Dealing With Plagiarizing
(c) 2010 Mona Leeson Vanek
Many things have changed since litigation was initiated because of plagiarism issues in electronic databases, and writers still await settlement awards. Read the latest update on that Copyright Class Action lawsuit here: http://www.copyrightclassaction.com/. Publishers and writers now negotiate contracts that avoid plagiarism issues, but they still occur. Writers are encouraged to contact the perpetrator every time someone uses their work without authorization, whether in print or online.
In today's electronic marketplace, plagiarism and copyright infringement may be better understood, but they're still serious problems for ALL writers. When negotiating a magazine's contract, freelancers may prefer to strike everything beyond use in a single print edition. Negotiating for all they're worth, they wrestle with clauses covering audiotape, microfilm, microfiche, CD-ROM, and broad electronic rights like database. They'll try for time limits, and excise one vicious clause that boils down to 'rights of the purchaser to secure copyright as proprietor', or in other words, giving their copyright over to the publisher.
However, even with successful negotiating, freelancers too often end up finding themselves inadequately protected.
Say you don't write for on-line publication; that doesn't necessarily mean that your words aren't going to be on-line. Freelancers say one problem is that print publishers don't always own the rights they've sublicensed, but realistically nearly every publisher obtains at least non-exclusive electronics rights for some period of time; whether the author limits archiving or allows archiving their writing ad infinum.
Expect to find that copyright infringement spans all countries and many continents, but laws differ. For example, Canadian law allows copyright cases to be heard in small claims courts. Copyright infringement in the United States is decided in federal courts, although suits charging breach of contract may be heard in small claims or other state courts.
Plagiarism by an individual, in some cases such as in educational use, has a slightly different connotation from the use of your works without permission by a concern or company. The need to consult an attorney who specializes in intellectual rights cannot be over-emphasized.
At home, or at the library, you can use the capabilities of spider searches on the World Wide Web, to routinely track down plagiarizers and infringers. If a publisher has exceeded the terms of its license the writer's contract is breached, and the writer may also still charge others in the chain of plagiarizing with copyright infringement. A publisher's indemnification doesn't let the others off the hook. Each time a violation is found, writers need to take aggressive action.
Immediately ask Internet Service Providers (ISP) to remove the offending Web sites alleged to have illegally post your copyrighted works. Be prepared to prove you are owner of the copyright. The subject of on-line copyright infringement is complex and serious.
Five organizations in the writer's favor are, American Society of Journalists and Authors, Inc.(ASJA), http://www.asja.org/, The Authors Guild, http://www.authorsguild.org//, The Authors Registry, http://www.authorsregistry.org/works.htm, the Text and Academic Authors Association, http://www.taaonline.net/, and the National Writers Union, (NWU), http://www.nwu.org/.
Send information and scuttlebutt to American Society of Journalists and Authors (ASJA): Contracts Committee, ASJA, 1501 Broadway, New York, NY 10036. ph: 212-997-0947. Visit their searchable archive of ASJA Contracts Watch at http://www.asja.org/cw/cw.php. Contact info is on the web page. Read the other valuable information and tips on freelance contracts, electronic rights and copyright. Subscribe to get e-mail announcements.
Study posts at Science Fiction and Fantasy Writers of America, search 'writer beware', http://www.sfwa.org/tag/writer-beware/
Only vigilance will protect you from copyright infringement. Don't let plagiarists and copyright infringers steal your material!! Be concerned. Stand up for the rights of ALL writers!!
End
Chapter 14 - Tending to Business: http://tinyurl.com/32rr8a5
Next: 7-3, What About Taxes : http://tinyurl.com/25ssc52
Monday
6-3 Character traits
(c) 2010, Mona Leeson VanekBegin learning about character traits and their importance from the book many professional writers recommend, The Writer's Guide to Character Traits, Linda N. Edelstein. Edelstein talks about common traits such as, being dependable, creative, ambitious, charismatic, curious, etc. As your character first begins to evolve, step back and make a list of this person's character traits.Practice this technique by writing a short vignette that tells a story about a character, using one set of characteristics. For instance, show a "responsible" character's deeds in your story. Then write another vignette, using a different set of characteristics. Make a habit of this exercise while you're writing.Study online at Suite101, http://tinyurl.com/lsk5mr.When you want to expand your understanding, type character traits into a search engine, such as http://www.dogpile.com/, and follow links to continue your studies about character traits and their importance in a story.
END
Chapter 13 - Genre Writing and Writing for Children: http://tinyurl.com/3x33osl
Next: 6-4, Show Versus Tell Issues: http://tinyurl.com/298dogs
END
Chapter 13 - Genre Writing and Writing for Children: http://tinyurl.com/3x33osl
Next: 6-4, Show Versus Tell Issues: http://tinyurl.com/298dogs
6-2 All About Names
(c) 2010, Mona Leeson Vanek
Exploring names and their meanings for your characters can not only be fascinating, but very enlightening. Names bear more thought an consideration than many writers realize.
BabyNamer.com, http://www.babynamer.com/ is fast, efficient and very useful for finding names, their origins and definitions, nicknames, etc.. Click a letter of the alphabet at the top to generate girl\boy lists alphabetically. Click color button, pink or blue to get names by gender. Click name. Panel on right gives clickable options that return information about Name Page, Name Sakes, Similar and Drawbacks, each requiring only a mouse click to bring information lightening fast!
Behind The Name, the etymology and history of first names, http://www.behindthename.com/, is a terrific resource that lets you check popularity, related names, name day, name ratings, etc., arranged by nationality, mythology, biblical, and many more options. You'll like the Alphabetical Navigator in a box at the left.
Kabalarian's site is an invaluable and fascinating site that concerns names, Kabalarians Philosophy, http://www.kabalarians.com/. Although time ran out before I was ever able to download alphabetical name list, by using the Search box near top right of page, typing in a name, and then checking What Does My Name Mean?, I gleaned some information. Kalabarian Philosophy Electronic Newsletter, The Newsline, contains a vast amount of information about names.
Find the top 100 names in any given year at Social Security Online, http://www.ssa.gov/OACT/babynames/. You can also search a name to discover the year(s) it was most popular.
After you've studied at these sites, you'll be much better equipped when naming your characters, and you'll probably visit repeatedly.
End
Chapter 13 - Genre Writing and Writing for Children: http://tinyurl.com/3x33osl
Next: 6-3, Character Traits: http://tinyurl.com/2cmgumc
Exploring names and their meanings for your characters can not only be fascinating, but very enlightening. Names bear more thought an consideration than many writers realize.
BabyNamer.com, http://www.babynamer.com/ is fast, efficient and very useful for finding names, their origins and definitions, nicknames, etc.. Click a letter of the alphabet at the top to generate girl\boy lists alphabetically. Click color button, pink or blue to get names by gender. Click name. Panel on right gives clickable options that return information about Name Page, Name Sakes, Similar and Drawbacks, each requiring only a mouse click to bring information lightening fast!
Behind The Name, the etymology and history of first names, http://www.behindthename.com/, is a terrific resource that lets you check popularity, related names, name day, name ratings, etc., arranged by nationality, mythology, biblical, and many more options. You'll like the Alphabetical Navigator in a box at the left.
Kabalarian's site is an invaluable and fascinating site that concerns names, Kabalarians Philosophy, http://www.kabalarians.com/. Although time ran out before I was ever able to download alphabetical name list, by using the Search box near top right of page, typing in a name, and then checking What Does My Name Mean?, I gleaned some information. Kalabarian Philosophy Electronic Newsletter, The Newsline, contains a vast amount of information about names.
Find the top 100 names in any given year at Social Security Online, http://www.ssa.gov/OACT/babynames/. You can also search a name to discover the year(s) it was most popular.
After you've studied at these sites, you'll be much better equipped when naming your characters, and you'll probably visit repeatedly.
End
Chapter 13 - Genre Writing and Writing for Children: http://tinyurl.com/3x33osl
Next: 6-3, Character Traits: http://tinyurl.com/2cmgumc
Sunday
4-4 Adventuring Your Road To Successful Writing and Marketing
(c) 2010 Mona Leeson Vanek
IMPORTANT -- Take time to learn about companies you hope to write for. For example, you'll see New York Times web sites listed at the bottom of the home page.) About.com is owned by New York Times. In the permission I received from them to include information and links, they also said, "Please be advised that linking to an article on The New York Times is free of charge and does not require permission. You do, however have to use the Publisher's URL which will take your readers back to The New York Times web site in which they have to be a member, or become a member. Membership is free of charge and only takes a minute to complete. For further information on linking, please see the URL below: http://www.nytimes.com/membercenter/faq/linking.html. If you wish to post an article onto your site (your URL would then host the material), then permission is needed and copyright fees apply."
Time Inc. has a portfolio of 21 U.S. magazines and more than 25 U.S. Web sites. Take time to learn more here, http://www.timeinc.com/aboutus/index.php.
Site Map
The Site Map displays the links on the web page, providing information quickly. Not all web pages have one, but you'll either find it at the top or the bottom of the page.
MAGHOUND, http://www.maghound.com/home.ep. When I clicked a magazine there, the resulting page offered View All Magazines. Hovering a mouse over each magazine's cover page displays its specialty. Maghound.com belongs to Time Inc., which publishes more than 115 magazines, including 22 in the U.S., which are read nearly 250 million times worldwide on a monthly basis, 26 US web sites, 48 worldwide web sites.
Web page search funtion
Take advantage of a web page's search function, because theirs often locates magazines missed by your favorite search engine. Mamma.com is a top Meta Search Engine, found at, http://www.mamma.com//. The search function at Starting Point, http://www.stpt.com/ brings links to magazines to read. Starting Point (TM) Magazines http://www.stpt.com/ is one of the best databases to search any topic and the magazines catering to it. It doesn't cover guides, but is a very good place to start when you're studying magazine content. Read reviews to get inside the magazine's readers minds.
NBC Internet (NBCi), http://tinyurl.com/6d2m8s will search many of the publications on the web for subjects or keywords, including magazines.
Explore the Internet Public Library, and also use their search utility: http://www.ipl.org/. With diligence, you find goodies like: http://www.ipl.org/div/serials/
Moira Allen's Website for writers, Writing-World.com, http://www.writing-world.com/, offers many links to various markets and writers' sites.
Visit Kirk LaPointe's J-Home has a very comprehensive list of links to magazines, http://www.kirklapointe.com/.
The American Journalism Review site, http://ajr.org/ affords links to the 50 largest circulation magazines in the states and the 25 largest circulation magazines in Canada. However, not every large circulation magazine has a link because many do not have web pages. Use News Sources at the top of the page and then select from the drop down list to get categorized lists.
Specialties
Specialties galore exist, such as Family Tree Magazine, devoted to family and genealogy, http://www.familytreemagazine.com/magazine/.
Greeting card magazine, Greetings.etc., is the industry's leading magazine, http://www.greetingsmagazine.com/greetings/index.shtml.
Provided by the Weider History Group, the world's largest publisher of history magazines, TheHistoryNet.com is excellent, and will also show you the picture of the day: http://www.historynet.com/.
Women magazines URL links and much much more are at, http://femina.cybergrrl.com/ under Media and Publications. If you write for or about women you'll want to check out, http://www.ivillage.com/magazinesites/.
If writing trade articles interests you, locate FreeTradeMagazines -- an excellent trade magazines resource, http://www.freetrademagazines.com/. Click on a listed magazine to get a page with more magazines in that topic. Study and compare to learn each magazine's style, content, publication dates, etc. (Tip: If making money from your writing-related website interests you, on the home page at the top, click the "Affiliate" button for full details.
Click on a listed magazine to get a page with more magazines in that topic. Study and compare to learn each magazine's style, content, publication dates, etc.
Magazine databases
Some magazine databases have links to magazine guidelines or contact information.
Databases of magazines, (writers guidelines for many magazines are also linked)
Writers Write, http://www.writerswrite.com/paying/
Writers Weekly, http://www.writersweekly.com/markets/
Snafu.de, http://home.snafu.de/gadfly/a-c.htm
Writing For DOLLARS, http://www.writingfordollars.com/.
Ark Royal Magazines, http://www.100-free-magazines.com/.
Magamall.com, http://www.magamall.com/.
Magatopia.com, http://www.magatopia.com/
ABZY News Links, http://www.abyznewslinks.com/.
Sample Magazines to study
At magazine seller sites click on the magazine cover. Some offer a blurb about the focus of the magazine. Many magazines offer free trials. It's fine to order magazines, but don't feel obligated to subscribe. Unless you are truly interested, and want the subscription, immediately write cancel on the statement when it arrives and return it the same day, or very soon afterwards.
Archives
While reading magazines online, check the magazine's archives, where stories are often categorized by month or year, or by alphabetized listing of archived articles.
Archives are very useful to learn what the editor wants, how magazine focus changes over several years, and topics that have been published. If the same topic is covered periodically, it's an opportunity for you to target the magazine with an article on previously covered topics ~~ at a later date!
Writers guidelines
At magazine seller sites, choose the name of any magazine and copy-paste or type it into your search engine to locate the home page of the magazine, where you'll often find a link to writer's guidelines.
If guides aren't on the home page, check at their About Us and\or Contact Us to request them. You can also contact a magazines' advertising department and ask for their media kit (and your editor will never have to know.) Study the media kit and editorial calendar to learn about the behind the scenes operation of magazines.
Guidelines for many magazines are at: http://www.writersdigest.com/. Hover your mouse over Get Published to locate the drop down and get Hot Markets, where you'll find The Writer's Digest Top 100. Each magazine title you click will take you to that magazine's writers guidelines.
How much can you learn from one magazine? SeedQuest contains an online and prints publications list. Begin at the homepage, http://www.seedquest.com/. I don't remember ever surfing so many links from one web page that led me to a wider variety of topics! Nearly every line of type is a link! It's an awesome resource to spark topic ideas. Exploring leads to great story ideas.
For example,
Also, find much more by clicking Frequently Asked Questions, FAQ.
If you explore the site you'll find articles on writing a synopsis, publishing glossary, what proofreader's marks mean, etc.
By diligently exploring the Internet to find magazines, editors, spark ideas, and guidelines you'll pave your road to successful writing and marketing.
End
Chapter 9 - Querying and Related Issues: http://tinyurl.com/349p8ej
Next: 4-5, Writers and Networking: >http://tinyurl.com/2b2q22n
Use the Internet to minimize the time spent locating magazines to study, find archived articles, obtain free sample copies, locate writer's guidelines, and query editors. Other important information, such as magazine publishers, publishers' representatives, and award-winning stories that help you blueprint your stories and articles to a magazine's template reduce guesswork.
Explore each web site
For example, by following links at About.com:Doll Collecting, I discovered there are fifteen magazines for dolls! http://tinyurl.com/5ts485, and more here, http://tinyurl.com/5pht6t, (Both websites belong to the New York Times http://www.nytco.com/. See a list of New York Times web sites, http://www.nytimes.com/. New York Times http://www.nytimes.com/auth/login required (which is free)Explore each web site
IMPORTANT -- Take time to learn about companies you hope to write for. For example, you'll see New York Times web sites listed at the bottom of the home page.) About.com is owned by New York Times. In the permission I received from them to include information and links, they also said, "Please be advised that linking to an article on The New York Times is free of charge and does not require permission. You do, however have to use the Publisher's URL which will take your readers back to The New York Times web site in which they have to be a member, or become a member. Membership is free of charge and only takes a minute to complete. For further information on linking, please see the URL below: http://www.nytimes.com/membercenter/faq/linking.html. If you wish to post an article onto your site (your URL would then host the material), then permission is needed and copyright fees apply."
Time Inc. has a portfolio of 21 U.S. magazines and more than 25 U.S. Web sites. Take time to learn more here, http://www.timeinc.com/aboutus/index.php.
Site Map
The Site Map displays the links on the web page, providing information quickly. Not all web pages have one, but you'll either find it at the top or the bottom of the page.
MAGHOUND, http://www.maghound.com/home.ep. When I clicked a magazine there, the resulting page offered View All Magazines. Hovering a mouse over each magazine's cover page displays its specialty. Maghound.com belongs to Time Inc., which publishes more than 115 magazines, including 22 in the U.S., which are read nearly 250 million times worldwide on a monthly basis, 26 US web sites, 48 worldwide web sites.
Web page search funtion
Take advantage of a web page's search function, because theirs often locates magazines missed by your favorite search engine. Mamma.com is a top Meta Search Engine, found at, http://www.mamma.com//. The search function at Starting Point, http://www.stpt.com/ brings links to magazines to read. Starting Point (TM) Magazines http://www.stpt.com/ is one of the best databases to search any topic and the magazines catering to it. It doesn't cover guides, but is a very good place to start when you're studying magazine content. Read reviews to get inside the magazine's readers minds.
NBC Internet (NBCi), http://tinyurl.com/6d2m8s will search many of the publications on the web for subjects or keywords, including magazines.
Explore the Internet Public Library, and also use their search utility: http://www.ipl.org/. With diligence, you find goodies like: http://www.ipl.org/div/serials/
Moira Allen's Website for writers, Writing-World.com, http://www.writing-world.com/, offers many links to various markets and writers' sites.
Visit Kirk LaPointe's J-Home has a very comprehensive list of links to magazines, http://www.kirklapointe.com/.
The American Journalism Review site, http://ajr.org/ affords links to the 50 largest circulation magazines in the states and the 25 largest circulation magazines in Canada. However, not every large circulation magazine has a link because many do not have web pages. Use News Sources at the top of the page and then select from the drop down list to get categorized lists.
Specialties
Specialties galore exist, such as Family Tree Magazine, devoted to family and genealogy, http://www.familytreemagazine.com/magazine/.
Greeting card magazine, Greetings.etc., is the industry's leading magazine, http://www.greetingsmagazine.com/greetings/index.shtml.
Provided by the Weider History Group, the world's largest publisher of history magazines, TheHistoryNet.com is excellent, and will also show you the picture of the day: http://www.historynet.com/.
Women magazines URL links and much much more are at, http://femina.cybergrrl.com/ under Media and Publications. If you write for or about women you'll want to check out, http://www.ivillage.com/magazinesites/.
If writing trade articles interests you, locate FreeTradeMagazines -- an excellent trade magazines resource, http://www.freetrademagazines.com/. Click on a listed magazine to get a page with more magazines in that topic. Study and compare to learn each magazine's style, content, publication dates, etc. (Tip: If making money from your writing-related website interests you, on the home page at the top, click the "Affiliate" button for full details.
Click on a listed magazine to get a page with more magazines in that topic. Study and compare to learn each magazine's style, content, publication dates, etc.
Magazine databases
Some magazine databases have links to magazine guidelines or contact information.
Databases of magazines, (writers guidelines for many magazines are also linked)
Writers Write, http://www.writerswrite.com/paying/
Writers Weekly, http://www.writersweekly.com/markets/
Snafu.de, http://home.snafu.de/gadfly/a-c.htm
Writing For DOLLARS, http://www.writingfordollars.com/.
Ark Royal Magazines, http://www.100-free-magazines.com/.
Magamall.com, http://www.magamall.com/.
Magatopia.com, http://www.magatopia.com/
ABZY News Links, http://www.abyznewslinks.com/.
Sample Magazines to study
At magazine seller sites click on the magazine cover. Some offer a blurb about the focus of the magazine. Many magazines offer free trials. It's fine to order magazines, but don't feel obligated to subscribe. Unless you are truly interested, and want the subscription, immediately write cancel on the statement when it arrives and return it the same day, or very soon afterwards.
Archives
While reading magazines online, check the magazine's archives, where stories are often categorized by month or year, or by alphabetized listing of archived articles.
Archives are very useful to learn what the editor wants, how magazine focus changes over several years, and topics that have been published. If the same topic is covered periodically, it's an opportunity for you to target the magazine with an article on previously covered topics ~~ at a later date!
Writers guidelines
At magazine seller sites, choose the name of any magazine and copy-paste or type it into your search engine to locate the home page of the magazine, where you'll often find a link to writer's guidelines.
If guides aren't on the home page, check at their About Us and\or Contact Us to request them. You can also contact a magazines' advertising department and ask for their media kit (and your editor will never have to know.) Study the media kit and editorial calendar to learn about the behind the scenes operation of magazines.
Guidelines for many magazines are at: http://www.writersdigest.com/. Hover your mouse over Get Published to locate the drop down and get Hot Markets, where you'll find The Writer's Digest Top 100. Each magazine title you click will take you to that magazine's writers guidelines.
How much can you learn from one magazine? SeedQuest contains an online and prints publications list. Begin at the homepage, http://www.seedquest.com/. I don't remember ever surfing so many links from one web page that led me to a wider variety of topics! Nearly every line of type is a link! It's an awesome resource to spark topic ideas. Exploring leads to great story ideas.
For example,
- start by clicking 'seed biotechnologies
- scroll to a link to Seed Technology Center at UC Davis and click their link
- then use the Google search on the resulting page
- from there you can surf on over to CooksGarden -- and spark endless writing possibilities!
Also, find much more by clicking Frequently Asked Questions, FAQ.
If you explore the site you'll find articles on writing a synopsis, publishing glossary, what proofreader's marks mean, etc.
By diligently exploring the Internet to find magazines, editors, spark ideas, and guidelines you'll pave your road to successful writing and marketing.
End
Chapter 9 - Querying and Related Issues: http://tinyurl.com/349p8ej
Next: 4-5, Writers and Networking: >http://tinyurl.com/2b2q22n
Saturday
6-1 Strong Fictional Characters
(c) 2010, Mona Leeson Vanek
This advice is shared by Alan Girling, Freelance Writer.
Chapter 6 - Permissions and Writer Beware: http://tinyurl.com/3a9yfby
Next, 6-2, All About Names: http://tinyurl.com/32vyakh
This advice is shared by Alan Girling, Freelance Writer.
- "Do you need to study strong female fictional characters? Have you related to those in books such as the Taming of the Shrew; Jane Eyre; Anne of Green Gables? At The Back Fence, http://www.likesbooks.com/102.html, you'll find a long, interesting and very thorough essay on heroines in classic fiction and modern romance with detailed descriptions, many links, and relevant quotations from discussed books." ~~ Alan Girling
Chapter 6 - Permissions and Writer Beware: http://tinyurl.com/3a9yfby
Next, 6-2, All About Names: http://tinyurl.com/32vyakh
3-5 Quoting Quotes
(c) 2010 Mona Leeson Vanek
When quoting someone else's quotes for historical references, you say
Anthony Robbins was successfully sued over the use of a couple of TWO-WORD phrases. There is no word count limit that determines fair use, and if you're getting paid to write the book, it's a "commercial purpose."
There's an excellent article about this on Ivan Hoffman's website at, http://www.ivanhoffman.com/fair3.html. Ivan's entire site http://www.ivanhoffman.com/ has many, many useful articles. He is an attorney who specializes in copyright and intellectual property law. There are two previous articles on other aspects of fair use, as well.
Keep in mind that Hoffman's articles are not intended as legal advice and are not legal advice. The articles are intended to provide only general, non-specific legal information and are not intended to cover all the issues related to the topic discussed.
End
Chapter 5 - Copyrights, Previously Published Works,and Using Quotations: http://tinyurl.com/38t4xpd
Next: Chapter 6 - Permissions and Writer Beware: http://tinyurl.com/3a9yfby
When quoting someone else's quotes for historical references, you say
- Quoted in REFERENCE, page [xxx.]
Anthony Robbins was successfully sued over the use of a couple of TWO-WORD phrases. There is no word count limit that determines fair use, and if you're getting paid to write the book, it's a "commercial purpose."
There's an excellent article about this on Ivan Hoffman's website at, http://www.ivanhoffman.com/fair3.html. Ivan's entire site http://www.ivanhoffman.com/ has many, many useful articles. He is an attorney who specializes in copyright and intellectual property law. There are two previous articles on other aspects of fair use, as well.
Keep in mind that Hoffman's articles are not intended as legal advice and are not legal advice. The articles are intended to provide only general, non-specific legal information and are not intended to cover all the issues related to the topic discussed.
End
Chapter 5 - Copyrights, Previously Published Works,and Using Quotations: http://tinyurl.com/38t4xpd
Next: Chapter 6 - Permissions and Writer Beware: http://tinyurl.com/3a9yfby
9-6 What About Distribution and Publicists?
(c) 2010, Mona Leeson Vanek
Distribution has always been one of the major reasons for not self-publishing your book. So what can you do to help turn that around?
Diane Diekman, author of two books she self-published, A Farm in the Hidewood; My South Dakota Home (ISBN 0-9708201-0-0) and Navy Greenshirt: A Leader Made, Not Born (ISBM 0-9708201-1-9), says boxes of them remain because she had no distribution system. However, since the University of Illinois Press, which has worldwide distribution, published her third book, "Live Fast, Love Hard: The Faron Young Story (ISBN is 978-0-252-03248-6.)
U of I Press sent 17,000 catalogs around the world, made numerous contacts for reviews, and a blurb in the Faron Young book jacket promotes her earlier books. And now, Diane makes good use of her website, http://dianediekman.com/, where links publicize her first two books, plus Faron Young, Marty Robbins (Twentieth Century Drifter: The Life of Marty Robbins, her book in progress) and a link to her Newsletter and Blog.
Still, Diane said that hiring a publicist would have been helpful. A publicist would have set up book tours and radio interviews and other events for her. Many publishers do not set up events, or pay for them. And if you self-publish a publicist may be able to help. You must also ensure that bookstores will allow you to bring in your book if you are able to schedule a book signing, and be sure that sufficient copies are at the event.
Developing your platform is extremely important. Speak at every opportunity. Network with professional writers. Start a newsletter as soon as you finish writing your book. Be creative and grow your subscriber list. Network with other newsletter-owners and ask them to offer reprints of yours to their distribution list, if possible.
Diane started a weekly Faron Young email newsletter more than two years before publication of her book, after she'd finished writing her manuscript. By the time her book was on book shelves, her subscriber list had grown from 40 to almost 400, and another newsletter with a 20,000-person distribution reprints hers.
Distribution and platforms are critical, however not every professional agrees on the importance of platforms. Begin by reading the following post, http://tinyurl.com/crh6ae, at Michael Hyatt's website. Then scroll to the bottom of the post and check out the articles linked there:
End
Chapter 18 - Book Publishing: http://tinyurl.com/38d98qf
Next: 9-7 What an Agent Expects to See: http://tinyurl.com/26cvlhr
Distribution has always been one of the major reasons for not self-publishing your book. So what can you do to help turn that around?
Diane Diekman, author of two books she self-published, A Farm in the Hidewood; My South Dakota Home (ISBN 0-9708201-0-0) and Navy Greenshirt: A Leader Made, Not Born (ISBM 0-9708201-1-9), says boxes of them remain because she had no distribution system. However, since the University of Illinois Press, which has worldwide distribution, published her third book, "Live Fast, Love Hard: The Faron Young Story (ISBN is 978-0-252-03248-6.)
U of I Press sent 17,000 catalogs around the world, made numerous contacts for reviews, and a blurb in the Faron Young book jacket promotes her earlier books. And now, Diane makes good use of her website, http://dianediekman.com/, where links publicize her first two books, plus Faron Young, Marty Robbins (Twentieth Century Drifter: The Life of Marty Robbins, her book in progress) and a link to her Newsletter and Blog.
Still, Diane said that hiring a publicist would have been helpful. A publicist would have set up book tours and radio interviews and other events for her. Many publishers do not set up events, or pay for them. And if you self-publish a publicist may be able to help. You must also ensure that bookstores will allow you to bring in your book if you are able to schedule a book signing, and be sure that sufficient copies are at the event.
Developing your platform is extremely important. Speak at every opportunity. Network with professional writers. Start a newsletter as soon as you finish writing your book. Be creative and grow your subscriber list. Network with other newsletter-owners and ask them to offer reprints of yours to their distribution list, if possible.
Diane started a weekly Faron Young email newsletter more than two years before publication of her book, after she'd finished writing her manuscript. By the time her book was on book shelves, her subscriber list had grown from 40 to almost 400, and another newsletter with a 20,000-person distribution reprints hers.
Distribution and platforms are critical, however not every professional agrees on the importance of platforms. Begin by reading the following post, http://tinyurl.com/crh6ae, at Michael Hyatt's website. Then scroll to the bottom of the post and check out the articles linked there:
- 7 Ways To Build Your Online Platform From Scratch, http://tinyurl.com/ybqdvqq
End
Chapter 18 - Book Publishing: http://tinyurl.com/38d98qf
Next: 9-7 What an Agent Expects to See: http://tinyurl.com/26cvlhr
2-5 Grammar Resources
(c) 2010, Mona Leeson Vanek
Where do you go for answers to grammar questions?
The following websites can help
PainintheEnglish.com, a grammar forum for the gray areas of the English language offers excellent help, http://painintheenglish.com/.
The University of Chicago Writing Program, http://writing-program.uchicago.edu/resources/grammar.htm.
The University of North Carolina at Chapel Hill has an excellent handout here, http://www.unc.edu/depts/wcweb/handouts/passivevoice.html.
Find answers to grammar questions at Capital Community College Foundation sponsors The Guide to Writing and Grammar: http://grammar.ccc.commnet.edu/grammar/. Click Index to get links to whatever you want to know about.
End
Chapter 4 - Writers Guidelines and Magazine Calendars http://tinyurl.com/2v6ej46
Next: Chapter 5 - Copyrights, Previously Published Works,and Using Quotations: http://tinyurl.com/38t4xpd
Where do you go for answers to grammar questions?
The following websites can help
PainintheEnglish.com, a grammar forum for the gray areas of the English language offers excellent help, http://painintheenglish.com/.
The University of Chicago Writing Program, http://writing-program.uchicago.edu/resources/grammar.htm.
The University of North Carolina at Chapel Hill has an excellent handout here, http://www.unc.edu/depts/wcweb/handouts/passivevoice.html.
Find answers to grammar questions at Capital Community College Foundation sponsors The Guide to Writing and Grammar: http://grammar.ccc.commnet.edu/grammar/. Click Index to get links to whatever you want to know about.
End
Chapter 4 - Writers Guidelines and Magazine Calendars http://tinyurl.com/2v6ej46
Next: Chapter 5 - Copyrights, Previously Published Works,and Using Quotations: http://tinyurl.com/38t4xpd
9-9 Trade Book Publishing Agreement
(c) 2010, Mona Leeson Vanek
CopyLaw.com, http://www.copylaw.com/ is a great site to study and learn about trade book publishing. Visit About Us and acquaint yourelf with owner, Lloyd Jassin. Read the Articles, explore the Forms, and don't miss Visit Our Blog, http://www.copylaw.org/ and become a regular follower.
then become a regular follower.
End
Chapter 18 - Book Publishing: http://tinyurl.com/38d98qf
Next, Chapter 19 - Research and Libraries: http://tinyurl.com/3x2h4uq
CopyLaw.com, http://www.copylaw.com/ is a great site to study and learn about trade book publishing. Visit About Us and acquaint yourelf with owner, Lloyd Jassin. Read the Articles, explore the Forms, and don't miss Visit Our Blog, http://www.copylaw.org/ and become a regular follower.
then become a regular follower.
End
Chapter 18 - Book Publishing: http://tinyurl.com/38d98qf
Next, Chapter 19 - Research and Libraries: http://tinyurl.com/3x2h4uq
9-2 About That Agent
(c) 2010 Mona Leeson Vanek
You'll find many answers to your questions about agents by visiting The Association of Authors' Representatives (AAR), http://aaronline.org/. AAR's site explains the organization and tells what to expect from a reputable agent. Before you begin your search for an agent to represent you, explore the wealth of information offered to learn such things as etiquette, what questions to ask an agent, etc.
You'll also find very good links to help you understand many aspects of writing at Dan Perez' web site, http://www.sff.net/people/dan.perez/advice.htm, including an article on what to look for in an agent.
Many agents prefer cover letters that demonstrate your writing ability to query letters. Sound assured and be very clear. If they enhance the focus of your manuscript, it’s okay to include clips (your previously published material).
Your query should clearly ask, "Do you want to see my book proposal about [ xxx…]?”.
When you receive an affirmative response, send the proposal with a cover letter saying, "Here is the proposal you requested for, “working book title.”
Just because an agent asks for exclusivity on your proposal doesn't mean she necessarily thinks it’s saleable. It only means she doesn't want to waste her time looking at it if someone else is also looking at it. Agents get as high as 300+ queries a week.
On Natalie R. Collins' web site, http://www.nataliercollins.com/, scroll to the bottom where you'll find Agent link. The agents listed have a verifiable track record of legitimate sales. It's updated about every three months. Each agent is researched before being added. No additions are made without her approval. TIP: The Agent page will give you instructions on how to download the list that's grown to large to display on a web page.
Collins says,
You should never be shy of asking questions about the agent's background and way of working.
Ask:
Alternative to having an agent
For some books, you’ll do well by dealing directly with a publisher. Do your homework to find an appropriate publisher who accepts manuscripts from writers. Then query the publisher’s Acquisitions Editor.
When requested by the AE, send your formal proposal. Be sure to follow the publishing house’s template if you get one. It will include an overview of other competing books on the market, with publisher, author, ISBN, etc., and a few paragraphs that detail how your book is better, or adds value not found in those already available.
When dealing directly with a publishing house, be sure to have your Intellectual Properties Attorney review and explain the contract details so you clearly understand them. After the publisher makes you an offer, it’s legitimate to get an agent to represent you.
Above all, make sure you have a sense that the agent likes and understands your work and knows the market (the specific editors and houses) for it. If your genre is a newer area for the agent, that's not necessarily a bad thing (it may make you the agency's "star client" in that genre), but just be sure the agent knows who the right editors will be. And be certain that the person seems like someone you could work happily with. Your agent doesn't have to become your closest pal, but he or she does need to be someone you can trust, respect, and feel comfortable with.
One last point: it's diplomatic to reserve these questions for your interview or discussion with the agent, after the agent calls or writes to express interest in representing you. Agents can more comfortably discuss them over the phone with you than in writing (either by email or by letter). Don't put them in your query letter or you'll probably alienate the person.
Also, check out QueryTracer, http://www.querytracker.net/.
Contracts resulting from an agent's efforts
Look at a contract as a business proposition, not just as an opportunity to publish books. Your agent might help you get the best contract, but you will want your Intellectual Property Attorney on board, too.
Novelists, Inc., keeps its members connected, communicating, and well informed while striving to better the status of fiction writers: http://www.ninc.com/. This fine web site has excellent articles. Use tabs at the top to locate. One article, written by Laura Resnick about negotiating a book contract, has some relevance to magazine contracts.
End
Chapter 18 - Book Publishing: http://tinyurl.com/38d98qf
Next: 9-3 Audio Book Publishing: http://tinyurl.com/28qz3rx
You'll find many answers to your questions about agents by visiting The Association of Authors' Representatives (AAR), http://aaronline.org/. AAR's site explains the organization and tells what to expect from a reputable agent. Before you begin your search for an agent to represent you, explore the wealth of information offered to learn such things as etiquette, what questions to ask an agent, etc.
You'll also find very good links to help you understand many aspects of writing at Dan Perez' web site, http://www.sff.net/people/dan.perez/advice.htm, including an article on what to look for in an agent.
Many agents prefer cover letters that demonstrate your writing ability to query letters. Sound assured and be very clear. If they enhance the focus of your manuscript, it’s okay to include clips (your previously published material).
Your query should clearly ask, "Do you want to see my book proposal about [ xxx…]?”.
When you receive an affirmative response, send the proposal with a cover letter saying, "Here is the proposal you requested for, “working book title.”
Just because an agent asks for exclusivity on your proposal doesn't mean she necessarily thinks it’s saleable. It only means she doesn't want to waste her time looking at it if someone else is also looking at it. Agents get as high as 300+ queries a week.
On Natalie R. Collins' web site, http://www.nataliercollins.com/, scroll to the bottom where you'll find Agent link. The agents listed have a verifiable track record of legitimate sales. It's updated about every three months. Each agent is researched before being added. No additions are made without her approval. TIP: The Agent page will give you instructions on how to download the list that's grown to large to display on a web page.
Collins says,
"I will not claim every agent on there is good, because I have heard of some writers having HORRIBLE experiences with A-list agents, but it's a good place to start. One big plus, you will not find scam artist agents on this listing."Collins is the author of Wives and Sisters, and Behind Closed Doors, from St. Martin's Press. Find Suspense Fiction Behind the Zion Curtain here: www.nataliercollins.com/weblog.
You should never be shy of asking questions about the agent's background and way of working.
Ask:
- About the agent's background in publishing, Hollywood or the law.
- Which clients and/or types of books the agent represents.
- Which publishers the agent works with regularly.
- Does the agent visit New York (if he or she doesn't work there).
- How will you be expected to pay the agent (is he or she asking any reading or editorial fees beyond the commission?)
- Whether the agent will forward publishers' rejection letters (if any) to you upon their receipt
- Whether you'll be consulted on all deals that go through on your behalf (you must be!)
- To what extent the agent is experienced and aggressive in selling subsidiary rights (or engaging co-agents to do it for him or her) and negotiating points on your contract.
Alternative to having an agent
For some books, you’ll do well by dealing directly with a publisher. Do your homework to find an appropriate publisher who accepts manuscripts from writers. Then query the publisher’s Acquisitions Editor.
When requested by the AE, send your formal proposal. Be sure to follow the publishing house’s template if you get one. It will include an overview of other competing books on the market, with publisher, author, ISBN, etc., and a few paragraphs that detail how your book is better, or adds value not found in those already available.
When dealing directly with a publishing house, be sure to have your Intellectual Properties Attorney review and explain the contract details so you clearly understand them. After the publisher makes you an offer, it’s legitimate to get an agent to represent you.
Above all, make sure you have a sense that the agent likes and understands your work and knows the market (the specific editors and houses) for it. If your genre is a newer area for the agent, that's not necessarily a bad thing (it may make you the agency's "star client" in that genre), but just be sure the agent knows who the right editors will be. And be certain that the person seems like someone you could work happily with. Your agent doesn't have to become your closest pal, but he or she does need to be someone you can trust, respect, and feel comfortable with.
One last point: it's diplomatic to reserve these questions for your interview or discussion with the agent, after the agent calls or writes to express interest in representing you. Agents can more comfortably discuss them over the phone with you than in writing (either by email or by letter). Don't put them in your query letter or you'll probably alienate the person.
Also, check out QueryTracer, http://www.querytracker.net/.
Contracts resulting from an agent's efforts
Look at a contract as a business proposition, not just as an opportunity to publish books. Your agent might help you get the best contract, but you will want your Intellectual Property Attorney on board, too.
Novelists, Inc., keeps its members connected, communicating, and well informed while striving to better the status of fiction writers: http://www.ninc.com/. This fine web site has excellent articles. Use tabs at the top to locate. One article, written by Laura Resnick about negotiating a book contract, has some relevance to magazine contracts.
End
Chapter 18 - Book Publishing: http://tinyurl.com/38d98qf
Next: 9-3 Audio Book Publishing: http://tinyurl.com/28qz3rx
10-4 More Useful Links to Markets
(c) 2010 Mona Leeson Vanek
LitLine, A Website for the Independent Literary Community, http://www.litline.org/links/onlinejournals.html
Poets and Writers, http://www.pw.org/. (Click Magazines and scroll to Classifieds at bottom of that page.)
Towse's, http://tinyurl.com/2dfo43n
Poetry Publishers Who Accept email Submissions, http://newark.rutgers.edu/~lcrew/pbonline.html. Compiled continually by Louie Crew
NewPages.com, http://www.newpages.com/npguides/litmags.htm
Literary Magazines, Every Writer's Resource, http://tinyurl.com/aoxvpa
Millikin University of Haiku, Directory of haiku magazines, http://old.millikin.edu/haiku/magazines.html
End
Chapter 21 - Polish, Sell, and Enjoy Rewards!: http://tinyurl.com/38et5xn
Next: 10-5, Use Wi-Fi Legally: http://tinyurl.com/2ca84d3
LitLine, A Website for the Independent Literary Community, http://www.litline.org/links/onlinejournals.html
Poets and Writers, http://www.pw.org/. (Click Magazines and scroll to Classifieds at bottom of that page.)
Towse's, http://tinyurl.com/2dfo43n
Poetry Publishers Who Accept email Submissions, http://newark.rutgers.edu/~lcrew/pbonline.html. Compiled continually by Louie Crew
NewPages.com, http://www.newpages.com/npguides/litmags.htm
Literary Magazines, Every Writer's Resource, http://tinyurl.com/aoxvpa
Millikin University of Haiku, Directory of haiku magazines, http://old.millikin.edu/haiku/magazines.html
End
Chapter 21 - Polish, Sell, and Enjoy Rewards!: http://tinyurl.com/38et5xn
Next: 10-5, Use Wi-Fi Legally: http://tinyurl.com/2ca84d3
3-4 Interviewing to Write Profiles
(c) 2010, Mona Leeson Vanek
John Palcewski has enjoyed a long and eclectic career as a newspaper reporter, music/drama critic, magazine editor, UPI photojournalist, fine arts photographer, poet, and fiction author. Writing a personality profile on Miles Davis launched him on his professional writing career, and he says profiles have always been his favorite thing. "I regard writing profiles as a "kind of journalistic/psychoanalytical process," Palcewski says, "I try to get to know the person as much as possible."
He studies his subject, and gets to know them through research in the library, as well as through their personal friends and family. He advises using the Internet and various search engines to gather everything that has been written about the person.
Note same or similar biographical elements appearing in various sources and also note elements that you can personally relate to.
Don't rely on just taking notes, be sure to also keep a record of the URL where you found each piece of data as you might never locate the source again. Remember, technology is not fail safe -- don't find yourself relying on the Internet without taking valuable notes. Both are important.
Interview as many of the subject's friends and relatives as you can and ask each to describe the subject in 25 words or less (the length of a good newspaper lead!). Gather input as well from the subjects'colleagues, especially those who are critical of him/her.
After you've assembled a nice big pile, very slowly and carefully read it over several times.
Other professional writers offered these tips
Kim Pawlak, who wrote 'Notables,' a textbook author profile advised requesting the author's curriculum vitae or resume. It contains the statistics, numbers of books published, awards, success of the books, etc. In addition to researching documented material, she also talked to professors in the subject's field who shed light on the author.
Karen Blue, freelance writer who retired to Mexico where she wrote extensively about the benefits to single women who relocated there, says
End
John Palcewski has enjoyed a long and eclectic career as a newspaper reporter, music/drama critic, magazine editor, UPI photojournalist, fine arts photographer, poet, and fiction author. Writing a personality profile on Miles Davis launched him on his professional writing career, and he says profiles have always been his favorite thing. "I regard writing profiles as a "kind of journalistic/psychoanalytical process," Palcewski says, "I try to get to know the person as much as possible."
He studies his subject, and gets to know them through research in the library, as well as through their personal friends and family. He advises using the Internet and various search engines to gather everything that has been written about the person.
Note same or similar biographical elements appearing in various sources and also note elements that you can personally relate to.
Don't rely on just taking notes, be sure to also keep a record of the URL where you found each piece of data as you might never locate the source again. Remember, technology is not fail safe -- don't find yourself relying on the Internet without taking valuable notes. Both are important.
Interview as many of the subject's friends and relatives as you can and ask each to describe the subject in 25 words or less (the length of a good newspaper lead!). Gather input as well from the subjects'colleagues, especially those who are critical of him/her.
After you've assembled a nice big pile, very slowly and carefully read it over several times.
"Then sit down and start writing out a list of questions. These questions should flow naturally from the material you've already assembled. Compose questions relating to the contradictory things you've read, and also about other biographical episodes.
"Then arrange for an interview. There is a lot of debate about location, whether it should be on his/her turf, or in a neutral place. Much of it depends on to what extent the subject wants to cooperate. But it's essential to get as much time as possible, and ideally arrange in advance some follow-up meetings or telephone calls.
"Start the interview with thanking the subject for granting the interview, and make it emphatic! And then begin your questions with all the positive things the subject has been involved with, allow him/her to revisit pleasant experiences.
"As you are conducting the interview, it's essential to make the subject know that you are truly INTERESTED in what he/she is saying. That means sitting on the edge of your chair, leaning forward just a bit, and keeping eye contact. People know when you are receptive, or when you are just going through the motions.
"The fact that you have spent the time doing your homework will soon become apparent to the subject, and body language that reinforces your interest will create the best possible climate.
"If there are controversial questions, like a history of drug use or other negative things, save them for the very end. The whole idea is to fashion the interview in such a way that the subject naturally starts revealing personal things. And it will happen only if a feeling of trust has been established.
"If the subject objects to certain questions, you can say, well, look. I'm a journalist, and I'm sorry to be so intrusive, but readers ARE curious about these things. Another way to frame difficult questions is to say: "Many people would say that..." followed by either silence or "What would YOU say to them?"
"I usually use a tape recorder for two reasons. One, you have something that is "proof" beyond question of what was said. Two, you must spend a lot of time transcribing the tape. This gives you further time saturating yourself with the subject. The idea here is to "master" the material. Doing so not only brings a fuller understanding of the subject, but it also makes the writing easier."A favorite aphorism of John's is: "Master the content; form will rise to meet you."
Other professional writers offered these tips
- If the subject can't talk when you contact them, find a specific time frame that suits both your schedules, and allow set the date to set aside time to be interviewed. It will less pressured and they'll feel more in control.
- Letting the person take the lead is essential to having a good laid back interview.
- If you are interviewing by phone, start to wrap up the interview before the person gets tired and is ready to quit. Often the interviewee comes forward with good information at this point--many Interviewees have specific things they want included. Or, make sure you ask, "Is there anything else you would like to add?"
- Be prepared. Make a list of questions and them hone them down. Don't have too many, and allow room for spontaneous conversation.
- Do research before you go. If there are things from other articles or promotional material you want to use, be sure to ask if it's correct. You'd be surprised how many times you'll be told, "no, actually...."
- If possible, interview the person in a place where they feel most comfortable, and don't forget to build rapport and identify with them.
- Most people, particularly older/retired individuals, are often quite humble; they don't see anything spectacular or unusual about their lives. Chatting a bit before the interview often helps you to identify a theme-focus if you're interviewing them cold.
"What works best for me is to create a comfortable environment. I let them choose the place, their home works great.
"Then I begin by just chatting and finding a familiar ground. Maybe we have children the same age or we both eat too much chocolate or something like that. Usually if you can find a common thing, a person will open up more.
"To me it isn't about asking all the right questions, but more about drawing lots of goodies out of them. I probably break all the rules of interviewing ... I don't make any lists of questions UNLESS I am interviewing over the phone -- it's best to have a list ready when phoning."Find out about their involvements and interests i.e. member of Rotary Club, quilter, retired Air Force, Vietnam vet, mother, La Leche, etc., church. This gives you not only different aspects to investigate or ask about, but sometimes it gives insight into what kind of person they are. It also opens more markets for a profile article.
Kim Pawlak, who wrote 'Notables,' a textbook author profile advised requesting the author's curriculum vitae or resume. It contains the statistics, numbers of books published, awards, success of the books, etc. In addition to researching documented material, she also talked to professors in the subject's field who shed light on the author.
Karen Blue, freelance writer who retired to Mexico where she wrote extensively about the benefits to single women who relocated there, says
- Take notes about body language. (Chewing fingers, blowing smoke rings, etc.) to make your profile more personal.
- Always have a general idea about where the interview is going, but encourage them to go off on a tangent if it seems more interesting than the stock questions you had prepared.
- Take pictures, you'll forget after a while what some interviewees looked like. And have a backup recorder and batteries.
End
Chapter 5 - Copyrights, Previously Published Works,and Using Quotations: http://tinyurl.com/38t4xpd
Next, 3-5, Quoting Quotes: http://tinyurl.com/39s6fsr
Next, 3-5, Quoting Quotes: http://tinyurl.com/39s6fsr
3-7 Let Writing Careers and Writers and Artists Glossary Terms Enhance Your Vocabulary
(c) 2010, Mona Leeson Vanek
Put more writer's savy into your vocabulary today with a glossary of the terms used in your profession. It's very frustrating when someone tells you something and you misunderstand, or can't comprehend, the terms they're using. Don't be caught unaware. You'll be more savy after a visit to the glossary of terms that pertain to literature, writing, art, graphic design, and technology at WriteDesignonline, http://www.writedesignonline.com/resources/glossary.html. Bookmark it now.
For example, an advance isn't moving a chess piece, clip isn't how you trim your nails, galley isn't the sailboat's kitchen, imprint isn't pushing your palms into plaster of paris, and pasteup isn't gluing objects.A good many words have different meanings for editors and publishers than the way you've always understood them.There's an excellent recently updated glossary of writing careers here in John Hewitt's, PoeWar archives, http://www.poewar.com/archives/2005/03/04/glossary-of-writing-careers/
End
Chapter 8 - Newsgroups, Forums and Reference Desks: http://tinyurl.com/36guoob
Next: Chapter 9 - Querying and Related Issues: http://tinyurl.com/349p8ej
Put more writer's savy into your vocabulary today with a glossary of the terms used in your profession. It's very frustrating when someone tells you something and you misunderstand, or can't comprehend, the terms they're using. Don't be caught unaware. You'll be more savy after a visit to the glossary of terms that pertain to literature, writing, art, graphic design, and technology at WriteDesignonline, http://www.writedesignonline.com/resources/glossary.html. Bookmark it now.
For example, an advance isn't moving a chess piece, clip isn't how you trim your nails, galley isn't the sailboat's kitchen, imprint isn't pushing your palms into plaster of paris, and pasteup isn't gluing objects.A good many words have different meanings for editors and publishers than the way you've always understood them.There's an excellent recently updated glossary of writing careers here in John Hewitt's, PoeWar archives, http://www.poewar.com/archives/2005/03/04/glossary-of-writing-careers/
End
Chapter 8 - Newsgroups, Forums and Reference Desks: http://tinyurl.com/36guoob
Next: Chapter 9 - Querying and Related Issues: http://tinyurl.com/349p8ej
10-6 Writing Software
(c) 2010 by Mona Leeson Vanek
It goes without saying that a writer's job is easier when they are comfortable and satisfied with their writing software program(s)! But, sadly, that's not always the case and increasing numbers of writers are switching the software they use for writing, despite editor's preference for manuscripts written in MS-Word.
OpenOffice.org http://www.openoffice.org/ is an open source program like Mozilla and Firefox. It's free. Anything you do in OpenOffice can be saved in Microsoft Office format. Anything in MS Office format can be opened with OpenOffice. OpenOffice has a word processor, a spread sheet, a power point, and other gadgets. It's far more stable and saves with far less file space demand than anything offered by Microsoft. It's intuitive but also has a great help file.
Note: Always be sure to READ THE TERMS.
Gary Presley explained OpenOffice to me,
Another option is available if you don't have MS-Word. You can create Word, Excel and Powerpoint documents online at ThinkFree.com, http://www.thinkfree.com/. Read the Terms here, http://www.thinkfree.com/views/html/etc/popup_terms.html.
End
Chapter 21 - Polish, Sell, and Enjoy Rewards!: http://tinyurl.com/38et5xn
Next: 10-7 Blog Income Tips: (currently being revised)
It goes without saying that a writer's job is easier when they are comfortable and satisfied with their writing software program(s)! But, sadly, that's not always the case and increasing numbers of writers are switching the software they use for writing, despite editor's preference for manuscripts written in MS-Word.
OpenOffice.org http://www.openoffice.org/ is an open source program like Mozilla and Firefox. It's free. Anything you do in OpenOffice can be saved in Microsoft Office format. Anything in MS Office format can be opened with OpenOffice. OpenOffice has a word processor, a spread sheet, a power point, and other gadgets. It's far more stable and saves with far less file space demand than anything offered by Microsoft. It's intuitive but also has a great help file.
Note: Always be sure to READ THE TERMS.
Gary Presley explained OpenOffice to me,
"Download a free copy of OpenOffice. And when you do, make a contribution because it's superb software. If you appreciated the open source community's efforts to make a product like Firefox available, you'll dance with joy after using OpenOffice; you can save work in a variety of formats, and it opens MS stuff with a click of the mouse.
"You'll also notice fewer crashes, minimal hang-ups, and that saved OO works take up much less space than similar MS documents. I had material that comprised about a quarter of a meg when saved in OpenOffice, but the editor wanted it in Word. I saved a Word copy, and it was over a meg in size. We use OpenOffice at our house to substitute for Word (my stuff) or Powerpoint (for my wife's teaching needs), and we'll never go back. And, the thesaurus (a writer's best friend) in OpenOffice also outshines the one in Word.
"It takes only a few seconds to set up a separate folder and save your writing there in Word format. In fact, you can save or open documents in a dozen formats via a pull down menu after you click "Save As."
"Nearly every editor I've worked with wants manuscripts in Word or Plain Text, but the simplicity and reliability of OpenOffice is so solid that I don't mind making a copy in Word for those editors "behind the curve."Give it a try and if you find you like it, it may save you the money of buying MSWord or MSOffice.
Another option is available if you don't have MS-Word. You can create Word, Excel and Powerpoint documents online at ThinkFree.com, http://www.thinkfree.com/. Read the Terms here, http://www.thinkfree.com/views/html/etc/popup_terms.html.
End
Chapter 21 - Polish, Sell, and Enjoy Rewards!: http://tinyurl.com/38et5xn
Next: 10-7 Blog Income Tips: (currently being revised)
10-5 Use Wi-Fi Legally
(c) 2010, Mona Leeson Vanek
Staying on the safe side of the law is never foolish no matter what anyone claims so it makes good sense to know Wi-Fi laws, and abide by them. History is often our best teacher, and you won't go wrong by following Debra Littlejohn Shinder advice, because it's still relevant.
A June, 2007 news item, by Sara Bonisteel, reported the arrest and conviction of a man piggybacking on a cafe's Wi-Fi, http://www.foxnews.com/story/0,2933,276720,00.html. That resulted in my decision to add the following information, provided by Debra Littlejohn Shinder, MCSE, MVP, editor of WXPNews and author of "Scene of the Cybercrime (Syngress Publishing)."
(c) 2009 Debra Littlejohn Shinder
"There are a number of different issues involved in connecting to an open wireless network or opening up your own wireless network to the public. Some are contractual issues and others involve criminal laws.
"First, let's look at the contractual issues. In the case of consumer ISP accounts, most providers prohibit in their terms of service (ToS) agreements allowing anyone outside of your household to use your Internet bandwidth. Thus someone else connecting to your network could cause you to have your Internet service terminated either temporarily or permanently. So while running a "freenet" or a wireless network that's intentionally open to the public may seem like a generous thing to do, but it could have serious consequences if you don't have the permission of your ISP.
"Even if your ISP permits you to share your bandwidth, be careful about doing so. A computer connecting to your network can deliberately or inadvertently spread viruses, worms, Trojans, rootkits, etc. throughout your network or serve as a conduit for an attack if he/she connects to web sites that run malicious controls or applets. These could result in loss of data, network downtime and even corruption of your system files to the point of having to reinstall your operating system and applications.
"Also be aware of how your service is billed. Although most ISPs these days provide "unlimited" service for a set fee, some DSL and T-1 providers DO still charge by the megabyte so that a rogue wireless computer on the network can put the you over the threshold for the next level of service and cost you more money.
"Many people are sharing their networks without even knowing they're doing it because the default setting on their WAP or router is for the network to be open. Be sure to check your device's settings and if you don't want to or aren't permitted to run an open network, enable encryption.
"From the other end (using someone else's wireless connection), it's important to understand that this is illegal under the criminal laws of most states in the U.S. if you don't have the network owner's permission. Just because the other person or company left their network open (unencrypted), that doesn't mean you have consent to use it, just as the fact that your neighbor leaves his front door unlocked doesn't give you permission to enter his house without his permission. Laws differ in different jurisdictions and unauthorized access is a felony in many areas. Be sure you know what the laws are where you are.
"Some people, companies and public entities do set up free wireless networks that they invite anyone to use. You should be careful, though, when taking advantage of such freebies. A freenet operated by a municipality or other government entity or a legitimate company is relatively safe (although connecting to any public wireless network poses some security risks). But connecting to a freenet set up by an individual you don't know can result in all sorts of trouble.
"Some bad guys are deliberately setting up open wireless networks and naming them something like "FREENET" to encourage people to connect, then accessing the info on those computers and using it for identity theft. Never, ever connect to a random wireless network with a computer that has any kind of financial or personal information on it (and be aware that if, for example, you've entered things like your banking password or your credit card info into a web browser, it may very well be cached (saved) on the hard drive)."
End
DEBRA LITTLEJOHN SHINDER is a Microsoft MVP specializing in enterprise security and CEO of TACteam (Trainers, Authors and Consultants). A former police officer/criminal justice instructor, she has written or contributed to over 20 books and hundreds of articles for print and online publications.
Remember, when you buy a Wi-Fi equipped device it's your responsibility to find out what you can and can't legally do with that device, just as it would be if you were buying any other piece of electronics. There are alternatives to illegal piggybacking -- and some form of Internet access is available at most universities and libraries.
End
Chapter 21 - Polish, Sell, and Enjoy Rewards!: http://tinyurl.com/38et5xn
Next: 10-6: Writing Software: http://tinyurl.com/28wlh6u
Staying on the safe side of the law is never foolish no matter what anyone claims so it makes good sense to know Wi-Fi laws, and abide by them. History is often our best teacher, and you won't go wrong by following Debra Littlejohn Shinder advice, because it's still relevant.
A June, 2007 news item, by Sara Bonisteel, reported the arrest and conviction of a man piggybacking on a cafe's Wi-Fi, http://www.foxnews.com/story/0,2933,276720,00.html. That resulted in my decision to add the following information, provided by Debra Littlejohn Shinder, MCSE, MVP, editor of WXPNews and author of "Scene of the Cybercrime (Syngress Publishing)."
(c) 2009 Debra Littlejohn Shinder
"There are a number of different issues involved in connecting to an open wireless network or opening up your own wireless network to the public. Some are contractual issues and others involve criminal laws.
"First, let's look at the contractual issues. In the case of consumer ISP accounts, most providers prohibit in their terms of service (ToS) agreements allowing anyone outside of your household to use your Internet bandwidth. Thus someone else connecting to your network could cause you to have your Internet service terminated either temporarily or permanently. So while running a "freenet" or a wireless network that's intentionally open to the public may seem like a generous thing to do, but it could have serious consequences if you don't have the permission of your ISP.
"Even if your ISP permits you to share your bandwidth, be careful about doing so. A computer connecting to your network can deliberately or inadvertently spread viruses, worms, Trojans, rootkits, etc. throughout your network or serve as a conduit for an attack if he/she connects to web sites that run malicious controls or applets. These could result in loss of data, network downtime and even corruption of your system files to the point of having to reinstall your operating system and applications.
"Also be aware of how your service is billed. Although most ISPs these days provide "unlimited" service for a set fee, some DSL and T-1 providers DO still charge by the megabyte so that a rogue wireless computer on the network can put the you over the threshold for the next level of service and cost you more money.
"Many people are sharing their networks without even knowing they're doing it because the default setting on their WAP or router is for the network to be open. Be sure to check your device's settings and if you don't want to or aren't permitted to run an open network, enable encryption.
"From the other end (using someone else's wireless connection), it's important to understand that this is illegal under the criminal laws of most states in the U.S. if you don't have the network owner's permission. Just because the other person or company left their network open (unencrypted), that doesn't mean you have consent to use it, just as the fact that your neighbor leaves his front door unlocked doesn't give you permission to enter his house without his permission. Laws differ in different jurisdictions and unauthorized access is a felony in many areas. Be sure you know what the laws are where you are.
"Some people, companies and public entities do set up free wireless networks that they invite anyone to use. You should be careful, though, when taking advantage of such freebies. A freenet operated by a municipality or other government entity or a legitimate company is relatively safe (although connecting to any public wireless network poses some security risks). But connecting to a freenet set up by an individual you don't know can result in all sorts of trouble.
"Some bad guys are deliberately setting up open wireless networks and naming them something like "FREENET" to encourage people to connect, then accessing the info on those computers and using it for identity theft. Never, ever connect to a random wireless network with a computer that has any kind of financial or personal information on it (and be aware that if, for example, you've entered things like your banking password or your credit card info into a web browser, it may very well be cached (saved) on the hard drive)."
End
DEBRA LITTLEJOHN SHINDER is a Microsoft MVP specializing in enterprise security and CEO of TACteam (Trainers, Authors and Consultants). A former police officer/criminal justice instructor, she has written or contributed to over 20 books and hundreds of articles for print and online publications.
Remember, when you buy a Wi-Fi equipped device it's your responsibility to find out what you can and can't legally do with that device, just as it would be if you were buying any other piece of electronics. There are alternatives to illegal piggybacking -- and some form of Internet access is available at most universities and libraries.
End
Chapter 21 - Polish, Sell, and Enjoy Rewards!: http://tinyurl.com/38et5xn
Next: 10-6: Writing Software: http://tinyurl.com/28wlh6u
10-1 Sold Again
(c) 2010, Mona Leeson Vanek
Yahoo! An editor has offered to purchase your article. Today, most major magazines enter into contractual agreements with authors and take all the rights the writer will let them get by with. Before you sign the contract is the time to negotiate rights.
Don't be afraid to negotiate every contract. with vigor. _Know_ what rights you are selling to the first publisher.*(see sidebar on rights negotiating.) Make sure you have the final agreement in writing before the article is published.
There are, however, still many publications that don't use contracts. According to US law, if there has been no discussion of rights, one time rights or first rights are assumed. This is currently true for paper-print publications, but electronic rights are still, legally, far from being clear and are being influenced by many factors.
Don't chance giving electronic rights to the publisher free by not discussing them just as soon as the editor offers to publish your article. Also, limiting the duration of electronic rights influences reprint marketability.
Whoopee! Your article has been published! You've banked the money and basked in the glow of success. Now what?
To be on safe ground, as soon as your article is published write (or e-mail) the publisher asking him to reassign remaining rights to you. Then you're ready to market again, or sell reprints. Many magazines are happy to publish a reprint if it has had a limited distribution or has been published in a totally different market area (ie. sports magazine versus a nature magazine.)
Go back to your original marketing plan, the one you researched and planned before you sold the article. It's time to start marketing reprints to the remaining markets on your spreadsheet. Searching out markets that take reprints is an especially good way to turn small-potatoes" writing into steady income. It's not unusual for reprints to bring higher fees than first rights generated. These are called second publication rights or one-time rights.
Opportunities exist in other areas, too, for selling reprints. Regional magazines are one type of publication. For example, parenting publications and rural electric co-op magazines are regionals. Regionals will often be happy to reprint articles that other regional publications have already published because, as far as their readers will ever see, it's a first run. Marketing reprints is a potential way to make money from regional magazines, without the work of more writing.
Another good aspect is, once you can tell an editor that x, y, and z regional magazines have already printed it, they are much more likely to buy it from you for their magazine. Articles that have been published in larger magazines are attractive, too, because they have already been honed and polished.
So don't bother reslanting and remarketing for the regionals. Just happily resell your published work in its original form. And don't overlook other genre niches, like trade magazines.
How do you query for a reprint?
First Example:
Second example:
End
Chapter 21 - Polish, Sell, and Enjoy Rewards!: http://tinyurl.com/38et5xn
Next: 10-2, Selling Reprints: http://tinyurl.com/32ku724
Yahoo! An editor has offered to purchase your article. Today, most major magazines enter into contractual agreements with authors and take all the rights the writer will let them get by with. Before you sign the contract is the time to negotiate rights.
Don't be afraid to negotiate every contract. with vigor. _Know_ what rights you are selling to the first publisher.*(see sidebar on rights negotiating.) Make sure you have the final agreement in writing before the article is published.
There are, however, still many publications that don't use contracts. According to US law, if there has been no discussion of rights, one time rights or first rights are assumed. This is currently true for paper-print publications, but electronic rights are still, legally, far from being clear and are being influenced by many factors.
Don't chance giving electronic rights to the publisher free by not discussing them just as soon as the editor offers to publish your article. Also, limiting the duration of electronic rights influences reprint marketability.
Whoopee! Your article has been published! You've banked the money and basked in the glow of success. Now what?
To be on safe ground, as soon as your article is published write (or e-mail) the publisher asking him to reassign remaining rights to you. Then you're ready to market again, or sell reprints. Many magazines are happy to publish a reprint if it has had a limited distribution or has been published in a totally different market area (ie. sports magazine versus a nature magazine.)
Go back to your original marketing plan, the one you researched and planned before you sold the article. It's time to start marketing reprints to the remaining markets on your spreadsheet. Searching out markets that take reprints is an especially good way to turn small-potatoes" writing into steady income. It's not unusual for reprints to bring higher fees than first rights generated. These are called second publication rights or one-time rights.
Opportunities exist in other areas, too, for selling reprints. Regional magazines are one type of publication. For example, parenting publications and rural electric co-op magazines are regionals. Regionals will often be happy to reprint articles that other regional publications have already published because, as far as their readers will ever see, it's a first run. Marketing reprints is a potential way to make money from regional magazines, without the work of more writing.
Another good aspect is, once you can tell an editor that x, y, and z regional magazines have already printed it, they are much more likely to buy it from you for their magazine. Articles that have been published in larger magazines are attractive, too, because they have already been honed and polished.
So don't bother reslanting and remarketing for the regionals. Just happily resell your published work in its original form. And don't overlook other genre niches, like trade magazines.
How do you query for a reprint?
First Example:
"Please consider the following articles for reprint in XYZ Magazine. "The (name of published article)" was originally published in (name of original publication) on (Date of publication). One time rights were sold."Note: Be sure to include all previous publications of the article, not just the original publisher\date.
Second example:
"I am offering to (name of magazine you're offering it to) an article I wrote on (subject of the published article). It appears in the (Date of publication) issue of (name of original publication). (Include URL of web site if applicable). I own the reprint rights to this article. (Or, if the publisher owns them, say "please contact xxxxx magazine for reprint rights. I have copied the article into this e-mail. You'll find it below. My articles have appeared in x x x x x x x and others,
"I look forward to hearing from you. Please contact me before publication to guarantee regional exclusivity."Third example:
"Please consider purchasing one-time print rights for the following story, (name of story) *Note: One-time rights have been previously sold to (name of other publication that has already bought the rights), but so far it hasn't shown up in print."Selling reprints brings in money you can bank and lets you bask in the glow of success -- over and over.
End
Chapter 21 - Polish, Sell, and Enjoy Rewards!: http://tinyurl.com/38et5xn
Next: 10-2, Selling Reprints: http://tinyurl.com/32ku724
Thursday
9-4 E-Book Publishing and e-book Readers
(c) 2010, Mona Leeson Vanek
To reach the largest possible audience you can publish in more than one format. Some people like to print out e-books; PDF would obviously work best for them. Some people love reading books in LIT format on their Pocket PC phone; they can take a dozen (or a hundred) books with them anywhere in their pocket; it's especially great when traveling. The Microsoft Reader software is available for Windows or Windows Mobile at http://www.microsoft.com/reader/ and it also has a text-to-speech package so the books can be easily accessed by the blind.
Another valuable advantage recently was demonstrated when Natalie Roberts, http://www.nataliercollins.com/ replublished her out-of-print book on Kindle.
October 16, 2010, Natalie wrote,
However, while you're mulling your options, read Liz Castro's: EPUB Straight to the Point, http://tinyurl.com/2br2b2f posted at The Book Designer, http://www.thebookdesigner.com/.
Before you considering e-book publishing, try first to get an agent to handle your work. Then try to sell your manuscript directly to a publisher. After both of those efforts fail, choose (carefully) an e-book publisher.
A major problem with electronic publishing has surfaced recently -- it can be tied to a format which can only be read by proprietary hardware or software. Only one of the formats mentioned --- Adobe --- is an open format which can be read without buying special hardware or software, and that is not one which Amazon is going to offer.
"In ten years time, it is very likely neither Kindle nor Mobipocket will be available, or if they are available will use the same format. Nor is it likely that today's devices will still work that long into the future: they break down, they get dropped, they get lost. Where does that leave readers who have bought books in these formats? Or writers whose work has been published in these formats?"
It is imperative to keep abreast of the rapid changes taking place in the marketplace.
In July 2010, Newsweek published this article by Isia Jasiewicz, http://www.newsweek.com/2010/07/30/who-needs-a-publisher.html.
Aug. 4, 2010, Spiegel Online International published an interesting interview with the (German) CEO of Random House as to the future of print and e-books and the publishing industry, Part 1, http://www.spiegel.de/international/business/0,1518,709760,00.html; Part 2, http://www.spiegel.de/international/business/0,1518,709760-2,00.html; Part 3, http://www.spiegel.de/international/business/0,1518,709760-3,00.html.
It's difficult to keep abreast of the rapid changes in the publishing industry, but it's imperative for every writer who wants to succeed.
End
Chapter 18 - Book Publishing: http://tinyurl.com/38d98qf
Next: 9-5, Book Publicity and Marketing: http://tinyurl.com/3aj2nrw
To reach the largest possible audience you can publish in more than one format. Some people like to print out e-books; PDF would obviously work best for them. Some people love reading books in LIT format on their Pocket PC phone; they can take a dozen (or a hundred) books with them anywhere in their pocket; it's especially great when traveling. The Microsoft Reader software is available for Windows or Windows Mobile at http://www.microsoft.com/reader/ and it also has a text-to-speech package so the books can be easily accessed by the blind.
You can create LIT files with the ReaderWorks software at http://www.overdrive.com/readerworks/software/standard.asp
Advantages are that e-books go on forever, apparently. They can remain available and continue to sell, sometimes once a month, sometimes zero for several months, and occasionally as many as 50 a month. Author's get royalties (often not much but some) and someone is reading their work.
Another valuable advantage recently was demonstrated when Natalie Roberts, http://www.nataliercollins.com/ replublished her out-of-print book on Kindle.
October 16, 2010, Natalie wrote,
"I'm excited to announce that I have one new book, and two other books now available in Kindle!
"Sister Wife, which has been out of print for quite some time, is now available on Amazon. Twisted Sister, the sequel to Sister Wife, is also there in Kindle format. There is also a hardback version, for those who don't want an electronic read. And The Fourth World, a brand new book from me, is available as well, on Kindle. And the bestselling Wives and Sisters is also available in Kindle format."Roberts is giving away two free Kindles, with two ways to win
- Become a fan on her Facebook page (and stay there until the contest is over)
- Buy SisterWife, Twisted Sister, or The Fourth World, and review them on Amazon. Send her a copy of the review for proof to be entered to win.
However, while you're mulling your options, read Liz Castro's: EPUB Straight to the Point, http://tinyurl.com/2br2b2f posted at The Book Designer, http://www.thebookdesigner.com/.
Before you considering e-book publishing, try first to get an agent to handle your work. Then try to sell your manuscript directly to a publisher. After both of those efforts fail, choose (carefully) an e-book publisher.
However, every few months new developments must be considered. News reports abound that Amazon.com plans to stop offering e-books in Microsoft Reader or Adobe e-formats and will offer e-books only in Kindle or Mobipocket formats. Amazon owns the Kindle and Mobipocket.
A major problem with electronic publishing has surfaced recently -- it can be tied to a format which can only be read by proprietary hardware or software. Only one of the formats mentioned --- Adobe --- is an open format which can be read without buying special hardware or software, and that is not one which Amazon is going to offer.
"In ten years time, it is very likely neither Kindle nor Mobipocket will be available, or if they are available will use the same format. Nor is it likely that today's devices will still work that long into the future: they break down, they get dropped, they get lost. Where does that leave readers who have bought books in these formats? Or writers whose work has been published in these formats?"
It is imperative to keep abreast of the rapid changes taking place in the marketplace.
In July 2010, Newsweek published this article by Isia Jasiewicz, http://www.newsweek.com/2010/07/30/who-needs-a-publisher.html.
Aug. 4, 2010, Spiegel Online International published an interesting interview with the (German) CEO of Random House as to the future of print and e-books and the publishing industry, Part 1, http://www.spiegel.de/international/business/0,1518,709760,00.html; Part 2, http://www.spiegel.de/international/business/0,1518,709760-2,00.html; Part 3, http://www.spiegel.de/international/business/0,1518,709760-3,00.html.
It's difficult to keep abreast of the rapid changes in the publishing industry, but it's imperative for every writer who wants to succeed.
End
Chapter 18 - Book Publishing: http://tinyurl.com/38d98qf
Next: 9-5, Book Publicity and Marketing: http://tinyurl.com/3aj2nrw
9-5 Book Publicity and Marketing
(c) 2010 by Mona Leeson Vanek
As you've noticed, I include information provided by several successful professional writers that elaborate on these two essential parts of becoming successful to growing your career.
Ally E. Peltier, experienced editor, writer, publishing consultant and owner of http://www.ambitiousenterprises.com/, shares this advice for new authors.
"It is critical to show prospective publishers that,
TIP: Midwest Book Review, http://www.midwestbookreview.com/index.html, provides exceptionally well organized information. Don't miss Book Publicity and Marketing link to, http://www.midwestbookreview.com/bookbiz/pub_mkt.htm.
Reviews posted to that site apparently are widely distributed in bulletins sent to libraries and numerous other possible book buyers. Get your literate friend or aunt to become a reviewer and plug your book there. The reviews are very short, and the reviewers aren't paid, but don't miss this opportunity to make it possible for editors read reviews of your book(s).
If you have a book or more on Amazon, and haven't checked recently, Amazon has introduced a new area: author pages. You can have a bio, photo, it lists your books, and not only that you can also have a blog and ... Oh I forget. Anyway it's an excellent promotional item.
At The Bauu Institute Press, http://www.bauuinstitute.com/, among the wealth of information and resources for authors you'll find The Free Press Release Sites for Book Marketing and Author Promotion, http://tinyurl.com/244u9pf. It's a collection of press release sites where you can submit your announcement, all for free.
Search the web and you'll locate an astounding number of websites to get the word out, but beware that you do not entangle yourself with spurious sites, else you may harm your reputation. You'll also find addresses of newspaper, magazines and periodicals that print book reviews. Take every advantage to spread the word about your book as quickly as possible, and continue promoting it until the last copy is sold -- no matter who is doing the marketing!
With the advent of social networking, the world of publishing changed rapidly. If you're new to social networking (or even if you're not), check out Debra Littlejohn Shinder's article, "10 Ways to Stay Out of Trouble when you Post to Social Networking Sites" on the TechRepublic site at http://blogs.techrepublic.com.com/10things/?p=851.
Debra is highly respected for her virtual-crime fighting expertise. Her titles include MVP/Security, Editor, WXPnews (http://www.wxpnews.com/), http://www.debshinder.com/, and Tech Blog: http://deb-tech.spaces.live.com/.
On the bookshelf, "Throwing Sheep in the Boardroom" is the first comprehensive book written for a wide audience about the Web 2.0 social networking revolution, www.throwingsheep.com/.
Authors Matthew Fraser and Soumitra Dutta wrote, "The generation entering the workforce today - and entering boardrooms everywhere - is fully engaged with social networking and its uses. Rather than feeling threatened and paranoid, today's business leaders need to understand this phenomenon, accept that it won't go away, and embrace its power in the world of business."
Give serious thought to how you use this powerful new medium. Although social networking is increasing at phenominal speed in the business world and vastly enhancing the work-a-day world, it warrants the time to learn about its many uses.
Another recent development for pubicizing your book is Amazon's induction of a new area, author pages. If you have a book or more on Amazon ou can have a bio, photo, it lists your books, you can have a blog, and other goodies. Check it this excellent promotional item.
Learn more at Wikipedia.org, http://en.wikipedia.org/wiki/Social_network. Be sure to read, http://en.wikipedia.org/wiki/Blogging.
End
Chapter 18 - Book Publishing: http://tinyurl.com/38d98qf
Next: 9-6, What About Distribution and Publicists? http://tinyurl.com/2dw2teo
As you've noticed, I include information provided by several successful professional writers that elaborate on these two essential parts of becoming successful to growing your career.
Ally E. Peltier, experienced editor, writer, publishing consultant and owner of http://www.ambitiousenterprises.com/, shares this advice for new authors.
"It is critical to show prospective publishers that,
- "a) they understand they will be working hard to publicize and market their own books;
- "b) they have already begun working to establish a foundation for such an effort by building an effective platform;
- c) they are smart, professional, and as enthusiastic about the business side of being an author as they are about the creative craft of writing."
TIP: Midwest Book Review, http://www.midwestbookreview.com/index.html, provides exceptionally well organized information. Don't miss Book Publicity and Marketing link to, http://www.midwestbookreview.com/bookbiz/pub_mkt.htm.
Reviews posted to that site apparently are widely distributed in bulletins sent to libraries and numerous other possible book buyers. Get your literate friend or aunt to become a reviewer and plug your book there. The reviews are very short, and the reviewers aren't paid, but don't miss this opportunity to make it possible for editors read reviews of your book(s).
If you have a book or more on Amazon, and haven't checked recently, Amazon has introduced a new area: author pages. You can have a bio, photo, it lists your books, and not only that you can also have a blog and ... Oh I forget. Anyway it's an excellent promotional item.
At The Bauu Institute Press, http://www.bauuinstitute.com/, among the wealth of information and resources for authors you'll find The Free Press Release Sites for Book Marketing and Author Promotion, http://tinyurl.com/244u9pf. It's a collection of press release sites where you can submit your announcement, all for free.
Search the web and you'll locate an astounding number of websites to get the word out, but beware that you do not entangle yourself with spurious sites, else you may harm your reputation. You'll also find addresses of newspaper, magazines and periodicals that print book reviews. Take every advantage to spread the word about your book as quickly as possible, and continue promoting it until the last copy is sold -- no matter who is doing the marketing!
With the advent of social networking, the world of publishing changed rapidly. If you're new to social networking (or even if you're not), check out Debra Littlejohn Shinder's article, "10 Ways to Stay Out of Trouble when you Post to Social Networking Sites" on the TechRepublic site at http://blogs.techrepublic.com.com/10things/?p=851.
Debra is highly respected for her virtual-crime fighting expertise. Her titles include MVP/Security, Editor, WXPnews (http://www.wxpnews.com/), http://www.debshinder.com/, and Tech Blog: http://deb-tech.spaces.live.com/.
On the bookshelf, "Throwing Sheep in the Boardroom" is the first comprehensive book written for a wide audience about the Web 2.0 social networking revolution, www.throwingsheep.com/.
Authors Matthew Fraser and Soumitra Dutta wrote, "The generation entering the workforce today - and entering boardrooms everywhere - is fully engaged with social networking and its uses. Rather than feeling threatened and paranoid, today's business leaders need to understand this phenomenon, accept that it won't go away, and embrace its power in the world of business."
Give serious thought to how you use this powerful new medium. Although social networking is increasing at phenominal speed in the business world and vastly enhancing the work-a-day world, it warrants the time to learn about its many uses.
Another recent development for pubicizing your book is Amazon's induction of a new area, author pages. If you have a book or more on Amazon ou can have a bio, photo, it lists your books, you can have a blog, and other goodies. Check it this excellent promotional item.
Learn more at Wikipedia.org, http://en.wikipedia.org/wiki/Social_network. Be sure to read, http://en.wikipedia.org/wiki/Blogging.
End
Chapter 18 - Book Publishing: http://tinyurl.com/38d98qf
Next: 9-6, What About Distribution and Publicists? http://tinyurl.com/2dw2teo
Wednesday
2-4 Electronic Publishing
(c) 2010 by Mona Vanek
Electronic submission requirements differ with each e-zine, but a few general rules (and some experience) will help you master writing for them. Get e-zine guides, or query the editor of an e-zine, electronically.Go to the magazine's website online and read the magazine. Read the archived (back) issues, too. Save a few into your word processor to dissect and study. Run your grammar check and word count on them. Use Find function to search out repeated words and buzz words -- those colorful ones editors love.
If the magazine's website doesn't offer writers guidelines, find the editor's e-mail address (on the e-zine site) and send an e-mail asking for guidelines. By following them to the letter you'll learn how the editor wants your story submitted.You can locate other e-zine guidelines using http://www.dogpile.com/ Search e-zine writers guidelines.
Let the editor know you envision certain words emphasized; you can use an asterisk (*) before a word. The editor will decide whether to print it bold or italic.
Generally, if it's a title, or something you want underlined, here's one way to show that: _Kids Master E-Zine Writing Quickly_. (*see Chapter 10 to learn more about HTML)
If you are uncertain about how the editor wants your article submitted, e-mail the editor and ask. Editors never mind answering those kinds of questions.
When you're writing your e-query, don't think like a writer; think like an editor. Explain your idea completely, so the editor knows what he or she is getting. As you write your e-query, have a strong visual image in mind of the article already published.
Faster than you can zip up your backpack, the editor might reply, asking for more information, or maybe even for the whole article if he\she thinks it's already written.Editors are too busy to fiddle around with half baked cookies.
All you'll get is a bad reputation by offering something you can't produce in a timely manner.
Writing for e-zines if fun and can be profitable, but *never, ever send off a story that you've had published to another magazine without _first_asking the original publisher for permission!
End
Chapter 4 - Writers Guidelines and Magazine Calendars http://tinyurl.com/2v6ej46
Next: 2-5, Grammar Resources: http://tinyurl.com/37dr24k
Electronic submission requirements differ with each e-zine, but a few general rules (and some experience) will help you master writing for them. Get e-zine guides, or query the editor of an e-zine, electronically.Go to the magazine's website online and read the magazine. Read the archived (back) issues, too. Save a few into your word processor to dissect and study. Run your grammar check and word count on them. Use Find function to search out repeated words and buzz words -- those colorful ones editors love.
If the magazine's website doesn't offer writers guidelines, find the editor's e-mail address (on the e-zine site) and send an e-mail asking for guidelines. By following them to the letter you'll learn how the editor wants your story submitted.You can locate other e-zine guidelines using http://www.dogpile.com/ Search e-zine writers guidelines.
- Some editors will say what goes in bold, never to use italics, etc. Some want the story sent in the body of a regular e-mail, no italics or bold of any kind. Straight text all the way.
- Other magazines want the story sent as an RTF attachment to an e-mail.
- Pay close attention and follow the guidelines to the letter.Write your e-query letters and e-articles in your word processor where it's easy to edit and polish them until they're impressive.
Let the editor know you envision certain words emphasized; you can use an asterisk (*) before a word. The editor will decide whether to print it bold or italic.
Generally, if it's a title, or something you want underlined, here's one way to show that: _Kids Master E-Zine Writing Quickly_. (*see Chapter 10 to learn more about HTML)
If you are uncertain about how the editor wants your article submitted, e-mail the editor and ask. Editors never mind answering those kinds of questions.
When you're writing your e-query, don't think like a writer; think like an editor. Explain your idea completely, so the editor knows what he or she is getting. As you write your e-query, have a strong visual image in mind of the article already published.
- What is its title?
- Does it have a blurb?
- On the e-zine cover, will there be cover lines announcing its appearance inside?
- Is a sidebar included at the end?
- Open the file.
- Save file\SaveAs.
- In the drop down box that lets you choose how to save your file, select Rich text format (or ASCII text.)
- Close the file and then reopen it.
- Use your Right mouse button and choose Copy to save a copy to your clipboard.
- If you want your work saved in a different format, before closing your word processor file, use SaveAs again and select your usual file style.
- Next, close your word processor.
- Open your e-mail program and open a new message.
- In the body, use Right mouse button to paste your query into the e-mail message.
- Address your query to the editor.
- Correct anything that needs it. WYSIWEG! (what you see is what editor gets.)
Faster than you can zip up your backpack, the editor might reply, asking for more information, or maybe even for the whole article if he\she thinks it's already written.Editors are too busy to fiddle around with half baked cookies.
All you'll get is a bad reputation by offering something you can't produce in a timely manner.
- If your idea is only an idea, say so in your query.
- If the editor is interested he may ask you to write it, and may even give you tips on what he wants in it.
- Your published story will get wide exposure.
- Other editors may see it and contact you to write for them, too.
- Sometimes your online story can still be submit elsewhere.
Writing for e-zines if fun and can be profitable, but *never, ever send off a story that you've had published to another magazine without _first_asking the original publisher for permission!
End
Chapter 4 - Writers Guidelines and Magazine Calendars http://tinyurl.com/2v6ej46
Next: 2-5, Grammar Resources: http://tinyurl.com/37dr24k
6-4 Show Versus Tell Issues
(c) Mona Leeson Vanek
There are many ways of managing show versus tell issues. The more you can collect, the more options you can choose from. Two writers on Internet Workshop Writing list, Edita and Laura, shared these insights.
Edita A. Petrick provided an excellent explanation and included vivid examples. She says, "In real life, "show" comes through what we say to one another. The words we use and the tone of voice in which these are delivered. The same holds for fiction. A fictional character is best "characterized/shown" by what he/she says, how they say it and in what circumstances.
"Description (or tell) is then used to enhance the already established the mood/atmosphere that was set through the dialogue. It's perfectly all right to "tell" from the pov-character's view the results of any given scene that is set via dialogue. And then there is an opportunity to go into "internalization" of what the character feels and thinks ("show" the reader) about the visual effects of the conversation.
"Attitudes and word-choices often reveal ages, sex, economic situation and education of characters without the writer having to lapse into physical description. It's the "words" the writer gives his characters to speak that reveal who and what he is, far more than any descriptive verbiage that features in long expository passages.
"Show" your characters with what they say, how they say it and choose the words that carry the "tone and tune" of the message."
Study Edita's excellent examples, derived from a couple traveling in a car. (Then improve your show vs tell techniques by accepting her challenge.)
"Take the next exit. I need to go to washroom," she said.
"Again?" he asked.
--------------------------------------
The single word of the male gives you insight into the type of man he is. Not very compassionate or solicitous. He is fixed on driving and what he responds withshows that he has little sympathy for his female companion. The single-word also suggests harsh tone of voice - it's how it would come out in real life. He is not concerned with her discomfort or wants to know its nature. He just feels inconvenienced and annoyed. Not the kind of man you'd like to have as a marriage partner, now, is he? But consider how the scene would evolve if the woman was indeed married to this hard-edged, unsympathetic and cold man?
Now, what does it tell you about the man if the dialogue went like this:
"Take the next exit. I need to go to washroom," she said.
He glanced at her. "Are you all right, honey?"
-----------------------------------------------------------
He is compassionate and his first reactive thought is for her well-being. But he's also calm, level-headed and would be able to deal with anything that springs up as a conflict with competence - he cares for his female companion and worries about her welfare but a hint of problem he perceives does not rattle him...he's ready to deal with anything that comes up.
What does it tell you if it goes like this:
"Take the next exit. I need to go to washroom," she said.He groaned. "Jesus, that's the third time in fifteen minutes. What's the matter with you for God's sake?"
----------------------------------------------------------
The man is a jittery, over-reactive character, easily spooked and with overblown imagination that's rooted in negative thoughts. His pity is first for himself and then for others. He's selfish. No matter how little the problem at the onset, he already sees it looming as something insurmountable. He "imagines" disasters every step of the way and fears them - he is insecure and doesn't trust himself to be able to deal with complications. His overblown imagination works against him. You'd not want to have this man accompany you to any emergency hospital reception. They'd have to attend him first...
Now, what does it tell you about this man's character:
"Take the next exit. I need to go to washroom," she said.
He was silent for a long time then asked, "Could it wait until we get to the Bakersfield exit?"
-------------------------------------------------------------
The man is a cool, calculating cookie. He is driven by logic and purpose. Nothing else. His characteristics would most likely drive his choice of profession -- he will always put his career ahead of his family if he has any.
Now, guess from the following dialogue responses what kind of character the male driver is, how old he is and what could be his profession, what's his primary concern, and who he is:
--------------------------------------------------------------------
"Take the next exit. I need to go to washroom," she said.
"Aw, come on, you gonna make me late for the game and the coach will bench me."
"Take the next exit. I need to go to washroom," she said.
"You do this to me all the time, just when I find my spot in the left hand lane."
"Take the next exit. I need to go to washroom," she said.
"Sure thing, sweetheart, but you're leaving your cell phone and your credit cards in the car."
"Take the next exit. I need to go to washroom," she said.
"Well, what do you know? I have bladder problems too. We'll make it into a loving couple outing."
"Take the next exit. I need to go to washroom," she said.
"Yes, ma'am."
"Take the next exit. I need to go to washroom," she said.
"As you wish, madam."
"Take the next exit. I need to go to washroom," she said.
"Sure but you know we're already late for the meeting."
"Take the next exit. I need to go to washroom," she said.
"No problem. We can do this all night long."
-------------------------------------------------
From each of these replies, you could write a paragraph-long sketch of the man's character, profession, his relationship/relativity to the female passenger and even guess at his appearance. Readers relate to situations that such words/replies establish and many tend to fill in their own physical perceptions of the character. That's why I said it's almost immaterial to go into long physical description of any given person.
A teenager is not going to reply to me: "As you wish, madam." So I, as a reader will have long established my physical (visual) image of any man who actually says that. And it works in writer's favor if he lets his reader make-up the physical characteristics of any character because that will bring that character that much closer to the reader. Everyone knows at least one sarcastic bastard who'll say "No problem. We can do this all night long." And everyone will have in their work background a colleague who'll be accommodating" but will immediately seek to lay the blame for running late on you, absolving HIM of any faults.
"Show" is far more "in" the dialogue than in any metaphorical/comparative way of describing what your characters feel or what they're like. And when you continue the established dialogue-set characterizations into that protagonist's internal thoughts and opinions, then you're very solid in making that character come alive for the reader.
Descriptive and expository should be reserved for "vistas" -- and those things that the reader needs to "experience" through the characters' eyes. For example if your character is "overwhelmed" upon his arrival at some busy airport (it's his first time there) then you "show" such state of being overwhelmed by describing what MAKES HIM overwhelmed - describing imagery and action of bustling crowds, etc. And then you round it off by having him say or do something that will confirm his overwhelmed state of mind.
Hope this sheds some light on that cyclical debate of 'show versus tell' -- best regards, Edita. (Author of "Cold Scheme" and "The Cracked Shadow.")
Laura also made an important point. She says, "Like learning a big vocabulary - one should cultivate a big collection of "possible effects" by paying attention to how other authors get their effects.
"The only way to really learn how and when to show vs tell is to gather up your own "personal favorite" writers - preferably a wide and varied collection - and really study how their stories operate. Pay attention to indirect references that convey mood or suggest information. Watch for metaphors, setting, the reactions of characters, odd speech patterns, "tone of voice", non sequiturs, repetition, contrast/juxtaposition, etc. Pay attention to how the actions of the characters - and the verbs used to describe those actions themselves reveal a great deal about what's really going on.
"Take note of anything unexpected that makes you see what's 'really' going on. Try to track down every way the author has of revealing information. These sorts of clues and hints are almost always better than clunky devices like his face turning red or her breath coming out in gasps. Most direct ways of "showing" emotion - that is, describing what a person supposedly looks like while they are experiencing emotion - always strike me as sounding very cliché.
"Also do not neglect the other senses. If you want your character to be seen as sour, it might be appropriate to drag in a sour taste or nasty smell, or a contrasting opposite. Laura is currently working on a trilogy of fantasy novels.
Also, you'll find one of the best brief dissertations on "point of view" at: http://en.wikipedia.org/wiki/Point_of_view_(literature).
End
Chapter 13 - Genre Writing and Writing for Children: http://tinyurl.com/3x33osl
Next: 6-5, Song Lyrics, Fair Use and Trademarks: http://tinyurl.com/2bpb9oz
There are many ways of managing show versus tell issues. The more you can collect, the more options you can choose from. Two writers on Internet Workshop Writing list, Edita and Laura, shared these insights.
Edita A. Petrick provided an excellent explanation and included vivid examples. She says, "In real life, "show" comes through what we say to one another. The words we use and the tone of voice in which these are delivered. The same holds for fiction. A fictional character is best "characterized/shown" by what he/she says, how they say it and in what circumstances.
"Description (or tell) is then used to enhance the already established the mood/atmosphere that was set through the dialogue. It's perfectly all right to "tell" from the pov-character's view the results of any given scene that is set via dialogue. And then there is an opportunity to go into "internalization" of what the character feels and thinks ("show" the reader) about the visual effects of the conversation.
"Attitudes and word-choices often reveal ages, sex, economic situation and education of characters without the writer having to lapse into physical description. It's the "words" the writer gives his characters to speak that reveal who and what he is, far more than any descriptive verbiage that features in long expository passages.
"Show" your characters with what they say, how they say it and choose the words that carry the "tone and tune" of the message."
Study Edita's excellent examples, derived from a couple traveling in a car. (Then improve your show vs tell techniques by accepting her challenge.)
"Take the next exit. I need to go to washroom," she said.
"Again?" he asked.
--------------------------------------
The single word of the male gives you insight into the type of man he is. Not very compassionate or solicitous. He is fixed on driving and what he responds with
Now, what does it tell you about the man if the dialogue went like this:
"Take the next exit. I need to go to washroom," she said.
He glanced at her. "Are you all right, honey?"
-----------------------------------------------------------
He is compassionate and his first reactive thought is for her well-being. But he's also calm, level-headed and would be able to deal with anything that springs up as a conflict with competence - he cares for his female companion and worries about her welfare but a hint of problem he perceives does not rattle him...he's ready to deal with anything that comes up.
What does it tell you if it goes like this:
"Take the next exit. I need to go to washroom," she said.He groaned. "Jesus, that's the third time in fifteen minutes. What's the matter with you for God's sake?"
----------------------------------------------------------
The man is a jittery, over-reactive character, easily spooked and with overblown imagination that's rooted in negative thoughts. His pity is first for himself and then for others. He's selfish. No matter how little the problem at the onset, he already sees it looming as something insurmountable. He "imagines" disasters every step of the way and fears them - he is insecure and doesn't trust himself to be able to deal with complications. His overblown imagination works against him. You'd not want to have this man accompany you to any emergency hospital reception. They'd have to attend him first...
Now, what does it tell you about this man's character:
"Take the next exit. I need to go to washroom," she said.
He was silent for a long time then asked, "Could it wait until we get to the Bakersfield exit?"
-------------------------------------------------------------
The man is a cool, calculating cookie. He is driven by logic and purpose. Nothing else. His characteristics would most likely drive his choice of profession -- he will always put his career ahead of his family if he has any.
Now, guess from the following dialogue responses what kind of character the male driver is, how old he is and what could be his profession, what's his primary concern, and who he is:
--------------------------------------------------------------------
"Take the next exit. I need to go to washroom," she said.
"Aw, come on, you gonna make me late for the game and the coach will bench me."
"Take the next exit. I need to go to washroom," she said.
"You do this to me all the time, just when I find my spot in the left hand lane."
"Take the next exit. I need to go to washroom," she said.
"Sure thing, sweetheart, but you're leaving your cell phone and your credit cards in the car."
"Take the next exit. I need to go to washroom," she said.
"Well, what do you know? I have bladder problems too. We'll make it into a loving couple outing."
"Take the next exit. I need to go to washroom," she said.
"Yes, ma'am."
"Take the next exit. I need to go to washroom," she said.
"As you wish, madam."
"Take the next exit. I need to go to washroom," she said.
"Sure but you know we're already late for the meeting."
"Take the next exit. I need to go to washroom," she said.
"No problem. We can do this all night long."
-------------------------------------------------
From each of these replies, you could write a paragraph-long sketch of the man's character, profession, his relationship/relativity to the female passenger and even guess at his appearance. Readers relate to situations that such words/replies establish and many tend to fill in their own physical perceptions of the character. That's why I said it's almost immaterial to go into long physical description of any given person.
A teenager is not going to reply to me: "As you wish, madam." So I, as a reader will have long established my physical (visual) image of any man who actually says that. And it works in writer's favor if he lets his reader make-up the physical characteristics of any character because that will bring that character that much closer to the reader. Everyone knows at least one sarcastic bastard who'll say "No problem. We can do this all night long." And everyone will have in their work background a colleague who'll be accommodating" but will immediately seek to lay the blame for running late on you, absolving HIM of any faults.
"Show" is far more "in" the dialogue than in any metaphorical/comparative way of describing what your characters feel or what they're like. And when you continue the established dialogue-set characterizations into that protagonist's internal thoughts and opinions, then you're very solid in making that character come alive for the reader.
Descriptive and expository should be reserved for "vistas" -- and those things that the reader needs to "experience" through the characters' eyes. For example if your character is "overwhelmed" upon his arrival at some busy airport (it's his first time there) then you "show" such state of being overwhelmed by describing what MAKES HIM overwhelmed - describing imagery and action of bustling crowds, etc. And then you round it off by having him say or do something that will confirm his overwhelmed state of mind.
Hope this sheds some light on that cyclical debate of 'show versus tell' -- best regards, Edita. (Author of "Cold Scheme" and "The Cracked Shadow.")
Laura also made an important point. She says, "Like learning a big vocabulary - one should cultivate a big collection of "possible effects" by paying attention to how other authors get their effects.
"The only way to really learn how and when to show vs tell is to gather up your own "personal favorite" writers - preferably a wide and varied collection - and really study how their stories operate. Pay attention to indirect references that convey mood or suggest information. Watch for metaphors, setting, the reactions of characters, odd speech patterns, "tone of voice", non sequiturs, repetition, contrast/juxtaposition, etc. Pay attention to how the actions of the characters - and the verbs used to describe those actions themselves reveal a great deal about what's really going on.
"Take note of anything unexpected that makes you see what's 'really' going on. Try to track down every way the author has of revealing information. These sorts of clues and hints are almost always better than clunky devices like his face turning red or her breath coming out in gasps. Most direct ways of "showing" emotion - that is, describing what a person supposedly looks like while they are experiencing emotion - always strike me as sounding very cliché.
"Also do not neglect the other senses. If you want your character to be seen as sour, it might be appropriate to drag in a sour taste or nasty smell, or a contrasting opposite. Laura is currently working on a trilogy of fantasy novels.
Also, you'll find one of the best brief dissertations on "point of view" at: http://en.wikipedia.org/wiki/Point_of_view_(literature).
End
Chapter 13 - Genre Writing and Writing for Children: http://tinyurl.com/3x33osl
Next: 6-5, Song Lyrics, Fair Use and Trademarks: http://tinyurl.com/2bpb9oz
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6-4 Show Versus Tell Issues
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