Archive for the ‘Resources for Writing’ Category

After a Conference: Next Steps

March 3rd, 2015 | Career, Conferences, Resources for Writing, The Writing Craft, Uncategorized | 3 Comments

brick green no smile b:wI’ve talked before about the value of a good writer’s conference as a place to connect with mentors/writing partners and as a reward/motivating factor in meeting your writing deadlines. Since I just got back from a writer’s conference, I thought I’d talk about some post-conference steps you can take to make sure you get the most out of your experience, because as fun or as encouraging as writer’s conferences can be, you’re not getting the most out of your time and money if you don’t follow up on the new information and contacts you encountered there. Here are a few ways to maximize your conference experience after you get home.

  • Organize new contact info (before you lose it). Save email addresses and phone numbers, make notes about who was who while you still remember– if you’re keeping business cards, write some reminders on the card, such as “French parenting book” or “talked about Star Trek.” This will help you keep all your new acquaintances straight and give you a talking point to start from if you contact them in the future.
  • Compile new information/feedback. Go through your notes from workshops and meetings, look over the comments on any manuscripts you shared for critique, and highlight or copy the pieces of advice that resonated the most, as well as the pieces you have questions about or didn’t understand. This way, you have all your favorite advice in one place to look over and remind yourself of, and you have the things you need to think more about/ask more questions on in one spot for reference if you want to email the workshop teacher for clarification or decide explore a topic more at a future conference.
  • Compare advice. Between workshops, critique groups, and agent/editor meetings, you can come away from a writing conference with a whole bunch of suggestions for your work, and they’re not always going to agree! Before you can decide which advice to take, you’ll need to compare the different feedback you received. Make a list of each general piece of criticism you received– too many adjectives, voice not strong enough, pacing inconsistent, etc.– and add a check to the list for everything you heard more than once (additional checks for additional times). Don’t forget to track your positive feedback, too– if you receive multiple compliments on your characters or voice, make note of it. Anything you have more than one check mark for is probably worth some consideration, either as an area you need to work on, or as a strong point you want to continue to highlight. Consider also the source– if you were told one thing by a beginning writer in a critique group and another by a longtime editor in your genre, you should usually lend more weight to the opinion of the more experienced critic.
  • Take action. Once you’ve identified some areas for improvement or collected some strategies for improving your writing and writing habits, take specific action steps to work on those areas and implement those strategies. If your dialogue needs work, seek out some novels in your genre with great dialogue. If you got some helpful time management tips, buy a planner and revamp your schedule/goal list. If your characters are two-dimensional, find a writing partner who is great with character development.
  • Follow up with new contacts. If an agent or editor requested materials, send them. don’t wuss out! If you met a new friend who you might want to form a critique partnership with, follow up and feel them out on that possibility. If you took an especially helpful class from a faculty member, send them an email thank you– it’s always nice to hear.

Don’t let your conference experience be limited to the time you’re actually on-site. Review your new info, follow up on new connections, and take some steps to apply what you learned!

The Perks of Being in a Writing Group (a guest blog)

February 27th, 2015 | Resources for Writing, The Writing Craft | 4 Comments

I posted on Facebook once: “Spending the day with my laptop. I know you all think I’m sipping Dom Perignon and writing the next great American novel from the top of the Eiffel Tower, but I’m actually down at the coffee shop, no make-up, hair tied up, wearing a pair of white sweatpants that are so big you could play a movie on my rear end if I bent over at the drive-in theater.” I added the hashtag #thuglife.

It took all of ten seconds for one of my smart-aleck friends to respond, “What’s playing?”

We writers know that we’re really not having tea and crumpets with JK Rowling every other week. I’ve never even seen a crumpet and have yet to meet Ms. Rowling. But there is one thing I decided to do to bring some bling to my writing career – start a writing group. Crazy, right?

How I ever managed to gather the caliber of writers that so divinely came to me is beyond anything I could have imagined. We call ourselves the Flying M-Inklings (pronounced Minklings), a nod to The Flying M coffee shop where we meet every Saturday as well as to those talented Oxford-lads across the pond.

I had no idea when I put the word out that I was starting this group that these individuals would become my best friends, proverbially greater than the sum of our parts. Of course, we share our writing and critique each other’s work – we’re a writing group after all. But the M-Inklings have evolved into much more than that. Part of what we do as a group is encourage other writing groups to find their own collective identities.

On behalf of my fellow M-Inklings, who believe that all writers should join forces with others, I would love to show here how worthwhile a writing group can be.

Ah, the possibilities…

  • Has your manuscript ever been passed over by a big publisher, not because your writing wasn’t good enough – but because your platform wasn’t big enough? In case you don’t know this feeling, it sucks, let me tell you. One of the most compelling perks of being in a writing group is that you are able to share each other’s spheres of influence, which instantly increases your reader base. On social media, my own “friends’ list” more than quadrupled by being part of the M-Inklings. Our friends’ lists increase together exponentially. This is an example of instant gratification in spades. The only thing better than stepping out onto your own platform to be heard is being able to stand on the platforms of others. Do the math. It’s pretty slick.
  • Don’t you wish all you had to do as an author is write? We can’t merely write! We have to know how to market and how to blog. Our tech skills are challenged every day. We need a website. We have publishing questions. We have a business to run. When you are part of a writing group, each individual brings their own area of expertise to the table, and everyone in the group benefits. Among the M-Inklings are syntax warriors and grammar geeks, website-teckie-blogging buffs and structure virtuosos. Your career goals, whatever they are, have an infinitely better chance of becoming reality when you’re working with others than they would if you were working alone. The learning curve shortens right up when you are working in tandem with writers who have similar goals.
  • Here in Boise we are lucky enough to have The Cabin whose mission is “…to inspire and celebrate a love of reading, writing, and discourse throughout Idaho and the region,” which is pretty well what the M-Inklings are all about too. It’s been amazing for The Flying M-Inklings to be able to hook up with The Cabin and participate in some of the events they host. Just recently, we went on one of our field trips to meet Markus Zusak who, we all know, wrote The Book Thief, my current #1 fave (subject to change, of course). Here is Brandon getting his books signed. We had waited in line for three and a half hours to see him. In that time, Brandon and Katie and Nic and I thought of at least a dozen new projects for our group which we will roll out in time. Never a dull moment.
  • Your writing group can become a living, breathing being. In fact, the Flying M-Inklings have become an entity all her own, and she has even launched her own website – flyingminklings.org. The site features our writing but also provides writing tips for other authors and bloggers. Not only do we collaborate with each other, we are also interested in collaborating with other writers who are willing to share their expertise with us and the rest of the world. So if you’d be interested in standing on our platform and guest blogging for us, let us know. We’d love to hook up with other writing groups out there.
  • Finally, check out this place! Our very own Brandon Paul has taken it upon himself to be the events coordinator for the group, and we are thrilled and delighted to let him. (We call him Julie, the Cruise Director, which… he’s probably about to figure out as soon as he reads this. Maybe he won’t read this?) This has got to be one of the best perks of having a writing group. The M-Inklings’ Annual Writing Retreat is the highlight of our entire year. It is a time where each one of us looks back at our own individual accomplishments as well as our achievements as a group. We set new goals, we strategize the best ways to reach those goals, and we provide a support for one another. Additionally, we definitely know how to celebrate ourselves and encourage each other over every hurdle. Priceless.We know that many of you are already in some amazing writing groups who have enjoyed extraordinary success, and we’d love for you to start a thread here on Chip’s blog. The M-Inklings will all be checking in and taking part in the conversation. Also, if you are interested in starting a writing group, let us know what questions you have, and we’ll get them answered for you!

Talk soon!

Daisy Rain

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Daisy Rain Martin is an author, educator, speaker, and advocate for those who have been marginalized by abuse and poverty. Her first book, Juxtaposed: Finding Sanctuary on the Outside, was the #1 top selling book for Christopher Matthews Publishing in 2012. Her second book, If It’s Happened to You, is available for free on her website: www.daisyrainmartin.com. Daisy is Editor in Chief of RAIN Magazine, a small online publication that features new, up-and-coming writers and raises money for three charities: Advocates Against Family Violence in Caldwell, Idaho; The City Impact Center in Las Vegas, Nevada; and Treasures of Africa Children’s Home, an AIDS orphanage in Moshi, Tanzania. Daisy is also one of seven members in the Flying M-Inklingswriting group which works to promote literacy and help other writers and writing groups reach their literary goals. She lives with her husband, Sean-Martin, and their lab, Sofia, near Boise, Idaho, and loves talking to other writers. Please feel free to friend her on social media.

Thursdays with Amanda: Attend a “Thursdays with Amanda” Workshop!

July 3rd, 2014 | Conferences, Marketing and Platforms, Resources for Writing | 2 Comments

2013amanda2Amanda Luedeke is a literary agent with MacGregor Literary. Every Thursday, she posts about growing your author platform. You can follow her on Twitter @amandaluedeke or join her Facebook group to stay current with her wheelings and dealings as an agent. Her author marketing book, The Extroverted Writer, is available from Amazon and Barnes & Noble.

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If you love my Thursday posts on marketing, and if you’ve ever wished for an in-person “Thursdays with Amanda-type” event, then you’re in for a treat.

You’re invited to come hang out with me (and Chip, of course!), for a marketing intensive on Sunday, August 24th, in Nashville, Tennessee.

HERE ARE THE DETAILS! And no, this will NOT simply be a rehashing of the info found in my book, The Extroverted Writer. Sure, we’ll touch on that a tiny bit, but we’ll also be bringing to life the content found in my blog posts, as well as new material. Plus, there will be plenty of time for you to ask questions, share your marketing struggles or victories, and learn from others in attendance.

Questions? Sound off in the comments below! And please share with your friends!

 

Thursdays with Amanda: The Extroverted Writer

June 5th, 2014 | Career, Marketing and Platforms, Resources for Writing | 0 Comments

2014AmandaAmanda Luedeke is a literary agent with MacGregor Literary. Every Thursday, she posts about growing your author platform. You can follow her on Twitter @amandaluedeke or join her Facebook group to stay current with her wheelings and dealings as an agent. Her author marketing book, The Extroverted Writer, is available from Amazon and Barnes & Noble.

 

Well, I’m at conference (again!) and so this Thursday, let me leave you with an FYI that The Extroverted Writer is now available in print!! (Not everyone knew this!). 

 

 

And here are some places around the web, worth checking out:

FRONT Business_Card_Vertical

Estimating Kindle Sales from Amazon Rankings

Are You Boring Your Social Media Followers?

Nine Unconventional Writers Residencies

 

What would you ask a literary agent? (the wrap up)

April 30th, 2014 | Agents, Career, Current Affairs, Publishing, Questions from Beginners, Resources for Writing, The Business of Writing | 10 Comments

A handful of leftover questions from our month of “sitting down with a literary agent” series…

Can a person who does not aspire to fame be a successful writer?

Of course. Some writers are looking for fame, but in my experience most get into writing because they have a story to tell. By the same token, some writers embrace the “fame” aspect of getting published, and love the attention it creates, while others hate it, and just want to write and maintain their privacy. There are plenty of examples of both. Perhaps this is getting skewed today because of social media, which can sometimes make it seem like every author is required to be an extrovert. But my feeling is that there are a lot of introverted writers, who don’t seek to be everywhere, all the time, commenting on everything.

If I have a really well-written book, how can I meet literary agents?

You can go to conferences and meet some agents face to face. You can go to a book show or industry event and get in touch with agents. You can talk to published authors about their current agent. You can look at Chuck Sambucino’s Guide to Literary Agents, or Jeff Herman’s Guide to Book Publishers, Editors, and Literary Agents. You can go to the Association of Author Representatives website, or to AgentResearch.com. You can find out who the busiest agents are, or which agents tend to work in your genre by joining Publishers Marketplace and researching their database. Or I suppose you could do it the old fashioned way and try to get a face-to-face meeting by sending them a fabulous proposal and showing up to talk. No matter what you do, spend some time researching the agent to make sure he or she is a fit, what they require in a proposal, and how they work with authors. You can also go to Predators & Editors and Writer Beware to do some research as to which literary agents have warnings against them from other authors.

I was told at a conference that every fiction genre has “rules.” Is that true? And how would I know what the rules are?

The entire concept of genre fiction holds that each genre has certain rules that most novels must adhere to. So the rules for a traditional romance would include that the hero and heroine must meet early in the book, and that they must get together at the end. The rules for a cozy mystery is that something bad (usually a murder) happens at the start of the story, an amateur sleuth will have some suspicions and start to look into it, and that the mystery will be solved at the end of the story. So, yes, every genre has rules. You can find the rules by doing some research — for example, Harlequin maintains a list of rules for romance writers on their website.

How do you define literary fiction?

Generally speaking, novels that do NOT have rules. More specifically, novels that explore the great questions of life — who am I? why am I here? does my life have meaning? what should I be doing? who is God? why does He allow such pain in the world? Most literary fiction will offer characters I care about who explore the great questions of life and make choices, then examine the ramifications of those choices and their effects on the lives of the characters. It’s a way for me, as a reader, to explore my own life in a deeper way by seeing things through the lives of other people. That’s what great literature does — causes us to think more deeply about life, see things in a new light, and offer some sort of insight into the great questions.

As an author, how do I negotiate a movie option for my novel? Do I give a free option? Do I demand money for the option?

You don’t normally grant an option for free — you negotiate the option for the production company to pay you a certain amount of money, for a certain period of time. What the customer is buying is really the exclusive chance to explore turning your book into a movie. They’ll talk through the idea, figure out if there’s a market for it, how the story might change, who might be possible to direct & star in it, what the costs are, etc. And you normally go through a literary or film agent who has relationships with film and production companies, and who can make sure all the details are done correctly. A note on this: If you think publishing contracts are tricky, just wait until you see a film contract. There are a lot of stories about authors who sold their idea cheaply, then made nothing when the concept moved to the screen. It’s called “Hollywood Accounting,” and if you’re interested in this, just google the horror story of Deborah Gregory, who created The Cheetah Girls for Disney. She made some money on the books, but when they went to the stage, TV, and the big screen, she was promised 4% of net profits… and the accountants have always been able to show there were no net profits. So while Disney has generated millions in cash from the Cheetah Girls, Ms. Gregory has made nothing. Ouch.

What determines if a book is YA or adult?

Normally there are two issues involved: themes and characters. YA novels focus on certain themes — coming of age, the transition to adulthood, exploring sexuality, fostering independence, self-identification, problems at school or with parents, etc. Adult novels focus on more adult themes. In other words, novels have themes that are directly relatable to the intended readership. And YA novels generally have younger characters, so that traditionally the protagonist is the age of the readers. (That’s not always true, since some YA fantasy has very old characters suddenly dealing with independence or self-identity issues, but it’s true more often than not.) Evaluate your novel in light of those two issues, and you can usually figure out where it should land.

Have you run into situations where smaller publishing houses offer very small advances with a higher-than-normal royalty? What’s your take on a deal such as this?

Sure — most of the new micro-publishers that got started doing e-books over the past six or seven years do exactly that. They pay a small advance, or perhaps no advance, but offer a 50% net royalty — twice that of legacy publishers. The risk is that the guarantee is smaller; the reward is that, if the book does well, the author can make more money. Of course, larger publishers will explain that they have an advantage in terms of reach and marketing, while smaller publishers will tout greater author control and a bigger percentage of the take. Every business decision like that is a risk/reward equation. You have to be comfortable with the decision.

There happens to be a lot going on in my family at the moment, and I’m putting together a book of family stories. Can you recommend a self-publishing or POD company that would be good to use for this kind of project? I probably won’t need more than 50 copies.

The easy solution? Go to CreateSpace at Amazon, or to the iBookstore. Both have the capability of creating fun books with lots of photos of your family.

I’ve been at this writing career for a long time, and feel as though I don’t have much to show for it. I’ve done two novels at a small house, then two more at a bigger house, but they didn’t sell well… so now I’m having a hard time landing a contract. I’ve enjoyed myself, but I’m not sure all the time and effort have been worth it. I love my art, but… I wanted more. And I go to conferences and it feels like everyone is having more success than me. Any advice for a writer facing the big question of “Is all this worth it?”

I’ve been agenting a long time, and I’ve had a form of this question thrown at me countless times. An author signs a deal with a small house and does okay, so she signs a deal with a bigger house and, even though she writes good books, those books tank. Maybe the house did no marketing. Maybe the readership couldn’t find her. Maybe the author and publisher didn’t know how to work together. There are a million reasons a book doesn’t work, but suddenly the author finds herself stuck. She has lousy sales numbers, maybe she can’t get a deal, or she CAN get one, but it’s back to SmallTimeVille. Hey, it happens. Does she stick with it? Change her name and start over? Try a new genre? Look for a collaborative job? Go back to the drawing board and try to come up with a blockbuster idea? Self publish? Give up?

There’s no one answer that’s going to fit every situation, of course. And if you hang out at conferences, it will feel like everyone else is going better than you (but they are not — trust me). I love the fact that the writer who emailed me this question was quick to say she had enjoyed the ride and loves to write. Because I think a writer in this situation really needs to look at his or her motivation, and think through goals — what do you want to accomplish? What will constitute success? What will make you happy? Maybe having a good agent to talk with you about career plans could come in handy. So here is some great advice from musician and writer Bill Withers: “One of the things I always tell my kids is that it’s OK to head out for wonderful, but on your way to wonderful, you’re gonna have to pass through all right. When you get to all right, take a good look around and get used to it, because that may be as far as you’re gonna go.” Amen, Bill. Some wisdom there.

I’ve loved this month of writers sending in anything they wanted to ask. Thanks to everyone for participating. Make sure to check out Amanda’s wonderful marketing blogs every Thursday. And coming up — our annual Bad Poetry Contest. Another reason to go on living…

Hiring a Professional Editor

April 23rd, 2014 | Career, Proposals, Questions from Beginners, Resources for Writing | 13 Comments

A guest blog from Holly Lorincz -

Many of you know me as the newest agent at MacGregor Literary but I’m writing today from behind my Editor Desk. I was originally hired by the agency as an editing and publishing consultant, having run an editing service for years. Now that I’ve dealt with the publishing industry from a number of angles — from that of a reader, to a writing instructor, to an editor, to a novelist, to an agent — I believe I have some insight that may be helpful to writers at various stages in their career.

WHY YOU SHOULD HIRE A PROFESSIONAL EDITOR

I wish with all my heart I had taken my own advice and hired a professional to do a line edit on my first novel before I published. I’ve learned the hard way I can spot errors, typos, awkward sentences and developmental issues in anyone else’s text but my own. When I read back over my own novels, I know what I meant to say . . . and that’s what my mind sees. So, I’ve relied on my beta readers to help me catch errors. But the problem is, while amazing at feedback, they are not trained, tried-by-fire professionals, paid to dissect my every word and thought. I was cocky when I decided to independently publish without hiring someone else. I’m not saying the book was a mess but there were a handful of homonym errors any paid professional would have spotted in a second. Soooo, yeah. “His voice a horse whisper.” That’s embarrassing. Edit much?

Over the last two years, I have focused on editing novels. My best clients recognize their job is to tell a good story and my job is to help polish that story. There is no ego involved (or, at least, it’s hidden). They recognize that typing out 80,000 words in a short time will lead to typos and inconsistencies, none of which reflects on their writing skill. They know that acquisition editors are looking at dozens of proposals a day and are not very likely to want to work with a book riddled with errors (this is especially true if you are an unpublished author). They also are fully aware editors at publishing houses today do not have the time or resources to comb over and correct a manuscript like they did in the past, so hiring your own editor to do a pre-publication run at the manuscript is self-preservation.

For those of you that go the independent publishing route, the professional editor is a must. Nothing slows down sales more than a bunch of reviews bashing your grammar or typos.

HOW TO WORK WITH A PROFESSIONAL EDITOR

Decide if you need a developmental edit, a copy edit, or a proofreading (or a combination). For instance, it often makes the most sense to start with hiring a professional to do a developmental edit. Then, once you’ve taken their assessment notes and made plot or character or timeline revisions, you can decide if you still need to pay for a close reading (copy edit) or if you are ready to hire an editor for a simple proof (editing only for typos and grammar errors, not for content).

If you are looking for an editor on your own, make sure you talk to them before you sign up. At least chat through email. What is their availability? What is their experience? How long does an edit with your word length generally take? How do they provide feedback? How do they charge? Are there testimonials available from previous clients? Do they edit from a hard copy (old-school) or can you send a Word doc? Do they need to see a sample first? Most importantly, do they work mostly with fiction or non-fiction? Will they be comfortable or open-minded regarding your content?

Once you have settled on an editor, and you’re happy with the time frame of the review, be sure to communicate openly about what you think are problem areas. While a good editor will be reading the manuscript with all the basic novel concepts in mind anyway, it’s good to let him or her know you are particularly concerned with theme, or a minor character’s voice, or a certain subplot, or . . . whatever.

WHAT TO DO WITH YOUR PROFESSIONAL EDIT

Okay. You’ve just received your manuscript back, covered in red.

First off, you may totally disagree with the suggested revisions but you still need to pay for the review. Remember, you are hiring for a service — a service that by its very nature is meant to tear apart your baby. When you’ve been handed back your bloody baby, you cradle it and cry and pound your chest in private, but then you sign the check. Now, if the edit is shoddy or unprofessional, by all means go back to the editor and do what you need to do. But if you take issue over their opinion, then you need to take a step back and reconsider. Why did the editor say what they did? If this objective reader misread or found something needing repair, is it not then likely other readers will feel the same way? If so, consider the editor’s suggestions or come up with your own revisions. Assuming your bottom line is to actually sell the book, will the general public agree with your editor or with you?

Once you receive the review, it is totally appropriate to email or call if you do not understand a comment or revision. However, it is not appropriate to make suggested changes and then go back to the editor and expect them to re-assess portions of your manuscript, not unless you’ve contracted them for their time. It’s not that the editor is heartless or doesn’t care about your project but they do have other edits scheduled and need to move on.

A common response from authors is to want to explain their point of view or what they “meant” to the editor. This is totally not necessary. The editor’s job is done the minute they tell you a scene or a phrase didn’t make sense to them. The editor knows you will either see how it could be confusing and fix it or you will choose to ignore their suggestion. Either option is up to you — the editor has already moved on.

When you find a good editor, learn to appreciate their work, even if it’s emotionally hard to read their notes. The majority of us take our role as editor seriously, recognizing how vulnerable most writers are when it comes to having their work critiqued. That’s as it should be. I offer criticism from the point of view of someone who honestly just wants to help authors produce their best work, never to be condescending or argumentative. I believe this is how most professional editors operate, from an innate desire to teach, to be supportive, and to be part of a book’s journey to a bookshelf.

Good luck with your manuscripts!

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Holly Lorincz is a literary agent with MacGregor Literary. She is also the owner of Lorincz Literary Services, a very successful editing and publishing consultation business. Among her many clients are New York Times bestselling thriller writer Vincent Zandri and award-winning romance author Gail Gaymer Martin.

For more information regarding Lorincz Literary Services, click here.

 

 

 

Sitting down with a literary agent over a cappuccino…

April 11th, 2014 | Agents, Career, Current Affairs, Marketing and Platforms, Proposals, Publishing, Questions from Beginners, Resources for Writing, The Business of Writing, Trends | 16 Comments

So I happen to be sitting at Cafe Greco in North Beach (the Italian section of downtown San Francisco), and thought this was the perfect place to suggest authors sit down to have a cappuccino and talk. This month we’re just inviting authors to send the question they’ve always wanted to ask a literary agent, if only they could be face to face. I’ve been sent a bunch of questions, and I’m trying to get to each of them…

I know many agents are looking for an author to have a big “platform.” What does a big platform look like to you?

A platform is a number. You speak? How many people do you speak to over the course of a year? You write a column? What’s your readership? You’re on radio? What’s your listenership? You blog? How many hits do you get? You do a column? How many people read your work? You belong to organizations? How many people are you connected to? All of those are numbers — just add up the numbers, and you’ll know how big your platform is. The bigger the number, the happier a publisher is going to be. More important is how many people you actually have some sort of relationship with — that is, how many of those folks do you speak to or consider an acquaintance? Can you suggest what percentage might actually purchase a book? A small publisher may be happy with a platform of ten to twenty thousand. A medium sized published may be looking for a platform that is at least forty to sixty thousand. A large publisher may not be all that interested if your platform is less than 100,000 — possibly not interested if your platform is less than 250,000, depending on the project.

Is it pointless to seek publication before launching a blog? I have substantial Facebook and growing Twitter followings, but haven’t launched my blog yet.

I’m not sure a blog is as vital as it was a few years ago. Some authors have built a platform using Twitter, Pinterest, and Facebook. Others have really used GoodReads and Amazon in lieu of a blog. I think the important things to consider are (1) the numbers, (2) the connection they have with you, and (3) the content you’re sharing. Here’s what I mean — if you have a bunch of friends on Facebook because you’ve shared a lot of conservative political flamethrower stuff, but you’re writing a contemporary romantic suspense, the content doesn’t connect with the book’s expected readership. You may or may not need a blog, but the important thing with a blog these days is to get noticed, just like in publishing a book. There are currently roughly 20 million blogs available… how is yours going to grow a readership?

I’ve been asked to write a column for an online magazine which sounds good, but they refuse to tell writers what their numbers look like. Also, they pay, but they demand all rights. As an agent, do you think I should participate?

That depends on your expectations. If you need the money, a paid writing gig like this is great. As for demanding rights, lots of magazines these days are moving that direction — you have to be at peace with the fact you are basically using this as a work-for-hire. You could do some research on third party sites to find out some basic numbers for the magazine and make an educated guess at the numbers they’re hitting.

Do writers these days write specifically for the ebook market, or are they really writing for a print market and settling for a digital book?

Love the question, because for all the excitement about dedicated e-book authors, I find most writers are still hoping to land in print. Not all, certainly, but most. Why? Because traditionally that’s where success has come (and yes, that may be changing), and because legacy publishers can get authors into stores around the country. So it’s really a “reach” argument — that legacy publishers offer greater reach. That said, we’re in an era of revolution, and there are plenty of writers who have basically given up on the notion of working with a legacy publisher, and have become focused on creating their own ebooks and taking them to market via Amazon, Nook, and the iBookstore.

I heard you say at a conference that the one thing you look for most in a book proposal is “voice.” What are you really looking for when you say you want to see a strong voice in a proposal?

Voice is personality on the page. I love seeing proposals that offer strong personalities. Too many of the proposals I see are flat — they all sound the same, and could have been written by anyone. So I love seeing a project come in that seems different — big, unique, funny or insightful, with words/grammar/style/thought patterns that reveal your unique personality. If you read writers with great, unique voice, you just don’t confuse them with other writers. Great ideas come and go, but great voice lasts a long time. I see lots of ideas each month; I see very little great voice. And if you’re really interested in this topic, go to Amazon and pick up a copy of Les Edgerton’s FINDING YOUR VOICE. A wonderful book to help beginning writers figure out how to get their personality onto the page.

Do you still teach “proposal” workshops? Does a proposal still matter in these days of self-publishing one’s ebooks?

I do still teach my one-day proposal workshop. (Commercial: If your writing group or regional conference is looking for a cost-effective one-day seminar, you should get in touch.) Proposals continue to be vital for nonfiction books, and the way we usually start the conversation with fiction. I asked a senior editor at a Big Six publishing house about this, and she wrote me back to say, “One thing I think aspiring writers need to know about proposals is that they function as a business plan for a book. That is, they demonstrate why and how a project will be viable because of the idea, the author platform, and the market environment. In nonfiction, as you know, publishing a viable book is not so much about writing as about what will happen (either because of the author or the publisher) in the market to get people to buy it. Most people don’t want to hear that because they want to believe it’s all about writing, but that is very far from the truth these days. New writers need to understand this basic fact and see the proposal as an opportunity, not a chore to be gotten past.” A great proposal can help you find success, in my view. It won’t overcome a lousy idea, but it will certainly help you sell a good idea.

Who puts a manuscript or new book into the running for awards and contests? Does the author seek them out herself and submit her entries? Does the publisher submit completed manuscripts automatically to certain contests? Would an agent make recommendations for contests and/or award to go after?

Most major writing awards are submitted by publishers. Mid-level awards can be submitted by publisher or author. Most smaller writing awards are submitted by author. These usually cost money. And yes, in almost every case the entire completed manuscript is sent (though I know of no publisher who “automatically” submits to contests). An agent will certainly make recommendations for contests and awards, and I encourage authors to have that discussion with their agent. Publishers tend to like manuscripts that proved themselves by winning contests.

I’m working on a non-fiction manuscript for which I have some personal experience, but I don’t really have the full technical expertise to completely address the topic. Would an agent consider my proposal and connect me with an expert in the field? Or do I need to do the legwork myself to find the expert?

I have occasionally connected a writer and an expert, but it’s rare… Much more commonly I’ll just say to the writer, “You know, this would be a much stronger idea if you were to partner with an expert in the field.” An example: I once did a healthy lifestyle book, and encouraged the author to connect with a nutritionist and exercise physiologist, since her personal story was great, but I felt publishers were going to insist on some sort of recognized expertise.

I notice you do a bunch of religious/inspirational fiction. Do you also do fiction for the wider market?

I’ve received this question a hundred times… YES, take a look at my list. I do Christian fiction AND lots of general market fiction. So do Sandra, Amanda, Erin, and Holly, the other agents at MacLit.

I did a book with a smaller publishing house earlier this year, but the information on Amazon is incorrect. Try as I might, I can’t seem to get them to fix it. What do I do?

Talk to someone in the marketing department at your publishing company, tell them EXACTLY what is incorrect and EXACTLY what you would like it to say. Be clear, be polite, don’t blame, and don’t act like your life depends on changing this information. Amazon sometimes gets this stuff wrong, and publishers often try to fix it. I ran this question by a senior editor at a large house, and she replied: “Amazon is an automated system, at least with us, but I suspect with most other publishers. Amazon’s system goes into our system and pulls the data it wants when it wants it and then puts it up on the site, often as long as 4-6 months in advance. That’s why the data are often wrong. Authors get upset when they see incorrect data and copy but that’s because Amazon is pulling the early stuff before it gets polished. Pre-orders are good, but this is what comes of it. And this is Amazon’s doing, for their own mysterious and not-so-mysterious purposes.”

Okay — got a question you’ve always wanted to sit down and ask a literary agent in some face to face setting? Send it my way. Meanwhile, I’ll be here, eyeing the cannoli and ricciarellis. Ciao!

What’s the best writing advice you’ve ever received?

March 28th, 2014 | Deep Thoughts, Questions from Beginners, Quick Tips, Resources for Writing, The Writing Craft | 34 Comments

So it’s spring break for most people. You might be heading out of town, or driving to the beach, or trying to find a place to relax and dive into that new book you bought. I’m going the same thing — well… I live at the beach, so I’m not heading there, but I am trying to ditch the crowds find some quiet so I can read today. I have a long list of projects I want to get caught up on, so instead of doing emails and taking phone calls, I’m going to try and get away and just read for a while.

And that, of course, means I don’t think I’ll take the time to create a new blog post. Instead, I’ll let you YOU create it. One simple question: What is the best writing advice you’ve ever received?

It might be something about craft, or a trick you learned, something about writing quickly or leaving writer’s block behind. It could be advice on creating characters, or raising the stakes, or leaving people with a memorable lesson. Whether you write fiction or nonfiction, you’ve no doubt heard (or read) some great bit of wisdom that you took to heart and you noticed it changed your work. Share it with us. Just click on the “comment” bar below and offer the best piece of writing advice you’ve ever received. You’re welcome to give us context, and tell who said it and what the circumstances were, if you want to — but don’t feel you HAVE to. You’re welcome to just offer one sentence with the advice you’ve got.

I do this once each year or so, and I have gleaned some wonderful tips from people over the years. Would love to hear what you have to share with your fellow writers. What’s the best writing advice you’ve ever received?

How to Enter a Writing Contest the Right Way

February 5th, 2014 | Resources for Writing | 3 Comments

Tagg6Here’s the thing with writing contests—they’re kind of like gas station pizza: either an incredibly satisfying experience…or HORRIFYING. And sometimes, you just don’t know which it’s gonna be until it’s all over and you’re smiling in cheesy happiness or tossing your cookies…which in this case would be more like tossing your pepperoni.

[Rambling. Revert course]

So writing contests.

Though I’m no contest guru, I do think we can take our contest experience to a much happier place when we enter the right way…as opposed to the way that may drive you and quite possibly your loved ones up to the brink of batty.

(Some signs that you may be entering the latter way: You’ve got a countdown app on your phone noting the days and hours until the date finalists are to be announced. You’re sure if you DO final, it means you will be published in the next couple months. You’re sure if you DON’T final, God is telling you to stop writing. In short, you slip into obsessed territory. Please don’t go there.)

So here are my suggestions for entering a contest the right way:

1) Enter the contests that give GOOD feedback.

Do you homework about the contest you’re considering. Who are the judges? Talk to past entrants. Do the judges do more than stick a number on a page? Good. Do they offer feedback beyond, “Hated your character’s first name.”? Good. These are the contests you want to enter.

2) And then enter FOR the feedback.

This is the thing with contests: It’s your chance to get professional feedback…for super cheap! Seriously, $40 or $50 to have a published author, agent or editor look at your work is a steal. If you can view this contest as a transaction in which you’re getting a great deal with a solid return on your investment (dude, Dave Ramsey would be so proud!), then finaling or not finaling loses a lot of its weight. Either way, you’re getting what you paid for: feedback.

3) Just don’t assume the feedback is, like, God-breathed.

True and initially depressing but ultimately happy story: I once had a judge give me 31/100 on a contest entry. Thirty. One. And she said a lot of, um, unpleasant things about my story. Less than two months later, that same book sold.
In SO many cases, the feedback you get in contests is going to sharpen your writing and improve your story. But once in awhile, it’s not. Sometimes, gasp, the judge might get it wrong.

Remember this is a subjective process—as is all of publishing, really. Contests help you develop thick skin. But they also help you learn to separate the helpful from the unhelpful, the voices you need to listen to versus the voices it might be best to ignore. So if you get some questionable feedback, go to another writer, maybe somebody else who is a little further along the road, someone who can look at both your writing and your contest feedback objectively, and ask for advice.

4) Pay attention to the guidelines

I know, so profound, right? But I’ve been a part of judging a few contests now and several times have come across entries that simply ignored the guidelines. Don’t assume what’s good for one contest is good for another. In short, be smart.

5) Keep writing

Really. After you hit submit and send your entry off into contest-land, just get back to work. Write the next scene or start revising or brainstorm a new book. Because honestly, any wannabe writer can pull off a scene or a chapter or fifteen pages and send it in to a contest. But the writers who are going to make it are the ones who dig in and do the work of finishing and polishing and doing it all over again.

Finally, I can’t help mentioning one of my favorite writing contests. Every year My Book Therapy, a craft and coaching community for novelists, sponsors the Frasier Contest. (Full disclosure: I’m a MBT core team member.) The Frasier is a bit different than other contests in that it’s a straight storycrafting contest—no categories, no genre divisions, just storytelling. Judges are looking for things like a great hook, storyworld, a compelling inciting incident, stakes that matter, strong voice. This year’s final entries will be judged by MacGregor Literary’s own Amanda Luedeke, as well as Zondervan acquisitions editor Becky Philpott and award-winning author Susan May Warren. You can get all the details here.

- Melissa Tagg is the author of Made to Last and the upcoming May release Here to Stay. 

A Workshop on Getting Published

January 7th, 2014 | Agents, Books, Career, Conferences, Marketing and Platforms, Proposals, Publishing, Questions from Beginners, Resources for Writing, The Business of Writing, The Writing Craft | 0 Comments

BY CHIP MACGREGOR

 

A new writing conference is fast approaching — and you’re invited.

On Saturday, February 15, I will be speaking at the Dallas Writers’ University. It’s a one-day event, with a rather intensive agenda:

  • I’ll speak on “developing a book proposal that sells,” and the focus will be on giving practical, hands-on help to writers who want to create a proposal that will get noticed.
  • I’ll also be speaking on “creating your long-term publishing strategy,” with an emphasis on traditional publishing, niche publishing, self-publishing, and alternative strategies for writers to make a living.
  • Michelle Borquez, bestselling author and entrepreneur, will explore “building a platform around your concept.”
  • There will be a Q&A time, and everybody there will have a face to face meeting with me sometime during the day.
  • Finally, Michelle and I will be talking about the secret to success in contemporary publishing.

I’m really looking forward to this opportunity. I’ve largely taken time away from conferences the past couple years, but I love talking to authors about proposals and strategy. And you’re invited. Again, every participant gets face time with me, where we’ll be reviewing proposals and talking about next steps in a one-on-one setting. That means our space is limited to just 30 people.

Here’s the thing . . . there are a hundred conferences you can go to in order to get some basic information on writing. But if you really want to join a small group and find out how to create a book that will sell, make some money, and gain entry into the world of publishing by talking to some experienced people in the industry, I hope you’ll consider joining us. I don’t do many conferences anymore (and rarely do a writing conference), so I’m excited to be asked to be part of this one.

The event is going to be in the Dallas area, at a church in White Settlement. The cost is $225 and includes lunch – but if you mention this blog when you sign up, you can attend for $199. You can find out all you need to know by clicking here.

If you live anywhere in the area, I would love to have you come and introduce yourself to me.

Feel free to ask me questions — happy to be doing this!