Editing and Writing: an editor's perspective

Call for submissions

2011-12-06T10:35:00.001-05:00

I run creative writing workshops for teens and am putting together an anthology of teen writing. Here's the call. Send it out to all you know might be interested. The website is www.unleashurcreativity.ca.

Unleash Your Creativity is looking forpoetry and fiction submissions from Canadian teens between 14 and 18 forpossible inclusion in an e-published anthology. Deadline is April 2, 2012.

No theme and no payment. Fictionsubmissions should be no longer than 1500 words, and poetry no more than 200lines.

Profits from sale of e-book given to KidsHelp Phone.

Send submissions to becreative@rogers.com.

Covers, covers, covers

2011-11-10T09:44:00.001-05:00

When you write a book, you often dream up what the cover will look like. We all do it. And if you're lucky enough to get published by a traditional publisher, you'll likely get a really terrific cover done by professional and trained designers who know how to create an eye-catching book cover.

When you self-publish, this task is up to you. You have control over all aspects of your book, and this is one of the reasons many people like self-publishing - freedom to do as they have envisioned for their book.

But this doesn't mean you should make your book cover in Pages or have your Uncle Frank do it for you because he has a computer and time. You have to pay a professional. There are many freelance graphic designers that can give you a great book cover, a cover that won't scream "I'm a self-published book!"

Death to a self-published book is a poorly rendered cover (and of course a crappy story that wasn't edited to boot). They often look cheap, and have no design sense to them. Pay for a good cover. Get a professional and look professional.

You've come this far - why cheap out now?

Now What? The Journey to Find a Publisher --Guest Post

2011-09-27T10:08:00.000-04:00

All of us have a book inside, justscreaming to get out. Of course we do. I knew that when I started. It couldn’tbe that difficult. Two years later, after hours spent staring at a blank page,followed by extended sessions ofrelentless padding to get the word count up, numerous plot changes and thecreation of characters that came out of nowhere, I had it. Five hundred and ten pages of insightfuldialogue, my own creation. All my friends and family loved it. The mostdifficult part was behind me. Getting published was inevitable, a slamdunk.

Not quite. That was eighteen months ago,all spent enduring the dichotomy of never-ending evaluations combined with constantlyhearing the lecture regarding the need for “shameless self promotion”. Of course you must have a website, a blog andprepare an endless stream of submissions and query letters almost all of whichwill never be acknowledged. This masochistic practice of silent appraisalwithout feedback, leads to the inevitable conclusion that you have to selfpublish but under no circumstances use a ‘vanity publisher’ because that willseal your fate as a hopeless amateur. At this point confusion rules the day. Youhave no opinion that is remotely close to being objective, alternating betweenthe fear that what you have produced is rubbish and the daydream of acceptingthe academy award for best original screenplay. Quiet evenings spentfanaticizing with your spouse about which of your favourite actors can play thekey roles in your story. Weekends searching out potential publishers andagents, attending “how to” seminars on getting published, inevitablyemphasizing that you are really on your own in a context totally unfamiliar,highlighting the adjective ‘self’ in that recurring, persistent theme of “shamelessself promotion”.

Perhaps my favourite low point was an hour longpresentation by one of Canada’smost successful literary agents. She was quite blunt setting out the rules,including ”Don’t ever send me anything other than an e-mail query letter. I getat least seventy five inquires a day, all by e-mail. If I don’t like what Iread in the first two lines I simply hit delete.” Then for emphasis, she statedwith obvious pride: “Incidentally Iwould have rejected The Da Vinci Code”.Now that’s encouragement. I still send her regular e-mails if for no otherreason to keep her count up. So far my most brilliant prose, my most humorousanecdote, my most insightful analysis and my most heartfelt criticism of hermethods, have all met the same fate she would have dealt Dan Brown – Delete! Delete!Delete!

Did you know that in this age ofcomputerization there are far more books being generated than ever before? Withtotal logic, in the face of this new flood of creativity, publishers haveabandoned any attempt to assess unsolicited manuscripts. No longer are junior staffersassigned to look at unknowns. This is left to the few reputable literary agentsin Canadaand we all know how well that is working out.

So I went back to the drawing board. It wastime to turn to the world of freelance professionals and get a frank assessmentof the product. First stop was an evaluation by a professional editor with a$600 price tag, premised by the statement “75% of what I evaluate isgarbage”. Now waiting for that wastough. No-one wants to be classified as ‘garbage’ even if almost everyone elseis – passed that one somehow. By the way, did I mention that the conventionalwisdom is that a first novel should be between 80,000 and 100,000 words and 350pages not 160,000 words and 510 pages like mine. Remember all those nightspadding the word count? Time to take those babies back out. Remember all thosebrilliant explanations included to save your less attentive readers from makingincorrect assumptions- they have to go. “Remember ‘show’ the reader don’t‘tell’ them. Let the reader discover for himself and also get serious: pick up the pace! Other than that you have something. Yourcharacters don’t suck. Your plot is kind of interesting.” My freelance editorbecame my link to the industry, my literary personal trainer, part drillinstructor, part sister confessor, she has kicked and coddled me down the road toself respect as an author and given me the will to put myself out there.

So now I was freshly inspired. My work wasnot garbage. With a just little more effort, I might have something. Five rewrites and numerous more query letterslater, I am there, ready to self publish. So what does this really mean? Wellit means instead of having 20 photocopies of my manuscript I have spent a fewthousand dollars to acquire 500 paperback copies that look and feel like a‘real’ book. This is certainly not‘vanity’ publishing. Have I mentioned that after rewriting the book five timesI now hate it with newfound passion? Notreally. It’s somewhat like the way you feel about your first born after threedays of the runs and fifty diaper changes. You still love them but the ‘poop’has got to stop.

So finally I get to shamelessly promote mybook; 99,000 words of blood, sweat and tears. I have learned so much and I want to do more. Like many others out thereI am but a few reads away from reaching my goal. So give my book “2020Hindsight” a try. If you like it; write e-mails, visit my website www.fcdawkins.com and read my blog ‘The Eeyore POV”. After allthe publishing world has changed more than ever, but talent can’t be suppressed.We live in a new information society, where social media rules and theconnection between reader and writer cannot be denied. Welcome to my marketing team! Really? Quiteshameless, don’t you think?

Ohwell, that’s the Eeyore POV.

F.C.Dawkins.

Mind your manners

2011-09-24T12:50:00.000-04:00

I just came from a meeting with a new client. He's a new writer and wants his manuscript to be the best it can be. I spent 1.5 hours with him talking things over, sharing the kinds of editing there are, and helped him determine what he needs and what's the best approach for him and his funds. I take this approach and take this time with each new client, if that is what is needed.

He's a sweet and lovely guy, and I really want to help him the best I can. Sadly, there are many of my colleagues who are borderline abusive, and I discover these things through talking to new clients. They almost always have some story about the editor they almost hired before me. And what I hear shocks me and fills me with dismay at how my so-called colleagues are behaving.

Editors behaving badly. Tsk. Tsk.

I guess the editor before me took weeks to reply to simple messages. When she did she was seemingly uninterested in the project. When she at long last read the provided material that she had asked to review, she was downright rude and crushing when she told him his work was unoriginal and has been done before. This is how we deal with writers, with new clients?

Many editors don't think of themselves as professionals, as business people offering a service. They don't even consider themselves businesses. Maybe this is why they think it's okay to not respond in a timely manner to emails, to give blunt uneducated opinions on material they haven't fully read, and why they often lack tact and diplomacy and sensitivity to someone's writing and time.

As an editor who owns an editing business I treat every client with respect and I take the time to get to know their project and who they are and what they want done. I would never take weeks to reply to someone, especially if I've asked for material to review. And I would never dis someone's work based on a 20-page excerpt, or based on a whole manuscript. There are ways of letting someone know a story needs work.

I felt truly awful for this client for how he'd been treated. I wish editors would get over themselves and the thinking that they are doing writers a favour. Without writers we would not have a profession or a livelihood. It's a mutually beneficial relationship. But I can attest to the fact that many editors are pretentious and quite frankly snobbish; they have some kind of superiority complex. I guess the same can be said of every industry.

That being said, I benefit when other editors lack a professional etiquette because in the end they lose out on what is often well-paying, interesting work with clients who are simply lovely to work with. Their loss is my gain. But a hand smack to those snobby editors. You know who you are.

Types of editing

2011-06-22T16:23:00.001-04:00

Editors work in a variety of industries and take on innumerable different tasks, but the fundamentals of editing are always the same. Editors carry out the following four tasks (in order of operation): substantive/structural editing, stylistic editing, copy editing, and proofreading.

The first approach to editing a document/book/magazine article/website/government report is to look at the text from a big-picture point of view. A substantive/structural edit considers how all the parts of a document work together, and it is up to the editor to decide how to make those parts and document work better. Structural editing is much like putting a jigsaw puzzle together, except that these pieces can mesh a number of ways to arrive at a cohesive, properly organized document.

The next step is a stylistic edit, a line-by-line edit that works on each sentence of the text to ensure that sentences read well. This is where any jargon, clichés, and repetitive words and phrases are removed. It’s important at this stage to have a firm grasp on who the audience is, and the editor needs to bear this in mind as she edits. The language used, and overall tone, need to match the intended audience. A stylistic edit will smooth out any rough language and passages.

Upon completion of the stylistic edit, a copy edit is then performed. All matters of grammar, spelling, consistency, syntax, and other mechanics of style are sharpened and cleaned up. A style sheet is usually prepared by the editor to show how certain words are spelled. This is by far the most common edit, the one most asked for.

Proofreading, the final edit any document should undergo is essential in ensuring a clean and error-free document. It is the edit that will catch any lingering typos or errors. It allows a new set of eyes to read the document over, from, and with, a fresh perspective. It is, however, the one step that many people and companies omit because they feel it is an unnecessary expense and delays publication. They also mistakenly believe that the copy editor would have caught everything. Production schedules should always take proofreading into account, as should any proper editorial budget. Embarrassing errors can be avoided with a proofread.

One proviso for emerging editors: many clients ask for a proofread but actually mean, and want, a copy edit. It is therefore important that an editor get clear directives on the work to be done, and to outline in a contract what was agreed upon.

How long do I wait?

2011-04-21T10:50:00.001-04:00

When an agent or editor asks to look at a full manuscript, give them three weeks to look it over before calling or emailing. Three weeks may be a lifetime to you when you're waiting for a response, but in publishing it goes by in a flash.

When that agent or publisher receives your manuscript, they likely have a few other manuscripts in queue. Be patient. And if they say to not expect a response for a certain amount of time, then wait that time.

Being pushy and a nuisance only gives the agent or editor a good indication as to how it might be to work with you, and no one wants to work with someone who can be annoying and doesn't respect timelines. Be cool, calm. Write some more. Just wait. It will only work in your favour.

And don't think you're being cute or friendly by sending a quick email asking how things are going. It's not cute or friendly. It's passive aggressive behaviour that is not welcome!

The power of determination

2011-04-07T12:43:00.000-04:00

A client of mine is quite determined. To get published. And she will one day. She will get an agent and then a book contract. Why? For a number of reasons, and many unpublished writers could learn from her and her story.

1. She is determined and won't give up.
2. She had a good story idea.
3. Her story idea (ghosts and the paranormal) are currently hot trends and sell ridiculously well.
4. She shaped her story and characters, plotted, and planned.
5. She hired an editor (me) to help her. She got a ms evaluation and copy edit.
6. She has an open mind. When I suggested that what she thought was a trilogy was actually one book, she went away, mulled it over, and realized I was right. I showed her how combining elements of all three created a much more powerful story.
7. She made these changes willingly. She took advice and used it. There is no diva in her. She knows when to check her ego at the door. More writers need to master this.
8. She is still reworking the story, and months later realized the prologue had to go. Lesson? You cannot be attached to your writing. You have to do what is best for the story, even if it means cutting chunks of material out.
9. She understands that a story is not just about a good idea - it's also about the words used to tell that story. A good idea doesn't get you far if you refuse to learn the basic mechanics of grammar and writing, and refuse to learn something about the craft of writing.

You can read this soon-to-be published writer's work here.
http://bigglasscases.blogspot.com/2011/04/nepenthe.html

An agent has used a clip of her writing to showcase what good writing is. Learn from her and then buy her book when it's out. Kaleen Harding. You heard it here first :)

Tuesday chuckle

2011-04-05T13:31:00.000-04:00

Gender parity in literary publishing?

2011-02-18T12:22:00.003-05:00

So more men than women are getting published and reviewed. I don't see how this is at all surprising, and here rears my feminist head.

Women have children and raise children and care for children and STILL maintain households for these children (and as it turns out these children's fathers, too) to thrive in. Until men start having babies and taking on the role of creating and nurturing future generations, there will always be an imbalance.

How do I know this? Why do I feel this? Maybe it's a skewed perspective, but I know it to be true because I live it. Who the hell has time to write and nurture a book idea when we have to nurture a kid idea?

Being a mom is an all-consuming, life-sucking vacuum, and until society gets that, we'll keep "musing" on such topics and skirting the real issue. No musing needed.

Read between the diapers, folks.

http://www.quillandquire.com/blog/index.php/2011/02/11/on-gender-parity-in-literary-publishing

Authonomy writing community

2011-01-13T11:50:00.001-05:00

I just found out about this new writing community idea (see below for what the site says about who they are). I'm not sure I like this idea, but I am also not a public person. The idea of sharing my work with others in such an informal and public manner terrifies me. I don't want just anybody reading my work, and I actually don't let anyone read stuff I've written until it's close to where I want it. That being said, this might work for those of you who Twitter, and Facebook, and embrace social networking with gusto. I do not. But again, I'm an introvert and keep to my Cancerian shell. See what you think.

authonomy Writing Community. Get Read. Get Noticed. Get Published.

authonomyTM is a brand new writing community site for writers, readers and publishers, conceived and developed by book editors at HarperCollins. We want to flush out the brightest, freshest new literature around - we’re glad you stopped by. If you’re a writer, authonomy is the place to show your face – and show off your writing on the web. Whether you’re unpublished, self-published, looking to get published, or just getting started, all you need is a few chapters to start building your profile online, and start connecting with the authonomy writing community
And if you’re a reader, blogger publisher or agent, authonomy is for you too. The book world is kept alive by those who search out, digest and spread the word about the best new books – authonomy invites you to join our community, champion the best new writing and build a personal profile that really reflects your tastes, opinions and talent-spotting skills. The publishing world is changing. One thing’s for sure: whether you’re a reader, writer, agent or publisher, this is an exciting time for books. In our corner of HarperCollins we’ve been given a chance to do something a little different. We’d really love your help.

The hardest part

2010-11-25T12:48:00.001-05:00

I do manuscript evaluations all the time. I tell writers about their story, how it flows, where the plot is weak, strong, about pacing, characters, dialogue... the list goes on and on. I enjoy doing these, but at the same time it' so very hard delivering the news because most of the time the news involves some kind of negative feedback with an end result of rewriting.

I've had many reactions to feedback given; the worst is when a writer doesn't respond at all, so taken aback by what was said. This saddens me because clearly the writer isn't open to constructive feedback to make their book better, but it also mystifies me because they were willing to devote money to their passion/craft/pursuit and then drop the entire enterprise when they didn't get the pat on the back they were anticipating.

The first reaction is always some kind of anger, then depression, and then a desire to never write again, forget the entire business, and pretend it never happened. These are the losers, losers because they are losing out by giving in to base human emotions. It seems silly, but in order to make it as a writer you have to be willing to hear what other people have to say, and then perhaps learn something from it. Some kind of take away. By turning your back you lose out on having something change--your pov, your work, the way you write. You owe it to yourself to push down that ego and see what greatness can be revealed. I say it all the time: Check your ego at the door. There's no place for it in writing.

The winners are those who get knocked down, but then rise up again, refusing to be defeated. Writing challenges so many parts of ourselves. Setbacks are to be expected. But take that feedback, mull it over, and then try to gain something from it. You owe it to yourself to be stronger than you think. Tell that ego to take a hike because you have some learning to do. My ego takes a beating on a daily basis. But I am aware that it's there so I can tell it to move along while I wade through whatever ugliness I have to in order to emerge a better person, mother, wife, writer, editor--whatever.

The winners are writers like you, Tara, and you Kaleen, because you get it. You took what was offered, may have wanted to bolt, but have committed to yourself to see it through. And for that I am proud. It reminds me why I do what I do. I want to see you all succeed. I want to see myself succeed. I know how you feel, but I also know what you (we!) have to do to get there.

So, let's get to work on becoming better writers and improving our craft!

Plagiarism and the Internet

2010-11-04T13:52:00.002-04:00

Wow. Some things are simply too incredible to believe, like this little bit from the Internet. Apparently the managing editor at Cooks Source Magazine, a real magazine with real advertisers that sits on newstands for money, ripped off a writer. A story they never commissioned or paid for was taken from a site on the Internet and used in their publication. The author uncovered this faux pas and approached the managing editor, to which she received this shocking reply:

Yes Monica, I have been doing this for 3 decades, having been an editor at The Voice, Housitonic Home and Connecticut Woman Magazine. I do know about copyright laws. It was "my bad" indeed, and, as the magazine is put together in long sessions, tired eyes and minds somethings forget to do these things. But honestly Monica, the web is considered "public domain" and you should be happy we just didn't "lift" your whole article and put someone else's name on it! It happens a lot, clearly more than you are aware of, especially on college campuses, and the workplace. If you took offence and are unhappy, I am sorry, but you as a professional should know that the article we used written by you was in very bad need of editing, and is much better now than was originally. Now it will work well for your portfolio. For that reason, I have a bit of a difficult time with your requests for monetary gain, albeit for such a fine (and very wealthy!) institution. We put some time into rewrites, you should compensate me! I never charge young writers for advice or rewriting poorly written pieces, and have many who write for me... ALWAYS for free

Seriously, folks, cutting and pasting off the Internet is plagiarism. You can get kicked out of college and university for it, so of course "the real world" has its own form of punishment, and in this case it's a bad reputation for the magazine and one managing editor who may never work in this field again.

Bottom line, respect other people's work. Write your own material, or hey, ask for permission and pay!

CBC Books - Canada Reads 2011

2010-10-28T13:36:00.000-04:00

CBC Books - Canada Reads 2011

The Letter

2010-10-09T18:19:00.001-04:00

When writing The Letter to agents and publishers, do it when you're in the right frame of mind. Don't do it when you're sad, when your dog just died, or your bowels are irritated; don't write it when you feel down about life and where you're going (or not), or when you get home from a lousy date.

Write these missives when you feel good about who you are, or when in that odd mood that strikes us at times when we just don't give a damn about "the rules" and write with our real personality. I have found that THOSE letters are the ones that get noticed and have people calling. Mood makes such a difference in how we approach things like this.

I experienced this with a client of mine. He sent me a query to review and it sucked. Why? Not because he can't do it, but because I could tell he wasn't in that letter, not the real him, the real him that could talk someone down from a ledge. I told him to get back to it when he felt ready. He emailed back saying I was 100% right, that he'd had a rough summer and was getting down on the whole publishing thing. He took my advice and rewrote it. Two weeks later I got a great query letter from him.

When selling yourself and your ideas, make sure you are ready to do a terrific job highlighting the best parts of you and your work. Have someone you know read it and ask them if it sounds like you. Don't be overly formal or over-the-top funny. Find a good balance between who you are and the rules of query writing that should be followed.

Anger and embarrassment

2010-09-16T13:15:00.000-04:00

Manuscript evaluations are fun. I enjoy seeing what writers have come up with and the worlds they have created.

Seventy-five per cent of the time the writing is weak and the story does not hold together, and as a paid professional hired to evaluate the manuscript, it's my job to let the writer know my thoughts. Even if the book sucks, though I couch it a tad nicer than that. You aren't paying me to lie. That costs extra. Kidding.

Most writers can take criticism and feedback, and digest it properly -- towards creating a better story and becoming a better writer. But there are some who take it far too personally and get angry. These are the people I never hear from again, never want to review the evaluation with me; they don't ask questions, seek clarification, or appreciate the fresh perspective. They fall off earth, it seems.

Anger and embarrassment won't get you far as a writer, or in trying to get published.

I'll tell you what I tell all my writers: check your ego at the door because it's the biggest obstacle between you and success in writing.

Vacation

2010-08-23T08:47:00.002-04:00

I'll be away this week. If you've emailed me about work, I will respond to your query as soon as I return.

Thanks.

Alethea

Self-publishing publisher: Art BookBindery Inc

2010-08-19T12:36:00.000-04:00

I have it on good word, from a client who used this company to self-publish his book of writings, that this company is really great to work with, does good work, is friendly, and reasonably priced. What more could we ask for? I like that they are Canadian. They are based in Winnipeg, but I don't think location matters. They cater to those who are self-publishing. Check them out at http://www.artbookbindery.com/.

The Canadian Style

2010-08-04T13:27:00.000-04:00

For those of you who don't own a style guide but are curious about the rules of grammar and punctuation, hyphenation, and style in general, you can view the style guide (and have questions answered) online here as opposed to purchasing a copy:

http://www.termiumplus.gc.ca/tpv2guides/guides/tcdnstyl/index-eng.html?lang=eng

Writing for publications

2010-08-03T18:01:00.002-04:00

When you write for publications, like magazines and newsletters, you really need to remember that the writing is not about you (unless it's an op ed piece). The publication doesn't want to know about you or have your comments and opinions throughout, and they don't much care about your precious author 'voice.' The first voice that matters is the tone of the publication -- then you worry about the tone of you, the author. But if you are going to write for say BUST you need to write according to that voice, which is worlds away from THIS Magazine or an association's newsletter to members.

Keep your ego out of it and write the story/article that you were assigned to write or feel compelled to write. This is where the amateurs and professionals part ways.

The amateurs lament at the passing of their 'voice' crying out to all those who will listen that the nasty editor changed their voice (when in fact what happened was editing, a much-needed task to ensure consistency of the publication's overall voice).

A professional will recognize that they are writing for something that others will read, a something that said readers will expect to follow a certain voice (think of the Economist) and style (think Time Magazine). An editor has to respect your work and voice, yes, but if it fails to keep the tone of the publication you are seeking to be published in, then some heavy-handed editing may be required and performed. You can take it like a pro and learn from the experience, or be petty and stomp and storm and refuse to learn from the process, which will get you nowhere in this industry.

Book titles and copyright

2010-07-14T13:31:00.000-04:00

Did you know that you cannot copyright the name of a book?

Many writers (and publishers) worry that someone else will "steal" their name, one they've worked so hard to come up with. But the fact is, you simply have no power over someone else, down the road, using the name of your book or story. But here is the exception:

Intellectual property law does not protect titles as easily or as comprehensively as it protects the contents of a literary work. Single titles - the title of a particular work - are not protected by copyright law and may only be protected by unfair competition law and possibly trademark law if the publisher can demonstrate that the title has acquired secondary meaning. Secondary meaning, with regard to literary titles, is only found when in the minds of the public, the particular title is associated with a single source of the literary work. Although blatant attempts to pass off another publisher's title as one's own may be protected by unfair competition law, it generally is not an easy process to protect a single title. It is much easier for a publisher to protect a series title under unfair competition and federal trademark law; in fact, federal trademark law permits the registration of a series title. (from http://www.publaw.com/)

A dash of style

2010-07-07T10:53:00.003-04:00

Here's a link to excerpts from Noah Lukeman's book, A Dash of Style. In this excerpt he covers the period, the colon, the dash, the comma, and semicolon.

www.lukeman.com/adashofstyle/read.htm

Your errors make you look bad

2010-06-29T10:50:00.001-04:00

There, I said it. What I want to say to people but cannot.

To the fellow editor who wrote "hear is my copy edit"...
To the client who wrote "air on the side of caution"...
and to the many dozens of you who do not know that its is a possessive and not the correct way to write it is, or that their, they're, and there are not interchangeable--
to all of you I say, your errors make you look bad.

It's shocking that so-called professionals make such errors. These errors are found throughout the many emails I receive from colleagues and clients (who work for real companies that make real good $$$).

I cannot stress the importance of communicating not only clearly and concisely, but correctly. I always say that what you say matters, but how you say it matters even more. Goodness me, this is so true.

Make certain you use expressions correctly (a quick Google search will clear up the "air on the side of caution" gaff and will let you know it should be "err on the side of caution.")

One woman I met recently had its plastered all over her website when she should have used it's. She deals with high-end clients. Wouldn't you want to make sure your copy is correct and reflects the level of education and competence you are advertising? I would think so. If I see errors like this I actually don't deal with the company. It says a great deal about how meticulous they are and how they deal with details.

God is in the details.

Check your spelling.

Make sure your copy is grammatical, punctuated correctly, and that your spelling is bang on.

It saddens me how little people care about such things, minor details, things that apparently aren't worth considering. Well, you should consider it. Or at least hire someone who can consider it for you and make you look good.

Breaking it down

2010-05-31T13:04:00.001-04:00

The number one error I see in manuscripts, and I've evaluated hundreds, is that writers often don't do what they think they want to do with a story, and this is evident when I compare a synopsis to an actual story. They often don't match. The synopsis is typically plotted fairly well because it's easy to capture an idea in a few pages, not so much in a few hundred pages and that's where a writer's idea and a writer's execution of that idea part ways, and often, 'never the twain shall meet.'

The best way to ensure that you’ve covered everything that’s supposed to be in your story (according to you), and to determine if your story flows well, has proper pacing, good plot points (and actually to determine if it has any at all – I’ve seen plotless stories before) is to do the following. It will take a few hours, but the information you get from this exercise is priceless.

1. Print a copy of your manuscript. Yes, print it.

2. Set aside a few hours and go somewhere quiet, like the library.

3. Make sure you have paper and pens.

4. Now the fun begins. Write down chapter 1. Jot down characters and events, and anything else that is relevant, whether it be dialogue or setting. Basically sum up what happens in the chapter. Point form, no complete sentences.

5. Do step 4 for the entire manuscript.

Something else I like to do as I do the above, is to jot down any questions that come up, gaps in plot, or anything else I notice that isn’t working. Also make up a list of characters. It might reveal some things. Even better is to prepare character sketches by listing key things characters say and do, what they look like, and any mannerisms you’ve given them. Having this list will help you see your characters better.

Once you’ve broken down your story, review it. Do things flow as you had hoped? Is there an actual story there? Is it the story you want? Have you forgotten key events? Are your characters believable? Are some characters too similar? Are others not necessary? If you’re honest with yourself, you’ll find the exercise will be an invaluable tool in your effort at rewriting a story that is tighter and tells the story you want.

The 10 Most Harmful Novels for Aspiring Writers

2010-05-19T10:48:00.002-04:00

Uncle Orson's writing class

2010-05-14T08:14:00.000-04:00

Good site with useful information on writing fiction.

Back story

2010-05-11T15:14:00.000-04:00

I'm forever telling new writers to avoid back story in their fiction manuscripts. Most new writers make two mistakes:

1. Telling rather than showing
and
2. providing overly long, verbose accounts of what happened before what is happening now in the telling of the story.

It's hard to find a published example of this that I can provide writers with, apart from their own writing and they never agree with me anyway or see it. New writers can be quite ornery. I have finally found an example: The No. 1 Ladies' Detective Agency (book 1).

What is back story?

Christopher Vogler in his excellent book The Writer's Journey says that "back story is all the relevant information about a character's history and background - what got her to the situation at the beginning of the story." Well put.

Why don't we want back story in one block of information at the beginning of a book? Because readers like to discover bits of information as they read, clues that are given either visually or through dialogue. Imagine being on a first date: would you like that other person to vomit out every detail of their existence, clogging up two hours of your time, and then saying "There, now you know who I am." Ugh. Cheque, please!

Just as in real life, characters can't simply dump their back story on readers. It needs to be done slowly, but deliberately. It takes the joy and mystery out of reading about new characters and situations if everything is shared immediately and in such a perfunctory manner.

Oh and wait: it's boring!

No. 1 - not so much

Oh, I feel a lawsuit coming on!
I picked this book up because a friend of mine seemed to enjoy one of these last year and I came across it at a used stor for $4. What the hell. I have to say I am not impressed.

One of the downsides to being an editor is that I am forever editing everything I read, wondering how I would have handled the story structure, the punctuation, and questioning if parts should have been eliminated.That's what I face here: I feel an elimination was much needed.

Chapter 2 is the back story in this book and it goes on for three chapters - from pages 15 to 59. The bulk of those chapters is about this character's father and how she came to be the No.1 Ladies' Detective. I would have scrapped all three chapters and integrated some of the material some other way. I found the chapters boring and slow and they irked me because I want to read about what's going on now (in media res) and I want to read about a detective agency (as promised by the title and back cover blurb) - not South African history or her father's life as a miner. This is relevant how? Write a non-fiction book about South African history, but a fiction detective book is not the right place for such things.

What's really unfortunate is the missed opportunity: on page 72 the character is asked if she was ever married. She says she once had a husband. Now if I hadn't been told all the details of that sordid affair in chapter four, I would have been intrigued by this statement, hoping to have it revealed later on. Who is this woman? What's her story? Questions I would have asked. It was a perfect clue, a hint, but it lacked impact because I'd already been told everything I needed to know.

Answer to word play riddle

2010-05-07T08:37:00.000-04:00

Take the first letter and move it to the end of the word.The same word will be spelled backwards.

Word Play

2010-05-06T09:36:00.001-04:00

What do these seven words have in common?

Banana
Dresser
Grammar
Potato
Revive
Uneven
Assess

Answer will come tomorrow.

Writers under the influence

2010-04-26T11:34:00.000-04:00

Just for fun. Nothing we all likely didn't know anyway.

Obviously cocaine was at play with Dr. Jekyll and Mr. Hyde! How else to explain it??

Content Mills - Why You Should Avoid Them

2010-04-23T07:56:00.002-04:00

This was written by fellow PWAC member Angela West.
http://www.workingwebcopy.com/

List of Content Mill Sites

Hubpages.com
Demandstudios.com/ Demand Media
Suite101.com
Brighthub.com
examiner.com

What is a Content Mill?
A content mill is a website or collection of websites that pay writers a low upfront fee for an article or blog posting ($5-$20). They may additionally offer residuals to make writing for them sound like it pays more than it actually does. I've listed the major ones above but there are many smaller ones.

Why are Content Mills Bad for Writers?
-make you "chase your tail" for more clicks, little pay
-promised residuals disappear if you stop writing for a site
-editors will discount writers with nothing but content mills in their portfolios
-beginning writers think they are worth less, driving down industry rates

Why are They So Well-Defended? $$$
Some content mills, like Demand, are multi-million dollar corporations. At the very least, they are very well-funded. They have enough money to purchase freelance writing sites; in the US, they purchased freelancewritinggigs.com which is a very well-respected resource on freelance writing. They also do massive internet ad buys and advertise regularly on respected job boards like Media Job Search Canada and Jeff Gaulin, which gives them a cachet of respectability.

What to Do Instead?
Look on Craigslist.ca, contact local businesses to see if they need copywriting done, contact businesses online in your expert "niche" to see if they need copywriting done. If you have no portfolio at all, it will be harder but you'll hit on one or two who will give you a shot, especially if you have an appropriate educational or career background. I did a survey of ten web design companies to see if they needed copywriting services before starting my business; one of them is still a client of mine because I contacted them for that survey. Several others expressed at least some interest; I only got two outright "no's".

Tying up loose ends: characters

2010-04-22T15:08:00.001-04:00

I'm working with a new writer who is quite good at what she does. One of her big questions is that she wants to know if she's managed a good balance between all of the threads in book 1 (she's planning a trilogy) and if there is resolution. This is a common question I get, especially when writers have already plotted books 1 through 5.

First off, I firmly believe as writers that we shouldn't think so far into the future that we've already figured out that Uncle Abe will have a prominent role in book 4 after Cara his second wife has her story showcased in book 2. Let's focus on the material in front of us: book 1. Don't get ahead of yourself because writing a book is a daunting experience and requires a lot of love and time and devotion and a commitment to realizing what's working and what isn't. One book at a time.

For the most part, people who have dreamed up these sagas and trilogies are doing so because the commercial viability of more than one book is strong, and has been proven time and time again with such writers as Rowling, Tolkien, Jordan, Adams and so on. These writers pulled it off because they truly had a wealth of characters and story to share, so much so that it wasn't enough to fit in one neat, tight, compact volume. That's not the norm. Sorry to break it to you.

So, you have big ideas and what you think are many of them. Fine, good. But do me and everyone else a favour: please be sure to tell us who that odd man/lady/dog/ghost was before ending book 1. You cannot simply foreshadow with a new character, have them pop in occasionally, and then not let the reader know what the point of all of this secrecy/suspicion/intrigue/mind game was. Do you know what answer I inevitably get when I ask writers about said mystery character: I'm saving that for book 2.

NO! You are not and cannot save that for book 2. Do you want to know why? Because I'll be too pissed off at you, dear author, to bother reading book 2, that's why. Readers hate trickery, they love closure. So please close off all loose ends and make sure your book 1 is complete in and of itself. It should be able to stand alone and apart from the others. Don't make readers have to read/buy another book. Never a good tactic.

My suggestion to all you trilogy writers out there is to write your book, with as many of the ideas as you have set out, and just write. Forget length, just tell the story. I suspect that 8 times out of 10 one volume will suffice. By the time you edit and tweak and tighten, that 1000 page tome will be a succinct, fast-paced 500 pages that tells a multi-level, rich, detailed story without the need to drag it on over many volumes that are weak, scattered, and grasping at life.

Summarizing your story

2010-03-31T14:40:00.000-04:00

A writer asked me today if I had any advice on how to summarize a story into 150 words. This is what I told her:

Take a book you love and know well, really well. Write 150 words on what that book is about. You'll be able to do it because you love and know the book.

Now apply that same skill to your book.

It's been said by many before me, but I say it here again: If you (or anyone) are having trouble summing up your book, is it because it lacks focus? Just a thought.

Write those 150 words as you would tell it to someone who asks, What's your story about?

Have you read over your work?

2010-03-29T11:15:00.000-04:00

I'm constantly surprised by the errors that plague many manuscripts and documents I edit. I often wonder if the writer has bothered to review the work before sending it out. I recently mentioned a technical document I edited that was in rough shape. Clearly, the writers did not go back and read over the document because if they had, they would have fixed the dozens of spelling mistakes, completed unfinished sentences and ideas, and would have known material was in places that made no logical sense.

I am fairly certain most writers don't read over their work, and it's mostly because they are done with it, had enough. I know. I write and you get to a point where you can't stomach to read it or you are so tired of the project you simply want to pass it on - and off.

But don't, dear reader. Put it aside for a day, a week, a month - whatever you can afford. Then return to it with a fresh perspective. When you do, you'll see the flaws, gaps, and errors and will be in a better state of mind to fix them.

Don't release unfinished work, even if it's going to an editor. If you can get it in as good a shape as you can, the editor spends less time on minor things (like spelling) and can focus on the big picture. Oh. And less time with the editor = less money out of your pocket. You know what they say - time is money.

When type became standardized

2010-03-25T09:50:00.000-04:00

In 1878, standardized sizes of type became a reality - and was very much needed. A point system was adopted that year, a system created by French typographer Pierre Simon Fournier.

The system is based on a unit of measurement called a point, which is roughly 1/72 of an inch. Twelve points equals a pica (another unit of typographical measurement). Six picas equals one inch.

Now you know.

Editing ... by the numbers

2010-03-11T12:44:00.001-05:00

Many potential clients are taken aback by what it costs to hire an editor. I think few realize that it's actually a craft and skill that people have to learn. Editors have degrees, and have studied and gone to school, and have gained their experience through years of training and studying the things that need to be studied to whip prose and text into shape. I myself have a degree in English and a post-grad certificate in Book and Magazine Publishing along with 11 years of real-world experience. We aren't lawyers, so we don't charge $400 an hour, but asking for $40-80 per hour is not unreasonable. What do you pay your hairdresser, your masseuse, graphic designer, plumber? That rate and more.

So to those who have no idea what to expect to pay an editor, let me give you some info you can digest before approaching an editor, spending an hour discussing the project, and having that editor prepare a quote (which also takes time), only to discover that in fact you are put off by how much it costs and won't pursue the relationship any further. Consider this your research and save us all some time.

Most editors can copy edit 1000-1500 words per hour, which is 4-6 pages per hour. (Generally, this number is lower with substantive edits and can be doubled for proofreads.)

Yes, that's right: 4-6 pages per hour.

Now, say you have a 100,000 word manuscript. Divide 100,000 by 1500. That's the number of hours it will take to edit your manuscript. In this case, it's 66 hours.

Most people have no idea that editing a book can take that long, but it does and many times even longer.

Multiply your hours by the average per hour rate and you have your fee. If an editor bills out at $40 per hour, expect to pay $2640. Not unreasonable to turn your project into crisp, clean shape. You have to think of it in terms of value: what value does this bring me? Obviously, for example, if it's a self-published work, the value could be quite a bit if you sell a lot of books.

2010-03-08T15:03:00.002-05:00

Writing a novel is like driving a car at night. You can only see as far as your headlights, but you can make the whole trip that way.

~E.L. Doctorow

Romance writers, pay attention!

2010-03-05T20:07:00.001-05:00

I could have told you this, I was an editor at Harlequin for 7 years, but a couple of people 'studied' Harlequins and discovered the top words used in Harlequin books. If you want a good chance at getting published, try throwing one or many of these words around:

cowboy
rancher
prince
marriage
wedding
pregnant
babies
Texas (huge seller!!)
secret

The value of a (good) editor

2010-03-05T14:57:00.004-05:00

I got an urgent call from a man who was in Toronto on business. He had a technical document he had to present to a ministry within the government. He works for a huge software development company. Apparently this document he presented to the client was in desperate need of a restructure and copy edit. Poor guy. I got the feeling he had his tail between his legs. I said I could look at it and even make it a priority for the week.

Well, no wonder he called in a panic - it was in rough shape. There were typos and grammatical flaws all over the place and the structure didn't work. I was a little surprised that this document had been submitted as is, but that's so often the case: People in business don't think of the next step as the editing step. They go from document creation to document presentation.

Long story short, this top executive emailed back after reviewing the edit and said I was doing a great job and had added huge value for him and to the document. So you see, everyone needs an editor. We can help make you look better. I just wish I could make all executives come to realize that!

My point: never underestimate the value in having a fresh set of eyes review your work, no matter what that work is.

Your reputation's on the line.

Debunking agent myth #1

2010-02-25T13:58:00.004-05:00

A woman called me yesterday asking if I do manuscript evaluations. Yes, of course I said. I've done hundreds upon hundreds. Seems this new writer has an 'agent' that has requested to see her book, but before said 'agent' goes forward with her as a client, this agent has asked her to get an editor to evaluate her manuscript to see if it's publishable.

Wait a sec, hold on. Did I hear that right? Yes, it seems, I did. This 'agent' is asking this new writer and potential client to deliver a third-party evaluation on a manuscript said agent currently has in his or her possession. Huh?

An agent's first job is to read a manuscript for viability and to determine its chance for publication success. The agent has to believe in the manuscript in order to SELL the manuscript. It doesn't matter at all what another person thinks of the manuscript. The agent first and foremeost needs to believe in the writer and the manuscript.

I knew this agent was not a real agent the minute I heard this woman tell me that she would pass my "credentials" on to the agent because the agent would pick the right editor to do the assessment. I'm totally sniffing a scam if there ever was one. My best bet is that none of her editor choices will suit the agent. Who then will? Oh, some editor he/she has worked with for a long time or someone he/she will 'recommend'.

This is a common game among shady agents and that's why writers need to be careful. This game involves an agent and editor (that is suggested by the agent) sharing the profit from an edit or manuscript evalaution that the new author gets because said agent suggested author had to do this in order to get signed. BEWARE if you run into an agent that suggests you get an evaluation or edit on a manuscript, and even moreso if they give you names of editors. It's a scam and will only cost you money and heartache. Leave and do not sign ANY contracts.

An agent is your first reader. He/she should and does often lightly edit if need be or will tell you to edit yourself. If YOU want to hire an editor, fine. But no good agent will tell you as much. If your book sucks that much, they won't take you on. Bottom line. They make money off of writers (hello, 15% commission) so they want talented writers who are pretty much ready to package up to submit to potential publishers.

2010-02-23T09:37:00.001-05:00

Margaret Atwood's rules for writers
From: The Guardian, February 22, 2010

1 Take a pencil to write with on aeroplanes. Pens leak. But if the pencil breaks, you can't sharpen it on the plane, because you can't take knives with you. Therefore: take two pencils.

2 If both pencils break, you can do a rough sharpening job with a nail file of the metal or glass type.

3 Take something to write on. Paper is good. In a pinch, pieces of wood or your arm will do.

4 If you're using a computer, always safeguard new text with a memory stick.

5 Do back exercises. Pain is distracting.

6 Hold the reader's attention. (This is likely to work better if you can hold your own.) But you don't know who the reader is, so it's like shooting fish with a slingshot in the dark. What fascinates A will bore the pants off B.

7 You most likely need a thesaurus, a rudimentary grammar book, and a grip on reality. This latter means: there's no free lunch. Writing is work. It's also gambling. You don't get a pension plan. Other people can help you a bit, but essentially you're on your own. Nobody is making you do this: you chose it, so don't whine.

8 You can never read your own book with the innocent anticipation that comes with that first delicious page of a new book, because you wrote the thing. You've been backstage. You've seen how the rabbits were smuggled into the hat. Therefore ask a reading friend or two to look at it before you give it to anyone in the publishing business. This friend should not be someone with whom you have a romantic relationship, unless you want to break up.

9 Don't sit down in the middle of the woods. If you're lost in the plot or blocked, retrace your steps to where you went wrong. Then take the other road. And/or change the person. Change the tense. Change the opening page.

10 Prayer might work. Or reading something else. Or a constant visualisation of the holy grail that is the finished, published version of your resplendent book.

Interview with Beth Solheim, author of At Witt's End

2010-02-11T12:42:00.006-05:00

Beth and I 'met' a few years back. I was agenting at the time and her manuscript was one of many I had received as a new agent and agency. I took her on immediately after having read the story. I thought it had great potential and deserved to be published because it would entertain so many other people. I was unable to land a contract for Beth - publishing houses weren't interested. I gave up the agency not too long after losing faith in the whole publishing system and set Beth on her journey to publishing once more. I am thrilled that Beth found a publisher that has recognized her storytelling abilities and the pleasure that is At Witt's End. Congrats, Beth!

Explain the path you took to getting published.

I dove in thinking I could write a mystery. WRONG! After several very humiliating rejections, including one from a publisher who indicated I should never be allowed to hold a pen in my hand again, I retreated to square one and studied the craft of writing. On-line writer’s classes, genre selection, critique groups, plotting, characterization, and outlining became an obsession. So did reading mysteries. Sadly, I had to admit that the caustic review had been accurate, but it gave me the desire to ‘learn’ how to write. Oh yes, and to prove him WRONG! Sweet revenge.

I work full time, so evenings and weekends were set aside for writing. I set a word-count goal for each week and adhered to it faithfully. When the first manuscript draft was complete, it was time to tackle the edits. Then, two more rounds of edits. I don’t believe a manuscript is ever final until it goes to press. There’s always that desire to ‘make it better’.

Did an agent place your book or did you do it on your own?

After my writing improved, I secured an agent. Having someone believe in my work was the biggest rush I’ve ever experienced. She actually believed in me. Her name was Alethea Spiridon. At that time, Alethea had a literary agency and was building her stable of writers. I was one of the fortunate authors she chose to represent. After a series of events, Alethea elected to close her literary agency and pursue another avenue.

When that happened, I decided to approach smaller publishing houses who accepted unagented submissions. To my amazement, I quickly received two offers and signed with Echelon Press.

What advantages/disadvantages do you see to having an agent and not having
one?

Large publishing houses rarely accept unagented submissions. That’s a major reason to secure an agent. Even more important are the edit recommendations an agent makes prior to submitting to publishers. Agents know the business and know what each publishing house is looking for. I feel the edits Alethea recommended helped make my manuscript shine. I’m forever grateful for her input.

Once with your publisher, how did you find the editorial process? Did you
find it reasonable or overbearing?

Extremely reasonable. My editor pointed out a few areas that needed improvement, recommended tweaking a couple grammar issues, and then let me make decisions. After the first edit session, she did two more readings before it went to a line editor. I’ve heard nightmare stories about working with editors, but my experience was delightful.

Do you have a marketing plan in place or is the publishing house handling
this aspect?

I have an extensive marketing plan. It includes Facebook, Twitter, a website, two blogs I host, and guest blogging on a variety of other blog sites. I also have a book tour, library visits, book fairs and teaching writing classes mapped out for the balance of 2010. I’m mailing a brochure and bookmark to over 1400 libraries and 900 bookstores across the country and have several newspaper, radio and television interviews scheduled. It’s up to every author to promote. Readers won’t find us if we aren’t visible. Yes, publishers promote, but they can’t put the unique, personal spin on marketing that the author can.

Did you ever consider self-publishing?

I didn’t consider self-publishing. I wanted the validation of acceptance by a legitimate publisher. I admire those who dare take a chance on self-publishing. They are brave souls.

Any tips to writers looking to get published?

Persevere!
Be open to constructive criticism.
Write what you believe.

It’s easy to offer advice, but not easy to follow. Rejection is difficult for even the most seasoned writer. It hurts. If you’re lucky to receive a rejection with comments, learn from those comments. You may or may not agree, but if it’s grammar, pacing, POV issues, work on them. Improve your craft. Remember there will be that special someone who loves your work and will offer a contract.

http://www.bsolheim.com/
http://mysteriesandchitchat.blogspot.com/
http://readingminnesota.blogspot.com/

Available on Amazon.com

The Ugly Truth About Getting Your Book Published | Phil Cooke The Change Revolution

2010-01-27T06:36:00.001-05:00

The Ugly Truth About Getting Your Book Published Phil Cooke The Change Revolution

A must read for all writers.

The Death of the Slush Pile

2010-01-26T13:14:00.000-05:00

Really interesting. Click on the link for the full story.

By Katherine Rosman January 22, 2010 The Wall Street Journal

http://online.wsj.com/article/SB10001424052748703414504575001271351446274.html#

In 1991, a book editor at Random House pulled from the heaps of unsolicited manuscripts a novel about a murder that roils a Baltimore suburb. Written by a first-time author and mother named Mary Cahill, "Carpool" was published to fanfare. Ms. Cahill was interviewed on the "Today" show. "Carpool" was a best seller.
That was the last time Random House, the largest publisher in the U.S., remembers publishing anything found in a slush pile. Today, Random House and most of its major counterparts refuse to accept unsolicited material.
When Minnesota mom Ms. Guest sent out "Ordinary People" in 1975, it was refused by the first publisher. Another wrote, "While the book has some satiric bite, overall the level of writing does not sustain interest and we will have to decline it." It became a best seller and a movie.
Getting plucked from the slush pile was always a long shot—in large part, editors and Hollywood development executives say, because most unsolicited material has gone unsolicited for good reason. But it did happen for some: Philip Roth, Anne Frank, Judith Guest. And so to legions of would-be novelists, journalists and screenwriters—not to mention "D-girls" and "manuscripts girls" from Hollywood to New York who held the hope that finding a gem might catapult them from entry level to expense account—the slush pile represented The Dream.
Now, slush is dead, or close to extinction. Film and television producers won't read anything not certified by an agent because producers are afraid of being accused of stealing ideas and material. Most book publishers have stopped accepting book proposals that are not submitted by agents. Magazines say they can scarcely afford the manpower to cull through the piles looking for the Next Big Thing..… [click link for rest of story]

Keep a List of Your Most Common Language Errors

2010-01-14T06:16:00.004-05:00

Here's part of an article that is interesting, written by Peter Clark a writing teacher in Florida. You can read the full article here: www.poynter.org/column.asp?id=78&aid=173930. I have copied what he says are the most common writing errors he found among his students.

"In three years of teaching that course, I learned that students -- some of them in their thirties and forties -- committed many of the same errors in class after class.

- They wrote unintended sentence fragments.
- They wrote run-on sentences or spliced together sentences with a lowly comma.
- They failed to make subjects agree with verbs, or pronouns with antecedents.
- They misplaced modifiers. ("Last night I shot an elephant in my pajamas. How he got in my pajamas I'll never know.")
- They confused "who" and "whom" and made other case errors.
- They could not form the possessive correctly.
- They misspelled many words.
- They had little control of punctuation.
- They'd often confuse one word or phrase for another ("discrete" with "discreet"). "

January special

2010-01-13T08:52:00.003-05:00

Get 10% off any service in the month of January. Mention promotional code blogspecial0110 to receive your discount.

In Media Res

2010-01-11T06:34:00.003-05:00

To be completely effective, begin your story at the time of change that threatens your main character’s self concept or that changes their world in some way. This is usually in the "middle of affairs." This technique allows the story to start off at an exciting, pivotal, and engaging time in the character's life.

If your story requires back story, do not pad the story with information from the past, or scenes leading up to the currrent moment of action (which is where the story should begin). This is a classic newbie mistake.

Just get to the story - any important details about a character's life can be conveyed through dialogue, actions, and some exposition later on.

Novelist Bobby Hutchinson talks about publishing

2009-09-22T06:47:00.010-04:00

Bobby Hutchinson, glorious writer of romance novels extraordinaire, is a charming, delightful woman - and a dear friend - whom I've had the pleasure of working with for over eight years.

She's a real treat of a human being, and one heck of a writer. Her latest book is a self-published effort this time and a foray into non-fiction. Blue Collar B&B: Adventures in Hospitality is one of the funniest, warmest books I've read in a long time; the characters come to life and you literally feel like you are in the B&B with them all.

Below is an interview with Bobby. Read it and see the mark of a true writer. We will all learn something to help our craft.

"So, after 55 romances published by various companies, and a career that had earned me a decent living for a lot of years, I came to a place where I truly thought I'd never write again. I'd started having rejections on numerous proposals, and at first I thought it was me. I'd lost "it", whatever "it" was. But I talked to writing friends, and realized I wasn't alone. No one--editors, publishers, agents--seemed to know what the hell they wanted anymore. The economic downturn had hit the publishing industry with a wallop.

As writers, our royalties were going south at an alarming rate, and editors were increasingly dictating exactly what they wanted--even though they didn't seem to know for sure. More babies, they said. More cowboys, more traditional, family oriented stories--but not THAT story, sorry. Could you just work up another proposal? The stress and negativity were overwhelming, so I simply stopped writing and concentrated on my B&B.

But stopping writing is a little like stopping breathing for me. In the afternoons, in my spare time, I started scribbling down little stories about the B&B. And pretty soon I had a book, and because I'm a businessperson at heart, I started looking for an agent or a publisher. And out of the few that bothered even replying to my queries, I repeatedly heard: "This sounds like an amusing story with potential, but at the moment there's no market for this type of material."

Crap. I'm a woman of a certain age, and I began to suspect that by the time I sold this new book I'd be too far gone to remember I even wrote it. Frustrated with a new batch of rejections, boggled by the technology and know-how involved in true self-publishing, I started to research Print On Demand--and fell into a quagmire of options.

It seemed Print On Demand was a huge business, and growing exponentially. No one out there on the Net seemed to be able to say which company was best, mostly because each writer had a different reason for going POD. And to begin with, I knew less than nothing about it. So I read everything I could find, and the best information was in The Fine Print of Self Publishing, by Mark Levine.

I phoned him for personal advice, and he mentioned that he and a partner had a POD company of their own, Mill City Press. It certainly wasn't the least expensive option available--but I'd learned that the royalty fees charged by the majority of companies meant it was nearly impossible to make a profit on a POD book. Mill City Press offered no printing markups and 100% royalties. Their fees were upfront, and the writer could decide which extras they wanted, in the form of book marketing, publicity, etc.

I opted for the plan that I felt would give Blue Collar B&B the best opportunity in a difficult marketplace. I've had tremendous support and enthusiasm from the talented people at Mill City, and from you, Alethea--my all-time favorite editor. I'm delighted with the book. I feel the money I spent on it was a valuable education. I learned more about publishing and publicity and self promotion in the five months it took to produce Blue Collar B&B, Adventures in Hospitality, than I learned during the writing and publishing of the previous fifty-five books. I'm excited about writing again; I can't wait to get the next book underway.

Funny you should ask about promotion. Dan Poynter, the guru of self publishing, asks if there's any other industry but traditional publishing that pushes out thousands of new products a year, but offers marketing support to only a handful, those they already consider best sellers. Look what's happened to the traditional music industry, the movie business, FM radio. It's a digital era. New material goes direct from artist to consumer these days, without the expensive (and outdated) middleman.

I'm asking people who read my book and like it (Love it?? God, I hope so!) to tell their friends on Facebook, on Twitter, on whatever Web connection they use. I'm making the book available as an Ebook, and for those who use Kindle. I'm writing blogs everyday on my website (www.bobbyhutchinson.com) to attract readers. I'm sending out press releases to ezines, newspapers, shamelessly pursuing interviews on the Net and also with TV and radio. I'm selling the book myself at the B&B at the rate of one or two a day (thank you, guests,) and setting up a tent on weekends at local farmer's markets, offering free advice on writing and romance--and oh yeah, selling Blue Collar. I'm offering my services as a speaker at book clubs (and selling my book.) I'm going to promote the hell out of both me and my baby. Ask me in a year how it's going--this is new territory for me. I had barely an ounce of promotion on any of my previous books. I was too stupid (and too contracted) to get out and do it myself.

What made me write a non fiction book? I was just having fun, doing something I hadn't done before. And I loved it. I plan to do it over and over again. The only thing we truly have that belongs only to us is our life experience. If I can use mine to make someone laugh, make 'em cry, make 'em wait--and make money doing it--where's the downside?

As to making money on non fiction, look at these figures, from non fiction writer Mark McCutcheon and Publisher's Weekly. Of the 50,000 plus commercial books published each year, 3,500 are novels. Romances account for 1/3 of those. Not counting genre titles, only about 120 fiction releases are first novels. Of these, 3 out of 4 will not earn out their advance, usually under $10,000--and these days, more like $5,000.

Which leaves 46,500 nonfiction books being published. So for the aspiring writer, your odds of selling are 15 times greater with non fiction versus fiction--but your odds of having your book stay in print and earn money for you are also much greater.

For those starting out as writers, I'd try the traditional route first. Self publishing, even POD, can be overwhelming, and let's face it, getting paid is nicer than paying. Also, new writers need the feedback that editors supply. I learned so much from my editors, and I'm grateful to them.

But my number one tip? Don't get discouraged by that pile of rejections. Keep sending out material. But also find someone not related to you, who reads a lot, to read your work and give you an HONEST critique. If you--and several independent readers who are not your friends--honestly feel your work is amazing and unique and fascinating and original, and it hasn't sold within a reasonable amount of time (a year or two,) then learn all you can about self publishing.

Email me. I'll help if I can."

Bobby

Interview with self-published writer Kent Allan Rees

2009-09-04T15:45:00.003-04:00

Molly Withers and the Golden Tree is a wonderful children's story, but really, adults will glean so much from it. I had the immense pleasure of working on the second edition of Molly with Kent and I'm thrilled to see it in print. Check out the site and see how truly magical it is: http://www.mollywithers.com/

How long did it take you to write the first draft of Molly?
The initial draft for Molly took 8 months. I have no idea if that's quick, or slow, but it certainly went by in a blink...I loved it.

Why did you self-publish?
Great question. I initially tried finding a traditional brick and mortar publisher, but didn't have the patience for that particular adventure (at the time). I was so motivated and so driven by my new found passion, that I refused to wait for a golden nod from an editor's assitant. I knew I had a great story (the beginning of a great series), and I just had to get it out there.

How did you find self-publishing? Any tips for readers?
Wow...Looking back, I don't know if I'd take the self publishing route again...You'll need to do some soul searching to see what you're all about. Ultimately, I want a traditional publisher. I have always wanted a traditional publisher...I just hoped I could find that traditional publisher while promoting a self published title for a period. The caution flags are these - many publishers will not consider a self published title; when dealing with stores/chains, self published authors work completely on a consignment basis, and you will find out red tape abounds - such as signage needing to be signed off by HEAD OFFICE, or not being permitted to do book signings during the Christmas Rush; and, of course, trying to convince respected media, such as the Toronto Star, to review a self published title is more painful than surgery without anaesthesia. And there's more to consider. You will easily find Self Publishing companies willing to do all the formatting for you (meaning they will make your story look like a book), but as far as major marketing, you're on your own. I checked out dozens of self published titles, and I found none of them had a wow factor for me...all somewhat plain...and I needed wow... Plus, I wanted complete control...I knew how I wanted my book formatted, and I knew exactly how I wanted the cover to look...so rather than have someone else create some generic- looking book cover, I dealt directly with a printing company, which keeps the author's cost per book at the very lowest it can be (though, you will have to purchase appx 1000 copies at a time). To deal with a print house directly, you essentially need two files...a cover, and the guts...which means you'll need a graphic designer...no problem. What I soon found was this: as soon as you are brave enough to share your Dreams with everyone you meet, people come out of the woodwork to help you get there...In virtually no time, I had an artist and a graphic designer cheering for me, and I was off to the races. You really need to ask youself how much of the work are you willing to do...if it's your nature to want your hands in all the pies, you can have control over every little aspect of the book creation process - right down to cover and paper stock. If you simply have a story you need to tell, and are not deeply attached to the creation process, there are 100's of self publishing companies out there that will make it look like a book, and give you a product to peddle. Maybe you're somewhere in the middle, and you can find that balance too. If you are a traditionalist, by all means, start your publishing house research - key word there research.

Would being published by a traditional publisher (as opposed to the self-pubbed route) have more meaning to you?
That's a slippery question. My gut reaction is to say 'no,' but upon closer inspection of my feelings, I am forced to say an overwhelming YES. Here's why. I can pat myself on the back for taking this project and seeing it through - writing a book, finding an amazing editor, creating the cover that I wanted, and organizing successful book signings coast to coast. But the reality is this: I have only just finished one leg of the journey. Don't get me wrong. I am quite pleased with how much I have been able to accomplish in a short period of time. And, it would be easy to stop here and say: "hey, I did my best." But there's the rub - To really see this journey through, means finding that traditional publisher and finishing the series - then, and only then, will I truly be able to say that I saw it through to the end.

Any tips on writing?
Sure...Lighten up. Take your craft seriously, sure, but ease up on yourself. Do your research, and make the most of your time. I'd wager most writers start out with other jobs on the go, so be smart with time management. You can bank on it saving you time in the long run. I'd also offer sticking with stories that you are completely passionate about. You'll need that passion to keep you going during the more troubling hours. You have to love the process and you have to become an advocate for yourself. There's some fine mettle in the saying The squeaky wheel gets the oil. You have to love your story so much, that you'd pitch it to strangers. Book signings, for the record, are fantastic for spreading the word, and for building confidence. Get a couple under your belt, and you'll have your pitch fine tuned. After all, it might be the case that you won't start out sitting behind a lofty desk with a cushy chair, simply signing books for millions of your fans. You'll be there, perhaps by yourself, looking for just one friendly face to share your story with. Then, if you're lucky, that friendly face will buy a copy and get you to sign it for them. Build on that, and don't forget it. You'll only ever get to sell that"first" copy at a book signing, so cherish it.

Where can we buy the book? Anyone in the world can order signed or signed copies of my book on my website http"http://www.mollywithers.com/ (shipping is free for all North American orders). And for a list of stores, you can visit http://www.mollywithers.com/at.htm For volume purchases by schools or bookstores, kindly contact my distributor http://www.downhomelife.com/article.php?id=5

3-Day Novel Writing Contest

2009-09-03T07:36:00.004-04:00

A literary marathon, indeed. For those of you up to a challenge and with nothing else to do this Labour Day long weekend, why not attempt this gruelling writing contest? http://www.3daynovel.com/

I had a chance to secure a few tips from the folks who sponsor the contest. They are below. If you attempt this challenge, good luck!

Everyone approaches 3-Day differently ---
some have a detailed outline,
some have none at all,
some write 20 hours a day,
some keep a healthy schedule.
But here's some general advice:

1. Go in with a very light outline, or 'storyboard'. Consider writing notes on each chapter on recipe cards and taping them to the wall above your computer. Then be prepared to abandon your outline or to sacrifice plot points if inspiration takes you or you are running out of time.

2. Get a decent amount of sleep, make sure to stock the fridge with some quick, healthy snacks, and get outside for a walk at least once a day--that will help refill the creative well.

3. Keep your expectations reasonable! This is a creative experiment. Don't expect to produce the Great North American Novel.

4. Leave time for a quick read-over and proof on Monday night, but don't read too deep or get too hung up on editing. You'll just freak yourself out, and the judges expect it to be rough.

What to do when it all falls apart

2009-07-23T11:12:00.003-04:00

I think it’s fair to say that my entire career has been enveloped in a shadow of fear: fear of getting sick. I worked in-house [for a company] for many years and was keenly aware of my allotted 10 sick days a year. The stress caused by this dismal number made me sicker! Ten days? I get the flu once and I would be out of commission for seven days. Add children to the mix, and 10 days can blow by before the first thaw. And then you’re expected to trot into work during flu season because your sick days were used up in April. Ahhhh!

Though working freelance has enormous perks (mid-day naps when you just aren’t feeling 100 per cent, bunking off Fridays because you’d rather work Sunday, or late starts to the day), we still need some kind of contingency plan for when we fall sick. I’m referring here to the usual everyday illnesses we suffer, not the I-need-disability-insurance kind of illness. That’s a whole other plan of attack.

I’m guffawing at my own attempt at seeming so well-organized that I have a “plan” for when I get sick. I mostly do an awful lot of praying and deal-making with the universe, along with taking 1200 mg of vitamin C (ramped up to 1800 when I am under the weather) and half a bottle of Bio-K Plus every day to help my immune system boot out as many germs as it can. (Bio-K is fermented milk which helps increase your immune system. It was prescribed to me by Homeopathic Doctor.)

But what do you do when you’re on deadline and are flattened by a debilitating virus or bacterial infection? I suffered a bacterial skin infection in my right hand in January and was on antibiotics that made me loopy. Of course, I had four projects on the go at the time. What did I do? I sent emails informing clients of the situation and said I’d be late a few days. Most times, people are very understanding.

I was curious to see, though, if a seasoned writer had any better tools/tips for recovery so I e-mailed an author friend of mine, Bobby Hutchinson, to see what she had to say. I share it here for you:

“The rule of thumb is: if you're on deadline, anything dastardly that can go wrong, will. I always skate close to open water (leave everything to the last minute,) and was already behind when I broke my right wrist, two weeks before my book was due. The cast went from my fingers to my elbow, making typing nearly impossible. I panicked and immediately ordered Naturally Speaking, a voice recognition program. Well, my naturally speaking voice obviously didn't marry up with the professional variety and what resulted was a sort of logical gibberish with little relation to my story, and only a vague kinship with English.

I persevered for several days and when I reached the point where suicide was a viable option, I finally gave up, called my editor and asked for a lengthy extension, which was graciously granted (by me -- I was her editor at the time!). But when the cast comes off, getting back in the game is much harder than opting out because now you're no longer in the habit of brushing your teeth and sitting down to write. You've become a creature of leisure, albeit one with desperate financial problems. Besides that, if you're anything like me, you've now forgotten any vague plan you had for the original story. All you can do is get through it any way you can.

Walking, mundane as it is, gets me through many writing crises and keeps my behind from exceeding the width of my chair. Reading also works, especially if the author blurb contains some reference to the writer having written the book while suffering from typhoid fever. Two days babysitting small children is also a great way to get back to writing, and feeling blessed--as in, 'Thank God they're gone and I'm too old to have any more of my own.' And there's always Green Drink, a disgusting concoction of blue-green algae, fresh ginger, soy protein, water and a banana. The last, drastic resource is a sign I have taped to my desk. It says: OK, God. You do quality, I'll do quantity.”

So, it seems that regardless of the number of years we’ve put in, whether we write fiction or magazine pieces, work full-time or sporadically, when due dates loom in the midst of things falling apart, we are all equal. There is no magic formula or fail-proof plan for recovery from health setbacks, except for doing all that you can to get through and saying a little prayer for good measure.

When life pushes, push back!

What's an hour worth?

2009-06-15T10:32:00.002-04:00

I write a Writing Life column for the PWAC newsletter and wanted to share this particular column with you. Give it some thought.

Lately, I’ve been thinking about rates. I’ve often second-guessed the rates I charge, and am never fully confident I’ve priced accordingly. Is it too high? Too low? What are others charging?

This topic comes up occasionally on the PWAC List and on the EAC’s member discussion list. When it does, I pay attention, especially when senior members join in. One member wrote that freelancers shouldn’t shy away from raising rates significantly – I think the word double was used. I was gobsmacked. I can barely convince people to pay me what they do now, let alone twice that figure!

Reservations aside, I followed the suggestion ─ more to investigate “what the market can bear” ─ and implemented a rate increase I was comfortable with. I went up $10/hr. It felt right because it was more in keeping with what I believe I’m worthy of making. After all, I had spent over $70,000 on my education, so why shouldn’t I make a decent amount of money per hour/per assignment? I’m not some loafer hiring out services because my friends say I ‘write and edit great’. But that’s how many people treat writers and editors, as though it’s a skill anyone can pull off. The state of the English language is in such perpetual decline, I’m not certain people care if their writing is accurate, clear, and grammatically correct. (A few weeks ago I saw a print ad with the following headline: You’ed better watch out.)

I decided to scrutinize the nebulous world of rates so I could compare average writing rates against what others (in different service sectors) are charging for hourly work. The results are ludicrous. Consider these hourly rates (based on industry averages):

Hair stylist: $50
Graphic/web designer: $85
Duct cleaning: $150
Massage (RMT):$85
Make-up application: $65
SEO services: $100
Pedicure: $70
Spiritual tarot reading: $120
Colour consultations: $70

And my personal favourite, Undesirable Energy Removal from the Home: a whopping $200/hr.

When I realized my stylist makes more per hour than I do, and new age charlatans charge exorbitant rates for craftily-created bogus services, my sense of entitlement intensified. Where in the scheme of things does this make sense? You scrub my feet for an hour, cut my hair, vacuum my ducts, rub my back and make more money than educated, skilled professionals who spend years pursuing post-secondary educations? It’s absurd. I’m ready to take to the streets, burn my bra (whoops – wrong march, but a heck of an idea anyway), call my MP. Seriously, what can writers and editors do to get the respect deserved, in payment form?

My little experiment, you ask. How did it go? In the beginning, it seemed to work in my favour. But overall, it’s been a complete and utter bust. I have never before in the history of my 11-year career as a freelance writer and editor had so many people tell me they found someone else with more affordable rates. Either I’m being undercut by newbies charging out at $20/hr or people are less willing to part with their cash.

In these difficult economic times, I’ve decided to no longer quote at the higher rate. I need that competitive edge and that extra $10/hr shoved me out of the game completely. Maybe I should dust off my pack of Tarot cards and start reading people’s futures ─ I know mine could potentially include a cushy $120/hr.

The ideal client: Part 1

2009-06-01T14:23:00.003-04:00

You want the right editor, the one person that will 'get' what you're trying to accomplish and who can fulfill that vision. Fair enough. But editors have needs, too, as odd a statement as that might seem. I've been doing this editing thing for a while now and I've worked with hundreds of people on various types of projects: manuscripts, textbooks, book proposals, poetry, short stories, user guides and so on.

Before you begin any new project, you discuss in great detail expectations and desired outcome. As the client, you do need to educate yourself to some extent on what kind of editing you require. I take the time to explain at great length to many people the types of edits available and the process as a whole, but still, it evades most, mostly because they are too eager to get the project done and have it looking like a million bucks -- because an editor will make it perfect, right?

Um, that all depends on how much money and time you've allowed said editor. With enough time, a project can be whipped into great shape. A perfect product? I don't think that exists -- ask any published author who finds typos and such in their books. Typos happen. You as an individual don't have enough money to fund the kind of perfection you are looking for: the man hours and sets of eyes required to ensure a project is as close to perfect as possible are astronomical and therefore pricey. At Harlequin (when I worked there), a manuscript was looked at by at least 10 sets of eyes before getting printed. Love them or hate them, they follow a rigorous process to ensure an error-free finished product. But most of us aren't major mass market paperback publishers and so our pockets aren't as deep. (For defintions of types of edit, see http://www.editors.ca/hire/definitions.html.

So, my ideal client is aware of these pitfalls and is ready to deal with it by coming to the table with a reasonable expectation of what can be done given the budget allowed. Another 'nice to have' is a client that actually knows what they want. Please don't come to me and say you need me to bring something "to life" and not be willing to pay for the hours necessary to do that. A substantive edit alone won't bring something to life - rewriting will. Make sure you need an editor and not a writer first. Make sure you know what you need so that you aren't disappointed.

Order of Operations

2009-03-31T07:17:00.002-04:00

I have many clients requesting edits in a sequence that defies my editorial logic, and the only reason is because I've been doing this for so long and have a handle on the process, whereas many others do not. So when I get asked for a proofread in the same line as a request for my opinion on whether the book 'works' or not, I get worried.

Why? Well, essentially because a proofread is the very last editorial function (edit wise) that gets done before going to print. It's meant to catch minor errors, omissions, and any inconsistencies that may have been missed. So if you aren't sure your book is ready yet and are still seeking feedback, don't get a proofread - get a manuscript evaluation or substantive edit. These two edits will give you what you need to improve on your work. A proofread will not.

So, I will quickly outline here what I refer to as the editorial order of operations - the editing stages a manuscript goes through, and in the usual order.

For descriptions of edits, visit my website: www.freelanceeditor.ca.

Editing Order of Operations

Manuscript Evaluation or Substantive Edit
Line Edit (Stylistic Edit)
Copy Edit
Proofread

To get a manuscript in near-perfect condition requires hundreds of hours of work. I say near perfect because errors happen and things get missed, regardless of how many millions of books an author sells. It happens. We're human. Being a bestseller does not gurantee a perfect, error-free book.

Many writers aren't aware of the actual hours invested in a published writer's work. If you were picked up by a publisher, your book would follow the order above, with some possible repeats in the sub edit category (which is where the editor works with you to hash out a publishable book, so you could be at that stage 2 or 3 times depending on how well you 'get it' as a writer and how happy you make your editor).

So, if you're looking to hire an editor, at your own expense, be mindful of the process and know that it's an investment. A good editor will charge at least $35 an hour and some go as high as $90.

Rule of 3 for the perfect query letter

2009-01-14T13:27:00.000-05:00

Be sure to mention where you found the agency/agent and information, what you’re querying about, how long it is (word count), if it’s complete, and the why the agent/agency is a good fit.
Include a brief synopsis, like book cover copy (1 paragraph, no more than 250 words). Sum it up and sell it. It should be snappy, interesting, and convey the high points of the story.
Mention who you are, writing creds if you have any, and contact info.

****Don’t be vague, unclear, artistic, or overly-hyper.

NOTE: Be honest. Self-published does not mean you’re a published writer in the conventional sense and the conventional sense is the only one that really matters. That someone else has taken a chance on you (RE: their own money) means a great deal more than you taking a “chance” on you. That you took a chance on you says nothing except that you have money to burn. Many writers try this and aren’t honest about their publishing history. We can find these things out and do.

You can mix the order of the three above, but it’s all you need for a good query.

The agent/author relationship

2008-12-15T10:27:00.000-05:00

The first thing to keep foremost in your mind is that you are looking for a partner to help you get published and for some, to help with your writing career as a whole. Therefore, the rules you learned in Kindergarten apply! Be kind, courteous, and respectful.

Don’t be obnoxious and make crazy claims that this is the agent’s next meal ticket, that rejecting them is akin to missing out on a once-in-a-lifetime opportunity. You sound like an infomercial and won’t attract much positive attention. It also suggests you have a huge ego and no one wants to work with someone who already thinks they are fabulous and need to prove this to the world. It makes the process that much harder and the relationship very difficult to manage. Be realistic.

You are looking for an agent that you can develop a positive, healthy, friendly relationship with. A business partner of sorts ─ so act and choose accordingly.

Know the agent’s name! Do not spell the name incorrectly. Double, triple check it. How awful to spell a name wrong – it means you are careless and it sets the whole thing off on the wrong foot.

Don’t say To Whom It May Concern or Dear Agent. Did you not research this? It means you didn’t take the time to properly research the agency or the agents that work there. If you aren’t sure, phone the agency and ask whatever you need to know to get it right. If they aren’t helpful, perhaps you may want to reconsider doing business with them. After all, they need you to make their business model work.

Not having any name on the query (Dear Agent or To Whom It May Concern) indicates you are more than likely sending the query to many agents. Mass mail-outs don’t look good. Be choosy – or at least give the appearance of such.

NEVER say that an agent is going to miss out on the next bestseller if they don’t review your manuscript. Don’t say you’re the next Stephen King or Nicholas Sparks. Let the agent determine that. Nobody wants to work with a diva so keep diva-like behaviour to a zero minimum. This is a relationship you want to cultivate. Be likeable and real.

If you’re looking for a “Top New York agent” and actually say so in your query, make sure you query only the top New York agents! Don’t bug the small guys – it’s insulting and a waste of time because obviously you haven’t done your homework. I once had a writer say they wanted a top US agent. I’m Canadian – what part of Toronto, Canada did they not get???

Spelling and grammar. Please make sure your letters and synopses are error proof. It seems obvious but you have no idea how many come in riddled with errors. It says so much about you. It is what you’re trying to do for money so it represents you more than you think. If you can’t get a simple letter right, what are we to think of the manuscript?

Have a completed project

2008-11-28T13:43:00.001-05:00

Don’t query on half-written, almost written material. Query on completed projects. I know you’re impatient and eager to get published; the writing is coming along nicely or maybe not so nicely so you want to query to validate your own worth and work by hopefully getting a positive response to help goad you on for the rest of the way, but you have to have the work done to properly query. Who knows what will happen in the course of your writing you could hit a major snag (someone could die or get hurt, you go bankrupt, who knows!) and not be able to complete the project in the 2-3 weeks you may have promised the agent it would be completed in.

An incomplete project is too risky for an agent to consider if you’re not already published and have a good track record. Your job is to write the book; the agent’s job is to sell it.

The Synopsis

2008-09-24T09:35:00.002-04:00

Many of you out there look to an editor to help you with your fiction projects - so this entry is for you. Below is part of a presentation I gave at a writers' conference this past April. It was directed at how to query agents, but the same rules apply regardless of intent and readership.

The synopsis: how long, what to say, and what not to say

Your synopsis should be relatively brief when querying agents, no more than three pages. If you have a longer one, also create a short one and then if you feel it necessary, mention to the agent that you have a longer synopsis they can look over if they like.

An agent’s time is cramped as it is, so you need to make things as brief as possible; agents have dozens and dozens of submissions to review, so don’t take up too much of their time. If they want to see more, they’ll ask.

The synopsis needs to tell what the story and plot are about. Open with a paragraph much like back cover copy – sum it all up, then work into how the story will flow (from start to end) in the second paragraph.

Don’t give a play-by-play of each scene – boil it down to the important parts that happen and what makes up the story. If you know your story and what it’s about and where it heads and concludes with, then a synopsis shouldn’t be too hard of a task to complete. You are telling someone about your book. There is no magical recipe; you just have to put your writing skills to good use for this exercise (and I don’t know of an author that actually enjoys the process).

After you’ve written it, read it over carefully. Does it make sense? Have you made it sound interesting? Are the main characters mentioned? Is it coherent and logical? If you’ve hit every point that needs mentioning, then you’ve done your job.

The number one reason a synopsis fails to work (in that it doesn’t resonate with the reader) is that the writer doesn’t yet have a firm grasp on their material ─ which is a good indication that there might be something wrong with the story.

Once you’ve written the synopsis, have another person (someone who has no idea about this story) read the synopsis and then quiz them on what they just read. If what you get back sounds like the story you wrote, then consider your efforts a success. But if they seem confused or don’t quite get it, something in your write-up is failing to connect with the reader. Review it, edit, and re-write. It’s your job to be absolutely clear. No editor is going to ask to see a partial or full based on a muddled synopsis. The synopsis is often your first and only chance to make that crucial first impression.

Tips

a) No dialogue! Don’t get creative and pull pieces of dialogue from the story to use in your synopsis. It makes you look lazy – don’t make an agent figure things out – spell it out for them in the synopsis.

b) Don’t pull a poignant passage or letter from the book – it means little out of context.

c) Write the synopsis in the present tense.

d) Polish, polish, polish. This, like the cover letter (query), represents you. If you fail to present a logical, coherent, and well-thought out synopsis, then you are likely going to miss out. If the synopsis rambles on and gets to no point in some time quickly, or if it’s confusing, it shows your thought process isn’t clear and that you still need to hone the story. An agent might assume you write like that, true or not. So be sure to present the cleanest, crispest copy you possibly can.

e) If your synopsis doesn’t answer “What’s the point of this novel?” then you need to go back and rework your synopsis until it does.

Web copy: KISS

2008-08-28T08:52:00.005-04:00

I've been doing a great deal of web copy writing these days and I quite love it. It fits my need to make everything concise and clear and to the point. The best writing often is all these things: clear, concise, and to the point.

Oddly, though, many, many writers and non-writers fail to see that keeping it simple is the best practice to follow. They still adhere, and often quite adamantly, to wordy, fluffy, overly-drawn writing that require an overhaul and an edit to weed out the wordiness.

I once dealt with a woman from Serbia who had a wonderful way with the English language. She wrote beautifully, but it was painfully evident that she was trying too hard to be lyrical and poetic. What she ended up doing was coming across as vain and self-indulgent; her sentences conveyed not what she meant, but that she likely didn't know how to convey what she wanted to mean. She wanted my opinion on her writing, I shared it, and she politely told me I basically had no idea about literary writing. I politely told her that I had an enormous amount of even first-hand experience with it - but to some people, it doesn't matter. They are right no matter what.

My advice to all writers: get your ego out of the way and then the real writing can begin.

My point? When writing web copy, keep it simple and short and most definitely to the point. Chunk your copy into paragraphs of no more than 60 words. Use bullets and language that the grand majority of readers will understand. Particularly keep these principles in mind when drafting your home page text - it's the first portal into your site and business and who you are. Don't muddle it up with language that has no meaning.

How to find an editor

2008-08-12T10:10:00.003-04:00

The best way to find an editor is to go through an editor's association, like the Editors' Association in Canada (http://www.editors.ca/) of which I am a member. The associations are a great place to start because they have a list of members for hire. There's an online directory that is searchable to help you find the right editor for your project. If you aren't sure, you can phone the branch location that applies to you (Toronto, BC etc) and let them know what your project is; the names and contact info for a few editors with skills that match your needs will be given to you. It's up to you to phone and interview each editor to determine the rates and personality that fit your work. Give 1 book or project to 20 different editors and you'll get 20 different edits because editing (substantive and the more involved edits anyway) are subjective.
In the US, I know of the Editorial Freelancers Association (http://www.the-efa.org/).

Google searches are also an excellent way to find freelance editors and writers. Search terms like "freelance editor" with any combination of location and type of edit will yield some results. Check out the editor's website and then contact them even for a general conversation beforehand.

Why your friends shouldn't be your editor...

2008-08-04T10:40:00.002-04:00

Just to add to the last post, I can't tell you how many people begin their conversations with me by saying that they've had all their friends, family, and co-workers read their work and have received grand reviews so the work doesn't require much editing (this is for the editing jobs on books by new and unpublished writers).

I can't stress enough how little these opinions mean (sorry) and how very unhelpful they are (when your aim is to truly improve the piece). You will not receive the same input from these folks as you would from a trained professional. They won't be able to help you with the finer details of improving the flow and cohesiveness of a story and they won't know how to guide you with improving characterization, plot, pacing, dialogue, theme, setting - all of the elements that combined make up the story.

Why you should hire an editor (or consider it)

2008-08-01T17:20:00.001-04:00

Writers need editors. Have you ever come across a spelling error in a newspaper photo caption or within the text itself? Or found character and plot inconsistencies in a novel? Or maybe you noticed the numbers didn’t add up in the facts an author used to illustrate a point. For various reasons, including the ones listed, writers need editors to catch and fix errors ─ and not just typos and grammatical faux pas.

It seems basic and obvious, but it’s surprising how many writers fight the very idea of an editor. Writers write; editors edit (and sometimes we re-write, but not very often, and not without express permission to do so).

A rule any good editor goes by is this: first, do no harm. We have to approach a writer’s work with care, understanding that the material before us does not belong to us, but rather to someone else who has spent countless hours, weeks, and often years, preparing the manuscript. We can’t go in and do a hack-job, completely altering meaning and sense, rearranging sentences and paragraphs willy-nilly. That’s’ not what it’s about, and if an editor ever did that to your work, you’d have every reason to be furious. A good editor is like a gardener, weeding what has overgrown beyond the scope of the work, adding when things have been omitted, deleting when things have been repeated.

Obviously, you’ve written that book/short story/article/essay because you have something to say and communicate to the public at large. Effective communication is clear communication, free of clutter and wordiness. As a writer, you have so many ideas vying for attention that they overcrowd your brain until some become stronger than others; but, because the mind works quickly, things eventually end up getting jotted down at random. What you think makes sense, often lacks consistency, unity, cohesiveness ─ and there comes a point where you’ve read over the work so much, that it all seems fine to you, and frankly, you just want to get the thing out of your hair and onto your publisher’s desk. That’s when you stop and pause for a brief moment. Sage advice says to put things in a drawer for a while, to not think about the work or look at it for weeks or months, even. Reality says: who has that kind of time?

Enter said editor.

Hiring an editor is an excellent way to get a second opinion and have a fresh set of eyes review the material. This is a person who has studied and trained in the art of words and language. They’ll provide an impartial assessment and analysis of what you’ve written. Yes, once returned to you, your document might be covered in red pencil (or have solid red margins from all those Track Changes), but the writing will be markedly improved. I didn’t say the ideas would be improved or altered – just the writing.

An editor will make your writing clearer and more concise. What you want to say will be error-free (no embarrassing situations for you!) and will ensure that only your best face is put forth. Bottom line: an editor can make your communication messages clear, correct, and market-appropriate. Doesn’t that make hiring an editor worth it?

* Next article: How to find an editor