to be if that is the case it can be 10%talent and 90% who one knows and that really gets on my last nerve. I just wanted to express truth rather than fiction for it works for the real world and not this stuffy little society whom I believe gets their cookies off of rejecting people. I say they are drunk on power and I suggest that they hire more editors so that the bunch of little know it alls who corner the market can find some real talent. New and untapped talent is constantly being rejected, and when the books come out it is the same old rehash of something everyone already read or a take off of it. That is ridiculous, and I say get more editors and get ones who have some compassion and have not forgotten about how hard it is down here since they are at the top. Sincerely, IGAA
Do you feel that the role of the writer and publisher have changed in light of the information age. In other words don't people want information that is both accurate and fast. This would obviously not apply to fiction. But what about a book that is non-fiction and more or less investigative.
Point in question. I have spent up to 4 years working on a book covering the assassination of JFK. It is speculative to a degree, but I feel rather accurate. It has only something like 15,000 words and several publishers have turned it down because it's too short. Many thanks, Bob Cornell
The Editors Respond
Without a doubt, publishers today--especially those having any connection to the Internet whatsoever--are being asked for more information delivered more quickly than ever before (yet, without sacrificing accuracy). In essence, our Information Age has revitalized and revised an entire industry. But it has also placed an enormous strain on our information-gathering resources, i.e., the modern-day journalist.
As for your work on JFK, we understand your frustration with not having been able to place it with a publisher because of its shortness, but that's the nature of the beast. Books, are of essence, book-length. Have you considered either trying to sell the work as an investigative article to someone such as Mother Jones or Rolling Stone magazine? Or, at the other end of your options spectrum, make it longer and try it again as a book. You may feel there is no more new information "out there" to warrant expanding the work to, say, 60,000 words. But there's plenty of history and new ways to present previously published material that could bolster your own investigative findings. - The Editors
Q. I have a question that may sound stupid, but just exactly what does S.A.S.E. mean? I see it most often in writers' sights, and I know it has something to do with submitting your work for publication. But what is it exactly (please excuse my ignorance, I'm pretty new at all this). - Doris J.
The Editors Respond
Ohmahgawd, it's been a long time since we've seen that question. But that's good! It means new writers are still coming along ... and still anxious to learn everything they possibly can about the writing game. S.A.S.E. means simply Self-Addressed Stamped Envelope, which is what most publishers expect you to enclose if you want your material returned in the event that the publishers chooses not to publish it. Agents and other media professionals, too, are increasingly demanding an S.A.S.E. for the return of your work.
As a phrase, S.A.S.E. is used most often like this: "Enclose S.A.S.E." or like this: "If you don't enclose S.A.S.E., we won't return your manuscript" or, in worst-case scenarios, like this: "Listen, blockhead, either enclosed an S.A.S.E. or we're sending Guido to your front door to have a little 'talk' with you, get it???"
We get it. And so should you. Good luck with your writing. - The Editors
Q. Where Has All the Inspiration Gone? - I'm not normally the kind of person who needs to be inspired in order to write, but I was thinking that a shot in the brain on a regular basis might be just the thing I need to get my creative juices flowing first thing in the morning. Do you know of any worthwhile inspirational books for writers? - Frank J.
The Editors Respond
Hmmm, we're almost positive we've seen a book on just that subject (inspirational messages arranged by day of the year) somewhere, but a recent search of Writer's Digest and a few other likely sources turned up negative. Perhaps a leisurely perusal of the Amazon.com e-bookshelves will help. As an alternative, you might try taking one of your favorite authors and keeping one of his or her books close at hand. Read a few paragraphs a day before starting your own writing program. In that way, not only will you enjoy what you're reading and be inspired by it (knowing that your favorite author would never steer you wrong!), but also you'll subliminally pick up on the author's literary voice, mannerisms, etc., and get your brain primed to create. We think that will help. In the meantime, if anyone else knows of a book of inspirational sayings suitable for writers, just click here to send us an e-mail so that we can put your submission in print. - The Editors
Q. About That First Novel - This may sound like a silly question, but I'm wondering how you know if you're ready to try writing that first novel. I've written numerous short stories and even had some published, both in anthologies and on the Web. But I really want to write a novel. I've had the idea for years. Of course, I want to do it right so that it gets published. But maybe I lack the confidence to just do it, or is there a way of telling when you're ready? - S. J.
The Editors Respond
There's really no gauge that tells anyone, "It's first-novel time!" If you want to write it, go ahead. It won't get written, remember, unless you get started. Now, if your hesitation stems from a lack of understanding how to write a good novel, that's another matter. There are numerous books on the market, telling at least one author's approach to writing a novel. There are also numerous courses and workshops--both real-time (at colleges and universities, mostly) and on-line. Of the on-line workshops, the best offer personal attention (since novel writing is such a personal matter, you really need someone guiding you through your work, step-by-step). One of the most effective we've ever seen is our own: From Outline to Publisher ... Guaranteed! It not only guides the writer through the act of writing the novel he wants to write, but also involves an agent in the presentation of the manuscript to one or more suitable, legitimate (not vanity) publishing houses. The rest, as they say, is history (or, in this case, future history?). You can check it out by clicking on the workshop's title, above. So get going, and good luck! - The Editors
Q. What Do Publishers Want? - I'm wondering, with all the rejection slips I've accumulated lately, just what is it that publishers want? Sometimes I get the feeling they don't even read what I send in, just tack a "No thanks" slip to it and send it back. Could this be true? If that's the case, how does a new, unpublished writer ever get published? - L. J.
The Editors Respond
Certainly we understand your frustration with getting published. And, yes, we have heard of and even seen proof of some editors moving a manuscript from the "in" to the "out" pile without ever even glancing at it. However, that is relatively rare. Most editors will at least read the first few paragraphs of an article or short story and the first chapter or two of a book to see if they feel excited about it. If so, they'll go on to read the rest. Fair? Perhaps not. But you have to remember that few editors have the luxury of excess time on their hands. Some we know actually have to take manuscripts home with them to read at night, because their other duties (copy editing, jacket copy creation, scheduling, meetings, etc.) don't allow them enough in-office time.
With that said, it becomes obvious that you want your best "stuff" loaded up front in whatever it is you write. Catch an editor's eye early, and you'll do the same with the reader after your work is published.
As for what you may be doing wrong, possibly nothing. Many published writers, including some of our most famous, spent years collecting rejection slips before breaking into print. We do have a few suggestions for you to follow in approaching editors with your work that might help boost your chances for publication, however.
1.) Query first. Either by fax, phone, e-mail, or snail-mail, depending upon the publication's preferences (check the market listing). Make your query short, punchy, and to-the-point (and, yes, you can be light and even humorous, if so inclined). Spell out your idea and why you think the editor should review it. Never submit your work without a query letter unless the publication specifically requests that you do so (as in their market listings).
2.) Always include an SASE (self-address, stamped envelope) with every query letter submission and short article or story submission or include sufficient return postage for longer works, like books. Failing to do so alerts the editor to the fact that you're a novice, probably therefore not good enough to be published by him, and/or unconcerned about traditional values within the publishing industry.
3.) Don't telephone, fax, e-mail, or write to check up on a query letter or a submission unless the editor has had it for an extraordinarily long time. Remember, editors are busy. Your cutting into an editor's work day with unnecessary correspondence will hardly place you in a good light. If the market listing says an editor reports within four weeks and you haven't heard anything for five, we suggest a short letter or e-mail requesting if the editor received your query or submission.
4.) Follow up when asked. Sometimes an editor will turn down your suggestion or submission but tell you to feel free to query again. This is an open invitation saying that the editor likes your writing and your approach. So make sure you follow up with something you feel might be appropriate! - The Editors
Q. On Failing To Sell - I have a question that may or may not be appropriate here, but I hope so. Lately, I've been getting some positive responses to my queries, but when I write the articles (most of them are travel or sports-related) and send them in, they've been getting returned to me, along with a nice letter, as not being right for the publications submitted to. I've gotten four in a row, now, and it's disappointing from several points of view not the least of which is all the work I put into the articles without getting anything back. Is it the economic climate we're in? And why would these editors (all different publications by the way) request an article and then turn it down? The pieces are pretty well written, if I do say so myself, so that's not the problem. What gives? - Don Martindale
The Editors Respond
It's impossible to know for sure, but we wonder if you're "overselling" your ideas. We know from talking with numerous editors that a query letter written too creatively can lead the editors to expect one thing and get something else. This may not be the case with you, but it may. The only way to find out for sure is to write or call the editors, express your concern ("I'm worried that I might have misled you with my query and, if so, would certainly like to know so that I don't do so again in the future" is a good way to phrase yourself), and ask for some clarification. If you are overselling your ideas in a query letter, back off. Present your queries honestly and concisely, without the "puff" so many beginning writers, especially, like to throw in to catch an editor's eye. Remember, catching an editor's eye with a query letter doesn't result in a check--making him happy after reading your article does. Good luck, and keep us posted if you learn more. - The Editors
Deadlines or Deadbeats?
You may not like the notion of having to write under the pressure of a deadline, but it just might be the best thing that ever happened to you
When I was a kid going to college to better learn the intricacies of my chosen craft of novel writing, I was both surprised and chagrinned when I learned that one of the pre-enrollment requirements for "Novel Writing 101" was "Journalism 101, 102, and 103." Not just one semester-long class of learning to write what I had no intentions of using ever, but three!
Needless to say, I have thanked God each and every day of my existence for those pre-enrollment requirements, because learning to write like a journalist (and think and talk and interview like a journalist) was exactly the kind of iron-fisted self-discipline I needed to learn. And the single most critical thing I learned was how to write under deadline.
Writing when you're floundering, out of "the mood," or drifting aimlessly from one disconnected thought to another is damned hard writing. Writing when your mind is focused and your thoughts are clear is infinitely more pleasurable. And that's what writing under deadline does for you. By writing under deadline, you remove yourself from the temptations of piddling the day away and place your entire existence in the act of creating the written word. That, in turn, makes you feel good about yourself and your productivity, which in turn feeds the quality of your writing, ad infinitum.
Of course, not all writers--particularly successful ones who don't need the additional pressure of a deadline to turn out quality work--use deadlines as motivational tools. Pop novelist Diana Gabaldon explained, "Let's put it this way: we have deadlines in my contracts because there's a space for them. I've never met one. They get the book when I'm finished with it. They scream and tear their hair a lot .... But I have a much higher loyalty to my book than I do to any of them."
That may be all fine and well for her, but what about for the rest of us? Do deadlines really work, even if they're only self-imposed? Most definitely ... so long as they're realistic in their expectations. You can't give yourself three days to write a 100,000-word novel and expect anything good to come of it. Similarly, you can't announce a six-month deadline to produce five paragraphs of prose and expect that the deadline will motivate you to higher grounds.
But when a deadline is carefully thought through and judiciously applied (and adhered to), I can almost guarantee your success. Here are just a few things a realistic deadline can help a writer to accomplish:
1.) Put to death "writer's block." After all, if you have to put fingers to keyboard--even if it takes you a few minutes or an hour to start turning out creditable copy--you're not blocked, are you?
2.) Start and keep the juices flowing. I've known too many writers, including seasoned pros, who write a good page or even a graf or two and then take the rest of the afternoon off. What they neglect to realize is that's exactly the time they should be prodding themselves onward. Writing that glows come from writers with flow. Just the thought that you're writing, hour after hour, day after day, will flush you with satisfaction and--I'd bet on it--show up in your writing, as well.
3.) Keep you from going "stale" between writing periods. Deadlines don't allow for idle time. Ask any general-assignment reporter. If a working journalist completes one story, it's only a quick slug of water and a half-smoked cigarette before he's started on another.
4.) Help you break down your writing into more manageable chunks. Deadlines are easier to manage, after all, if you can create blocks of written words that fit neatly into corresponding periods of time. You might tell yourself you'll write the introduction of a book on needlepoint your first morning, then rewrite it and print it out that afternoon. The next chapter may take two days, since it may be longer, and so forth. The results are the same: you're writing productively.
5.) Instill the joy of being a writer in you. Writer's love nothing better than to write. By writing under deadline, you can have that "God, this is terrific, I feel so good about this stuff" feeling every single day for the rest of your life. And that kind of confidence can't help but spell success.
When I was a kid going to college to better learn the intricacies of my chosen craft of novel writing, I was both surprised and chagrinned when I learned that one of the pre-enrollment requirements for "Novel Writing 101" was "Journalism 101, 102, and 103." Not just one semester-long class of learning to write what I had no intentions of using ever, but three!
Needless to say, I have thanked God each and every day of my existence for those pre-enrollment requirements, because learning to write like a journalist (and think and talk and interview like a journalist) was exactly the kind of iron-fisted self-discipline I needed to learn. And the single most critical thing I learned was how to write under deadline.
Writing when you're floundering, out of "the mood," or drifting aimlessly from one disconnected thought to another is damned hard writing. Writing when your mind is focused and your thoughts are clear is infinitely more pleasurable. And that's what writing under deadline does for you. By writing under deadline, you remove yourself from the temptations of piddling the day away and place your entire existence in the act of creating the written word. That, in turn, makes you feel good about yourself and your productivity, which in turn feeds the quality of your writing, ad infinitum.
Of course, not all writers--particularly successful ones who don't need the additional pressure of a deadline to turn out quality work--use deadlines as motivational tools. Pop novelist Diana Gabaldon explained, "Let's put it this way: we have deadlines in my contracts because there's a space for them. I've never met one. They get the book when I'm finished with it. They scream and tear their hair a lot .... But I have a much higher loyalty to my book than I do to any of them."
That may be all fine and well for her, but what about for the rest of us? Do deadlines really work, even if they're only self-imposed? Most definitely ... so long as they're realistic in their expectations. You can't give yourself three days to write a 100,000-word novel and expect anything good to come of it. Similarly, you can't announce a six-month deadline to produce five paragraphs of prose and expect that the deadline will motivate you to higher grounds.
But when a deadline is carefully thought through and judiciously applied (and adhered to), I can almost guarantee your success. Here are just a few things a realistic deadline can help a writer to accomplish:
1.) Put to death "writer's block." After all, if you have to put fingers to keyboard--even if it takes you a few minutes or an hour to start turning out creditable copy--you're not blocked, are you?
2.) Start and keep the juices flowing. I've known too many writers, including seasoned pros, who write a good page or even a graf or two and then take the rest of the afternoon off. What they neglect to realize is that's exactly the time they should be prodding themselves onward. Writing that glows come from writers with flow. Just the thought that you're writing, hour after hour, day after day, will flush you with satisfaction and--I'd bet on it--show up in your writing, as well.
3.) Keep you from going "stale" between writing periods. Deadlines don't allow for idle time. Ask any general-assignment reporter. If a working journalist completes one story, it's only a quick slug of water and a half-smoked cigarette before he's started on another.
4.) Help you break down your writing into more manageable chunks. Deadlines are easier to manage, after all, if you can create blocks of written words that fit neatly into corresponding periods of time. You might tell yourself you'll write the introduction of a book on needlepoint your first morning, then rewrite it and print it out that afternoon. The next chapter may take two days, since it may be longer, and so forth. The results are the same: you're writing productively.
5.) Instill the joy of being a writer in you. Writer's love nothing better than to write. By writing under deadline, you can have that "God, this is terrific, I feel so good about this stuff" feeling every single day for the rest of your life. And that kind of confidence can't help but spell success.
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