Creating a new marketplace where editors and writers find each other faster

Am I crazy to think....?
Here's an off-beat idea that has been squirreling around in my brain for a couple of years, but powered by social marketing, it just might work:

A free service where just by subscribing to a weekly update, non-fiction editor-publisher-book producers, can have access to writers with solid talent, clips to prove it, and exactly the content they've been looking to include in their publications. It would essentially be an aggregate of short pitches, sorted by subject, and from writers they might never have heard of, but who can be trusted.

The genesis of the idea
The notion first occurred to me when I was a PR person. I had my media lists, and kept constant Google searches, as you'd expect, but I always wondered if there were writers I wasn't finding--freelancers especially. Maybe they were new to freelance writing, but were an expert in the topic at hand who could bring deep insights to bear on the subject. Or maybe they were already a writer but wanted to break into a new kind of reporting, and so didn't have an established portfolio in that field yet. Who knows? I just figured that there were people out there who weren't reading my press releases, weren't being assigned by editors, didn't know I had material they would like to cover, but would do a good job and would ensure an editor used the story.

Will it work?
The problem with my PR dream was that no matter what, I couldn't think how it would work without looking like a quid pro quo, ("Here--sign up for this newsletter and choose which stories you want to cover to expedite your career!", that kind of thing) even though all I really wanted was to find competent writers to cover my clients so that their stories were told well. But when I left PR, my idea came with me, and I just can't help but think that it will work in reverse because it's no longer about third party endorsements as it is in PR.

Expanding the marketplace
Editors, publishers, and book packagers of non-fiction materials often have a crew of writers they know they can depend upon for well-written copy, delivered on time. But--what if by expending minimal effort, they could find additional writers who had those kind of chops, but were also experts in the topic to be covered? That's not to cut out the writers already in the game, but to help the publishing contingent turn their content around faster. When that happens, there's room for more product--which means everyone has a chance to profit. And while editors and publishers don't want to lose face (or money) by betting on a bad writer, they also love it when they can foster a new or as yet undiscovered talent.

Taking the plunge
I admit, this might not be any better than business as usual, but I think there's also the chance that it could make things easier for all of these parties to get what they need. So, what the heck? I am willing to dive in. Will you come with me?

Here's how you play a part
Editors, agents, book producers, publishers
Sign up to receive The Thought Shops newsletter by filling in the form in the upper right hand corner of your screen. Make sure to note what your profession is so I know how to direct the emails to you. E.g., if you are a book producer, I will send you the list for book producers, not for writers.

If you're already a subscriber, then just sit tight...and read the emails from TTS when they arrive. As my inventory of stories from myself and other writers grows, I will sort them out according to subject, and as much as possible, I will ask writers to submit photos with their short pitches. All you need to do is read through the email for the specific topics you're in the market for, peruse the "tweet:"-sized blurbs, and see if there is anything that matches your interest. If so, then follow the link to that writer's website and you're on your own to do what you think is best.

Writers
Well, first of all, you'll have to think a little differently about how you pitch your stories. And you might also have to get past your worries that if you tip your hand in any way to other writers, they might steal your ideas. You know what? That might happen. But, if you are the expert in something, and/or you have the contacts--you're going to be the one that eventually gets the gigs. Still, I do understand--I know it's competitive, so it's up to you.

Secondly, you'll have to have photos of what you want to cover. I will include them in the little snippet pitches you make of your work. If you would like an example of what I mean, take a look at my website's travel and leisure page to see how I am beta-testing this idea.

Third, if you don't already have a website, then you need to build one! Coffee Cup is a cheap and easy WYSIWYG builder, and Wordpress, while being html, is filled with easy templates to turn into a simple way to showcase your work. You'll have to have one or else there's really no way I can offer editors et al a way to qualify you at a glance. Remember--this is all about ease.

And finally, you'll need to sign up for regular updates of this blog. See the form at right--and make sure you indicate that you are a "freelance writer" in the field that asks for your profession. If you're already a subscriber, then soon I will be sending out an email with the next steps once I know whether I will have enough writers to participate. You can help by passing the word!

Don't tolerate bad behavior!
I don't want to this to be the refuge of scoundrels! If you have a bad experience with a writer, or vice versa, and it can't be justified by him or her (e.g.: they miss a deadline, but can demonstrate that there was an extenuating circumstance) let me know!!! I will address it, probably by knocking the writer or the editor-publisher-agent-producer off the list. It's free, so I can do whatever I want.

What's in it for me?
If I get the chance to look like a superstar, I will take it. But of more interest to me is that I will have helped streamline the hunt for good writers, and good places for them to publish. That means there will be more opportunities for me--and for you--to sell your stories. I also get to expand my audience for my Thought Shop entries on how to be a better writer--and for me, that's no small thing. It's a personal mission of mine to improve the way people communicate. I am every bit as much a reformer as I am an entrepreneur. And okay, I'll cop to being a little bossy, too.

Why for free?
This is a social media venture. It's about our relationships with one another--people who love the written word. I think we can create a vibrant community of people who prosper from trading ideas and good will, so long as we also do so in good faith. Once we're viable, then people will be willing to pay to participate, such as by advertising. I just want there to be better writers and more places for them to showcase their talents.

That's it!
I hope you'll join me!

~W

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Stop! You are so boring, I might never read you again!

How to keep readers coming back by saying "thank you" with every word you write

Please stop. Stop!
Your writing is boring me to pieces. Well, maybe not your writing, but don't be so sure it's not you...

I am not ranting, darling. I am giving you very good advice. If you want to write for money--and as important, if you want what you write to have any impact whatsoever--then you need to think about your reader, not yourself. Read on. You'll thank me.

Get over yourself!
Bad writers abound these days. They always have, but they now have more weapons with which to assault us than ever before. Maybe you're one of the guilty, slopping piffle all over the screen and then hitting "send"--I won't call you out, but I suggest you might want to disarm yourself before you publish your next piece. The quickest way to do that is to remember that readers have choices--you are one of billions they could spend their valuable time and energy reading. Don't take it for granted that just because you thought it, it's worth sharing.

You're in business, dear
I'm not saying you won't get paid to type silliness and blather--sadly, many editors publish garbage all the time. But, not if they know better, and especially not if they don't have to! If you write what matters to readers--you'll get contracts, and then some. Think of yourself as a business person, because whether you're writing fiction, travel, memoir, or essays--if you're selling it, you're in business. And why bother to go into business if you don't intend for it to grow?

Gratitude grows your bottom line
Businesses that last have built-in ways of showing gratitude to their customers--after all, business is about relationships, right? And relationships where one party doesn't feel appreciated don't last very long, do they?

So, here's how gratitude works for writers:

1)Think in terms of customer service
Consider that your readers are investing their time in you. They deserve a return on that investment. Give it to them! Write something that makes your readers think. It might be something that causes them to reflect on their own lives; gives them practical information; helps them help others, improves their ability make money, or just makes them laugh. Whatever it is, the attention should be on the reader's needs, not yours--even if you're writing your life story.

2) Anticipate your reader's questions: if you are writing a travel piece, for example, your reader might want to know if they visit the place you're describing, what should they expect to wear? That doesn't necessarily mean--although it could--that you write, "Wear jeans." It might just mean that you somehow describe the climate. Why? Because anyone going on a trip wants to know what to pack. If you answer that question, in general terms anyway, you've made yourself very useful.

3) Borrow from Business: ask what about your subject will surprise and delight the reader, and then be sure to include that. "Surprising and delighting customers" has become a cliché in commerce, but that's because when done properly, surprising and delighting customers means repeat sales. So, don't dismiss it. Employ it. What can you offer readers that makes your piece memorable without being gratuitous or weird (unless weird works)? Take that travel piece again--you're probably not the first, and won't be the last, to write about the place--but what can you offer that makes your story unique? Did you discover that at a certain time of day, shadows of trees fall in a pattern resembling a Chinese dragon? That's cool! Write it down.

4) Know your strengths: and stick to them. You can always improve aspects of your writing, but if you know you are a very good feature writer--maybe you have a way of describing things that give people pause--then start there. A personal pet peeve is bad memoir writing. Just because something is "your story" doesn't mean you a) know what's important to readers about it and/or b) can write it without getting stuck in your own mud. If you can't find a way to get over your self pity or whatever type of self-involvement often reeks from memoir, then discerning readers will care less about your story. The strength of memoir writing is that it offers some insight gained from whatever happened. If that's not your long suit, skip it. (oh, and how would you know, right? Sigh. The world is full of sniveling.)

5) Keep the drivel to yourself, or among a "select" few: I keep a private Facebook account for when I feel like being silly, solipsistic, or obnoxious (no, this is not me being obnoxious; if you only knew). I do not use my channels of commerce to slosh the contents of my brain onto everyone who might actually want to do business with me, because if I did, I am sure I would bore them to tears. Technology really is pushing who we are in private into who we are all the time, but there's still a time and place where it's okay to have your nose in your navel, and times when it's not. Know the difference.

Why does it matter so much?
A dollar a word used to be the holy grail of freelancer pay--that was around the early 1970's. By the 1990's, it was the standard minimum for most national publications. Now we're back to having to practically fight to get paid that amount by many publishers. For books, it's a little different, but amortizing the amount you get paid over the number of words you actually write--well m'dear, the margins are definitely shrinking. Your best defense against this--assuming your writing is well-structured--is to cherish others' time.

Let me be a witness to this: bad writers make big bucks all the time. Their secret isn't secret at all; they think they deserve it, they know how to run their writing as a profitable business, and then they make it so. It's that simple. But oh, how sumptuous to find a writer who's not only business savvy, but also gracious!

If that's you, your readers--and editors and publishers--will return the favor by coming back for more.
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NYT bestselling author Eloisa James shares secrets for getting to the top and staying there

"Happy endings only happen if you plan for them."
~Swamp Dogg





Eloisa James was the featured speaker at this month's Liberty States Fiction Writers meeting in Edison, NJ. A complete podcast of her talk is available to members (membership is only $35 and worth it for the podcasts alone) at Liberty's website.

Eloisa is my new heroine. She likes money and is very generous about teaching other writers how to like--and make--it, too.


Plan, plan, plan
Plan for what the reader wants (even if she doesn't know she wants it yet)
She began her electrifying discussion by quoting (perhaps ironically since it's romance fiction she's talking about, after all) from an interview with blues musician Swamp Dogg: "Happy endings only happen if you plan for them."

Although Eloisa's planning does seem to have a magical quality (her first manuscript was plucked from a slush pile by an assistant to super agent, Kim Witherspoon; they've been together ever since) two of the several points she made about planning your way to success, stand out.

Be a tease
Before you can really begin to write anything beyond character sketches, you need to plan where your characters will "go" before they reach the end. Eloisa says it's key for a writer to finesse the convergence of: the circumstances of the story, the audience's desire for a particular ending, and an element of surprise that causes the audience to worry that their desires won't be met.

"There has to be a moment when the reader, who knows what's going to happen because the cover already promises how the book ends, still worries things won't work out," says Eloisa.

"That will never work!" is music to your ears
When agents reject your manuscripts saying, "this will never work", says Eloisa, you know you're on to something. (According to Eloisa you must have an agent--for more on that part of the discussion, become a member of LSFWriters and check out the podcast.) Unless your plot is thoroughly preposterous and illogical, hearing that it will "never" work means that eventually, it will pique someone's curiosity--"How will this work out?"

If you can plan thoroughly for that "black moment" when all three elements collide, and for how your characters will emerge, much to the relief and dismay of your readers, you will stand out.

And here's a tidbit Eloisa tossed to the audience: if you're following the consumer publishing industry at all, you're probably aware that most of it is losing money, most of it that is, except for romance fiction--and in particular paranormal and historical. That means new romance writers are in demand, especially good ones.

Face the "this will never work!" moment in your own life
Eloisa is proof that putting your mojo to work can pay off big. "Plan what you want, and say it out loud," she recommends. At the beginning of her own writing career, Eloisa wanted both to pay off a student loan and have a child. She tells of how her husband was not keen on having both a child and a heavy debt load simultaneously. But in a classic, "this will never work" moment, Eloisa not only sold her first manuscript, she calculated exactly what she'd need to sell it for in order to pay off her student loan, said so, and then not only sold her first work--received exactly what she needed to meet all her desires of being debt-free and on her way to motherhood. Problem solved. And, not to mention a mega-successful career launched.

Know what you don't know--and then learn it
Eloisa says that once questions of talent and perseverance are out of the way, success--especially big success--comes from being your own CIA. "Realize this business is very competitive. If you don't, then you're kidding yourself," she says. The antidote to this is to know everything you possibly can, while saying as little as you can. For example, Eloisa makes it her business (emphasis on the word business) to know what other authors in her genre are getting paid by picking up information from other writers and whatever other sources will provide it, (including the trades like Literary Marketplace, Publishers Marketplace, Bookscan, Publishers Weekly, etc.) . Then, she discusses how she is not shy about insisting she be paid at least the same as other top authors, or more: the market can obviously bear it--and her work has a clear track record of leading the market.

By the same token, she says to be aware that others will also be watching you, and maybe not with your best interests at heart. Anything potentially damaging you ever say or write about someone, she warns, has the potential to come back and hurt you--and possibly others whom you'd rather not see wounded. So, unless you are positive you can trust the ones you're kibbutzing with, simply keep yer trap shut.

These are two of ten secrets Eloisa shared. For more on how to treat your writing like the business it has to be in order to reach--and stay--at the top, visit the members only section at Liberty States Fiction Writers and look for the podcast of Eloisa's talk , which will be posted by May 10, 2009.

New York Times bestselling author Eloisa James's upcoming This Duchess of Mine is due out from HarperCollins on May 26, 2009.
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What's an MFA really gonna getcha?

Consider these four tips before you spend all that money!


"Should I go back to school and get my MFA?" a woman recently asked me. It was during the break between speakers at a monthly meeting of the Liberty States Fiction Writers, a NYC area fiction writers' group; we were chatting about the publishing business in general.

The woman was a stay-at-home mom who'd taken a crack at writing a romance novel, and had just had an agent request a partial of her manuscript. Now the woman was wondering if before she "made it big", if she were to actually do so, should she enroll in a 30K a year MFA program at a New Jersey university, so as to be better prepared to work in publishing. I didn't tell her yes or no, because that's none of my business. But it's certainly a great topic to explore here!

Setting the scene
So, here we were, all these writers, many of us published, waiting to hear a speaker discuss how she adheres to a schedule in order to routinely produce 80K words every four months, including revisions, so she can deliver three manuscripts a year to her publisher. This speaker will also go on to explain to the crowd how she parlayed her organizational skills as a technical writer into that of a fiction writer, and also her own business manager. Oh, and before the crowd disperses, we'll be reminded that upcoming speaker events will include NYT bestseller, Eloisa James, who'll be discussing the nuts and bolts of getting published--and staying published after your fabulous debut. Meanwhile, this woman next to me wants to know if an MFA will help her.

Well, honey, to be fair, I didn't get an MFA. But I did earn a BA from a well-known creative writing program that does offer MFA's, and which was founded by one of the so-called gods of American fiction, John Gardner. However, I think more was offered about the actual business of publishing in that one day with the tech-writer-turned-romance-novelist than I ever heard discussed in any of the years I spent in writing workshops.

And the meeting was free with my $35 membership. My BA cost me and my folks a fair more pile of scheckles than all that--and it didn't even come with complimentary snacks.

Also to be fair, I graduated when Reagan was still in office and Brett Easton Ellis was the "it boy" of publishing, so, it's been a while.

Nevertheless, thinking back on it all, it sure would have been nice to have had my degree-granting program include a few tips on how to actually make money in my chosen industry. I might then have been able to shell out more shillings each year when the alumni relations people call. Still being fair--maybe they do actually do that now. There was mention of conferences where aspects of the industry were discussed, but the focus was more on how to express one's self than on how to sell one's work.

So be it. Whatever they're doing, they're still in business.

But if you're going to be a full-time writer, you need to think of yourself as being in business, too. In that case, spending money and time on an MFA had better be a worthwhile investment, don't you think?

Sniff test
Eloisa James is interesting not just because she's a NYT bestselling writer of romance. It's also because she's a noted Shakespearian scholar and wife of an Italian knight. Not your typical profile of a boddice ripper writer, huh?

Well, that's the problem. So many MFA programs concentrate on selling themselves as bastions of literary fiction, turning up their noses at anything less cerebral. (NB: romance writers typically hate being called bodice ripper writers, by the way.) But, literary fiction doesn't really sell well. And if you fear that writers groups are bastions of mediocre writers who don't have a clue whereas creative writing programs are filled with talented scribes who have it goin' on--ha!

Here's a little secret: creative writing programs are often filled with crap writers who write, uh, crap, and then call it any number of things but what it is--crap. That's because if a program's emphasis isn't on what sells, but is instead about "creative expression," then what stinks (crap) has a better chance of sticking around because no one has any real motivation to say--Dude! That's crap! So, be sure you actually like what kind of work is being promoted and celebrated by the program you're interested in attending.

If you think you will gain from being in a more literary environment--and there is certainly a lot to be said for that; I wouldn't trade the experience of having worked with at least two such writers in my college years--then see step number three.

But if what you're after is the ability to make money writing--do your homework before you spend your cash.

Here are some questions to consider:

1. Are you already published? If so, then someone thinks you write well enough, at least for the audience you're being published to reach. Now--if you're a romance novelist who wants to be a poet, though--well, then, an MFA program on poetry might be what makes sense for you.
   
   
2. What are you looking for? If you want to make connections and rub shoulders with other writers just like you, writers groups are a heck of a lot cheaper. It's true that living in certain areas makes it easier to meet up with a greater number of higher-quality writers, but there is the Internet...and there are plenty of writers on it, workshopping with one another. And, if you do join up with other groups, you will invariably hear about and have the opportunities to attend meetings and events where people who can actually help you in your career will be speaking.
   
   
3. Will the money you spend be offset by the money you earn? Feel free to grill the administration of the program you're considering: What skill sets do they teach writers? Do they teach about how to be self-employed? Do they give an overview of the industry and of other ways writers can exist in the world besides drunk and pitiful and down and out, but famous! (Kidding...kinda.) Do they help their writers find work--any kind of work--in the publishing industry? Do they sponsor events where not just writers, but agents, editors, publishers, and distributors, also come to talk about the industry? You get the idea. Make them make the case for why they should take your money, especially if there's only a slim chance you're going to make that money back.
   
   
4. Are you even talented? Enter writing contests, ask other writers (not your mother or lover or spouse--what do you think they're going to say? Duh.), send agents some queries--find out if you really do have talent and commercial viability. If you're not getting the vibe that anyone thinks you have the necessary combo to succeed: talent, work ethic, and skill, then do you think that is what you're going to learn? If so, go back to step three.

Be clear on your strengths and weaknesses before you whip out that check book. If you still think an MFA is right for you, and you have the money to pay for it, do what you want, babe.

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Media Interviewing Tips for Authors

Your work has attracted media attention. Now what? Here are some tips to help you understand what you're in for and how to ace your interviews!


Why am I here?
Don't ever, not even for a second, forget the cardinal rule of being interviewed: media is a business. That you've been asked for an interview means that you are seen as having something to offer that will help sell programming or other content. Put another way, it's really not about you. It's about selling the program. Thinking about the role you play in this transaction helps you sell your own point of view.

Have you written something controversial? Innovative? Does your subject matter dovetail with current events? Are you an expert on something, and is this reflected in your writing? Once you've identified what makes you stand out, are you the only guest or source in the segment or story? If so, then determine what the interviewer will want to know on behalf of his or her audience. Doing this isn't hard. You can begin by asking the show booker or producer what they're looking for, or asking the reporter or blogger to either give you a list of questions in advance, or at least a general idea of what they're interested in.

Tread carefully when asking for questions, especially from print reporters: some don't mind, some do, preferring to capture the energy of your spontaneous answers. But in general, media professionals would rather you sound informed instead of like a dope, and so will at least tell you what the point of the story or segment is. (Read on for more about providing your own Q&A.)

Once you've got a good idea of what subject matter you'll be expected to cover, will you also be expected to provide counterbalance to the views of another guest? If so, research that person and his or her work, too. And if you're on a panel, then by all means, find out who else will be on it with you, as well as who the moderator is, and research them so you know where you fit in!

What's the format?
Different media formats have, shall we say, different vibes. For example, being interviewed on the set of a live television show is entirely different from being on a radio talk show. And both are quite different from an email exchange between a journo and yourself.

Panels have a rhythm all their own, depending upon the purpose, venue, and number of panelists, but the primary thing to keep in mind is that you will be "on display" much longer than the time you are allotted to speak. So, even if you're bored to tears (let's hope not) be polite, and look interested, without drawing attention to yourself unless it's your turn to speak (Oh! How many times have I seen a distinguished author fall asleep, however momentarily, while waiting for another person's speech to finish...yikes!)

Television shows taped in front of a studio audience might look like guests are having a real conversation, but it's actually a performance. Imagine this: you're at a cocktail party, talking with another person. But instead of the other guests milling around, each one of the them is watching you, listening to every word you and your acquaintance say.

On radio and most other TV show formats, you know conceptually there is an audience, but it's easier to focus on the interviewer's questions and have a "normal" conversation because you can't see anyone else (except the occasional production crew member). And with print and on-line (accepting live chats), maybe it really is just you and the reporter or blogger talking over the phone or in person, which can feel quite natural.

BUT!! Don't let any of these fool you into thinking that you're just having a cozy tête à tête among friends. Remember the cardinal rule: this is a business. You're not being interviewed to be pals, but to offer information. To do that, you need to stay focused. Don't say anything you wouldn't want to your mother to read! (In PR parlance, it's called "staying on message".)

Practice staying "on message"
Now that you've thought about the reason for being interviewed, what role you play, the format, and are mindful that this is a business transaction, ask yourself, What will the audience most benefit from hearing or reading me say? With that information in mind, jot down a main theme and some supporting points--try to keep it to no more than three.

For example, maybe you've been contacted to discuss a series of romantic suspense novels you've written, featuring a single mother who became a detective to make ends meet. Maybe your heroine goes undercover in some unseemly places in order to solve crimes. Let's say your scenes are based on your own experiences and some hands on research you did. Three supporting points might be the risks of this kind of work; whether there are other heroines, both real and fictional similar to yours (this puts you and your work in context); and what your character has learned about herself as a result that other women can relate to. Bam. There's an entire interview's worth of discussion.

Now practice talking about these points, over and over, perhaps in a mirror in front of others. Even better, record yourself until you feel comfortable with the sound of your own voice, and with your grasp of the information. What you're going for is the ability to sound spontaneous without rambling.

Important tip: ask the interviewer if he or she would like the same list of questions. There are at least two reasons for this: either they're too busy or they just aren't interested, but it does happen at times that your interviewer will not have read your book. All they know is that you're interesting to their audience. They'll appreciate your help. On the other hand, the interviewer might well have read your work, and in addition to his or her own questions, will be happy to let you discuss what you want. Take advantage of that--but of course, what's the cardinal rule? Right. So make sure you keep the audience in mind and, don't be boring!

Listen carefully
Truly consider to what you're being asked, and be sure you understand the intention behind it. This will allow you to avoid the interview from going in a direction you didn't intend, and to give a thorough answer that will satisfy your audience. Plus, it keeps things even, not an imbalance between the interrogator and the interrogated.

If you're to be interviewed for print, consider asking if the interview can be entirely through email. This is common practice anymore, and allows both you and the interviewer the opportunity to reflect on what's being "said" before hitting the send key.

Don't be a pain
Don't keep saying, "As you'll read in my book," etc. While an interview is not a real conversation, neither is it an infomercial. The interviewer should be skilled enough to promote you and your book without you having to do it for them. On the rare occasion when the interviewer forgets, politely ask if he or she minds if you mention how the audience can contact you and find copies of your work.

Other tips that make you a dream guest include, if you're on TV, not looking sloppy or "busy". Don't wear rumpled clothes, keep your wardrobe toned down, avoid tiny patterns like checks, and skip the monochromatic color schemes, especially white because of the weird glowing effect it has on screen. Shades of basic blue read best on camera.

On radio and TV, avoid jingly jangly jewelry, as the microphones are sensitive and will pick up any of the gypsy sounds you might inadvertently make. Also for radio especially, where the mic is on a stand in front of you, speak clearly and try to avoid popping your p's and b's by speaking into the mic, but at a slight angle. If you have to cough, producers will usually mute your mic if they can get to it, but try to turn away from the mic anyway.

And finally...
Enjoy the fact that you've got something interesting to say and make the most of your good fortune to have attracted attention!
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