9-1 "Plussing" Your Novel

(c) 2010, Mona Leeson Vanek

When I first saw the word "plussing" in regard to writing I hadn't a clue to its meaning. So I quickly typed "plussing" into http://www.dogpile.com/, my favorite search engine. LOL! I discovered a lot, but none of it seemed relevant to writing.

Then, a writer friend explained to me that book doctors use the term. "Plussing," as well as pruning, is taken into consideration as they edit a writer's work, especially in the following two areas. Scene setting is often woefully inadequate or entirely missing from the manuscript. And staging, or moving the story forward while omitting descriptions of the physical movements called for, or using unclear or impossible actions.

Because writers are "seeing" both the words on the manuscript page as well as a visual picture of the story in their minds, authors especially have trouble writing those two areas well. Both require plussing the manuscript. As you write, you'll avoid the need to fill in missing details only if you don't omit them in the first place.
End

Chapter 18 - Book Publishing: http://tinyurl.com/38d98qf

Next: About That Agent: http://tinyurl.com/2wqyscf

8-2 Collecting What's Due You

*NOTE: The following material is for educational use only and may not be used for any other purpose and may not be published in any format due to the nature of releases I've secured.

Collecting What's Due You
(c) 2003 by Eugene Mallay

This is a common problem in all work-for-hire fields, not just writing. In my experience it comes down to recognizing that getting angry at the publication isn't likely to get you your money any sooner and only serves as a distraction / irritation for you personally. I suggest the following:

1. Write a short, professional letter / email acknowledging their situation, expressing appreciation for their being upfront but dismay at their inability to adhere to their contract.
2. Note that you are a professional and that your writing fees represent your livelihood. Hence, this will affect your own cash flow. However, "in consideration of your situation", agree to provide an additional 30-day period for them to make payment. Make this statement formally, though – not in a "whining" manner.
3. Ask for their confirmation, in writing, that payment will be provided within this time frame and that no further extensions will be required.
4. Express your hope that you will be able to work with them again in the future.

The point of the above is to establish a positive, professional, and business-like relationship that will hopefully keep you from the very bottom of their payables list. If you get too aggressive too early, they'll simply write you off as a lost cause and you'll fall to the bottom of their payables. Acting too understanding and 'soft', however, tells them that they can delay your payment while they deal with "more pressing" payables.

Negotiate whatever payment period seems reasonable and do-able (maybe 30 days isn't achievable for them). Whatever. But make it clear through your tone that your flexibility is limited to them delivering on these renewed terms.

Ultimately, you may choose to never do business with them again. However, you never know where editors may end up in the future. Keeping a business-like tone throughout can pay dividends down the road.

Last comment -- even if you hate the business side of writing, you should put solid effort into it. While you may categorize yourself as a "writer", you are in the "business of writing". If you really don't want to deal with the business side, hire someone to handle that for you (or set up a 'co-op'-type arrangement with a few other writers wherein you hire an administrative person to handle the business side for all of you). To my mind, putting all that creativity and effort into your writing then seeing it undervalued or wasted due to a lack of a strong business aspect is a shame.

Cheers, Eugene Mallay

Also, read Jeffrey Zeldman's 2002 article, Getting Paid, that addresses the difficulty of collecting what's due you, http://www.alistapart.com/articles/gettingpaid/.
END

Chapter 15 - The Many Facets of Freelancing: http://tinyurl.com/36v758m

Next, Chapter 16 - Education and Reference: http://tinyurl.com/36maz9e

9-7 What an Agent Expects to See

(c) 2010, Mona Leeson Vanek

What an Agent Expects to See

This information came from an excellent writer's conference I attended. At the time, Gary Brozek was Senior Editor at Plume, a Penquin and Putnam imprint. Before that he was an editor with Ballantine.

He'd worked with New York Times best-selling authors Jeff Shaara (God and Generals) and Arnold Palmer (A Golfers Life). His acquisitions included Philip Gerard's Secret Soldiers, and David Payne's Adventures Upon Return. Brozek was also the paperback editor for Roy Jenkins' Churchill, Thomas Kelly's The Rackets, and Chuck Kinder's Honeymooners, among many others.

Brozek explained that at some point in a publisher's acquisition process authors are expected to provide what's in the Title Information Sheet so getting a jump-start on it should be an author's first step before sending proposals out.

He gave the following tips to maximize your chances and control your destiny in publishing, because keeping abreast of what's being published will help you understand who and what the competition is.

Online:

• Read the book releases at Amazon.com
• Read the best seller lists in major newspapers
• Read Publisher's Weekly, especially noting which titles and authors are being handled by various agents, editors and publishing houses.

Other strategies:

• Be very strategic in how you select your agent, editor and publishing house!
• Recognize the trailblazers now by keeping abreast of current events.

Bozek's exercise for authors, called the Title Information Sheet. Use it for your model sales pitch to agents. Work all nine into your cover letter:

1. Author and Title
2. Brief author bio. Include your clips and information about your speaking engagements, readings, etc. (Start now. Speak at every opportunity you can rustle up and read your work to the public every time you get a chance.)
3. Also, always state that you are at work on a novel.
4. Have you been previously published? (Start now to publish anything you can, from letters-to-the-editor, newsletters, articles, promotional, etc. Write pro bono, if you have to. Publishing credits are a tremendous plus. If possible, have them include a byline or bio that says you are at work on a novel.)
5. Write a 1-2 paragraph description of your book.
6. Write a 'keynote' (i.e. a one line sentence that helps people understand what your book is. Examples: "In the tradition of [comparison author example -- Mitchner] this is a book about [subject.]" or "For people who love [comparison author] this book is about [subject].
7. Selling points (listed in 2-4 bullets. (Example, what appeals are going to make this book sell?)
8. If you have connections that will help sell this book. (Example, your flying associations, pet lovers associations, etc.)
9. Competitive titles [similar to yours] and where they did [xxx] my book will do [xxx] that they didn't do.
10. Link your web page to Amazon, if possible, and put up excerpts from your book manuscript, then mention the URL in your cover letter to agent.

End

Chapter 18 - Book Publishing: http://tinyurl.com/38d98qf

Next: 9-8, Promoting Your Book: http://tinyurl.com/25yux95

6-4 Show Versus Tell Issues

(c) 2010 Mona Leeson Vanek

Show Versus Tell Issues

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 shows 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, another professional writer, 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

1-11 Other Uses For "Mailbox" Information

(c) 2010 by Mona Leeson Vanek

You can also use the system of creating Mailboxes (described in Handout -- Efficient Writing Steps 2, 3 & 4) to simplify other tasks related to your work, such as saving copies of e-query letters, e-assignments from editors (or rejections), and e-contracts, and recording payment, invoices, writing expenses, and a time sheet.

At income tax time, compiling your figures will be easier when they're organized!

Using computer-based software, devise a digital system that works for you. Do each step. Also, after publication, you may file scanned copies when you register your copyrights. Copyrights become Intellectual Property, which also can, and should be, included in your will. Original copyright documents belong in your safety deposit box, the same as real property titles.

In your hardcopy files, also store photocopies of your published articles. These are your "clips" that editors ask for. Think of clips as evidence that you are professional. A substantial file of clips helps when you're negotiating for higher fees for your writing. You can always scan a copy if an editor wants it via e-mail.
End

Chapter 1, http://tinyurl.com/2es3w63

Next, How to Double-space e-mail: http://tinyurl.com/39stcnq

6-1 Strong Fictional Characters

(c) Mona Leeson Vanek

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 All About Romance - 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
End

Chapter 13 - Genre Writing and Writing for Children: http://tinyurl.com/3x33osl

Next: 6-2, All About Names: http://tinyurl.com/32vyakh

6-5 Song Lyrics, Fair Use & Trademarks

(c) 2010 by Mona Leeson Vanek

Song lyrics are not quotable without direct permission from the copyright holder, and even then you often have to pay for the use. To avoid a possible problem, you need to go to the rights manager of that particular song. Don't use *any* song lyrics without permission. They *will* sue. No sane publisher will let you do it, either.

Publishers have tight rules for songs. Small press publishers refuse to publish stories that include ANY song lyrics due to the cost of obtaining permission and rights.

When you quote lyrics "blah, blah, blah," and then the rest of whatever you're writing. Then make a note at the end and ALWAYS include the publisher:

• written by xxxxxx
• originally performed by xxxxxx
• published by xxxxxx, Inc.

Fair use is pretty restrictive and does not apply to many published materials, including music lyrics and poetry. There's no real definition of fair use for anything--it's what the court says it is, and the plaintiffs have better lawyers than you do.

Don't use Mickey Mouse as a character in your story, either. Disney is famous for prosecuting people, even the ones who don't have any money. Some fanfic is okay, but some is not, and they'll get you if you use the wrong character. Avoid trouble by being very very careful to not infringe copyrights or trademarks!
End

Chapter 13 - Genre Writing and Writing for Children: http://tinyurl.com/3x33osl

Next: 6-6 e-Zines By The Dozen, http://tinyurl.com/32lag6w

5-4 Photographs

Advice For Shooting Writers
(c) 2010 by Mona Leeson Vanek

Is a picture worth a thousand words? If it's bought with your manuscript it could be -- and often pictures are worth more! Picture-shooting writers who know and meet art editors' needs rack up sales -- and pocket more money.

Art editor's preferences aren't unfathomable. I quizzed editors at The Growing Edge, Marlin, Harper's Magazine, Highways, BackHome, Kalmbach Publishing Company and POLICE.

• Image quality is undeniably their number one priority. They want outstandingly good pictures.
• What makes a good photograph?
• Focused photos -- 35 mm focus must be laser-sharp to retain its quality when enlarged 1200 percent. The dominant image must fill most of the frame to minimize the blowup necessity.
• Good composition. Compose your shot to keep the main subject the focus and to avoid extraneous objects in the frame.
• Don't over or under expose. Lighting is crucial to the overall effect. Bracket where possible.
• Try for both horizontals and verticals. Magazine cover photos are shot vertically with plenty of space at the top for the magazine's logo.

Each art editor does things differently. Keep them happy. Study the magazine's guidelines frequently and do it their way. State the availability of photographs in your query letter asking:

1. How many images do they want or do they prefer a list (called a catalog by editors).
2. Editors want a comprehensive selection, preferring as broad a selection to choose from as they can get. Twenty or more are relatively acceptable, but don't hesitate to ask the editor if less will be okay.
3. Most editors today want digital submissions, but how do they want them sent? What size? What resolution? Do they want them sent on CDs? Some editors still prefer color transparencies, or negatives, or color or black-and-white prints, or contact sheets.

For the latter, since a loupe doesn't really do a slide justice, a few prints along with the slides can give a little better feel for the composition. Never send duplicates unless asked to.

All editors want captions, credits and releases (when applicable) for every image submitted.

What editors expect with photo images
Specifics for submission include making sure that every image, no matter how it's sent, has -- at the very least -- your name. Contact information is also a must. Otherwise, return can't be guaranteed. Digital images, photos and slides supplied by someone other than the manuscript author should be clearly identified for photo credit.

Words of description (area, species, etc) written on the border around the slide can be of great help. Even when brief captions are written on each image, all transparencies should be numbered and accompanied by typewritten pages of extended captions identifying each subject keyed to the numbered slides.

How to ship images safely

• Protect CDs you send by placing them in a Jewel case.
• Never write directly on a photograph or negative. Put each photograph into a archival sleeve, and label the sleeve.
• Insert negatives into pocketed sheets (or sleeves) made only of archival-quality material.
• Package slide images the same as negatives. 

When shipping, all photos or slides in their sleeves should be packaged between two pieces of stiff (not corrugated) cardboard cut the same size as the photograph or slide sheets. Secure them with two or more crisscrossed rubber-bands, lengthwise and crosswise. Enclose in a sturdy envelope or box.

Send them by insured mail or certify the envelope and get a return receipt. It's more expensive, but that way you have the name of someone who signed for them.

• SAE plus sufficient funds to return your photographs. Normally, all photos and slides will be returned after publication when possible.
• If you don't give the editor sufficient postage for their safe return, your photos are not likely to be returned at the magazine's expense.
• Remember, if your material isn't used, the magazine has no reason to treat you like a helpful contributor.
• Always put more postage on than you think will be requred. Spending a few extra cents is preferable to losing your photographs.

Your social security number must be included somewhere, unless you are certain the editor has it. Payment will be issued to the first name on the slide (stock agency or photographer) unless other payment arrangements are specified.

Photos can increase your income anywhere from $1 to $1,000 or more depending on many variables, such as number of photos used, subject, exclusivity, etc.

Today's potential to illustrate manuscripts with pictures is greater than and ever. Shooting writers can increase their success rate and their income by producing what the art editor wants, or by collaborating with photographers who shoot for writers. Digital cameras that produce high resolution images are a shooting writer's boon, for editors who accept digital images.
End

Chapter 11 - Greeting Card Business: http://tinyurl.com/3xta55u

Next: 5-5, Screenwriters Online Resources: http://tinyurl.com/2ck4psp

5-2 Expedient Word Processor Functions

(c) 2010 by Mona Vanek

As surely as your unprotected files vanish in a power-outage, certain things turn an editor off.

1. Using language inappropriate to the grade level used by the magazine
2. Exceeding word limits for submissions
3. Redundancy
4. Misspelled words
5. Spacing 

Many word processors have functions you can easily use to make sure you're not committing those editor-turnoffs. Each magazine adheres to fairly rigid word counts, a specific reading-grade level, uses similar numbers of sentences and paragraphs, and never exceeds its fog index, or language usage.

Run grammar check
This useful function should NEVER be omitted. It points out grammar errors, providing you with options to consider. Although it's not consistently accurate, it will highlight many potential pitfalls. More importantly, many grammar check functions also tell the reading-grade level, the number of sentences and paragraphs, and the fog index. Using grammar check on your manuscript and paying attention to each of these language-use indicators can boost your sales success rate.

Tip: To determine the reading grade level and fog index of the magazine you're going to submit to, type into your word processor two or more articles from the section in the latest issues where you envision your story. Run your grammar checker on the stories. If your language usage and reading-grade level vary greatly from theirs, it's time to rewrite again before posting your manuscript.

Don't exceed the magazine's word limits
It's also the grammar check function in some word-processing programs that gives you a word count accurate enough to let you write "Approximately xxxx words" in the upper right hand corner of your manuscript. If you use Word Perfect 6.0, load the file containing your draft manuscript, then click on File. When the menu pops down, click on Document Information. It will count the words for you (and show you just about every particular you EVER wanted to know about your draft.)

Word Perfect 7.0 users go to File, from the drop down menu choose Document, then go to Properties where you'll find the number of characters, the number of paragraphs, the number of words, and a lot of other information. In Word you simply select "word count" under the Tools menu.

Lotus Word Pro users need only choose Edit to locate the word count function, but will also get a word count from using grammar checker. They won't agree. Take the larger of the two, or split the difference to get a fair "approximate" count that will satisfy the editor when he's deciding whether to accept or reject your manuscript. Most newer word processor programs have "answer wizards" which actually answer simple, typed questions like "how do I count words?"

Run Find
The 'Find' function (Windows generally activates find funtion when you press the ctrl and f keys simultaneously) in your word processor. Find is a simple, powerful and extremely useful tool that can zero right in on culprits that dim the sparkle of your manuscript. You'll be amazed at how many times repetition of words like 'I,' 'she' or 'and' show up. Check for each one and keep a tally. If you've used any word excessively, once you've discerned it, you'll be able to rewrite with more verve. Just as a gem cutter brings sparkle from a dull-looking stone, you'll bring excellence to your story.

Spell-check
Probably no single thing turns an editor off quicker than misspelled words. NEVER skip this word processor function. By highlighting culprits, then offering choices, it easily lets you correct every misspelled word. However, never blindly rely on it for accuracy -- keep your dictionary handy for anything that seems suspicious to you.

Changing two spaces to one
The number of spaces following a period can annoy an editor, too. The standard form for printed manuscripts is to leave two blank spaces after a period. But most online publications want writers to use one space after a period.

After your manuscript if written, go to your word processor's search and replace function. In the search or find section, put . In the replace field, type . Hit to search your document for two spaces and convert them to a single space.

When you're certain that your manuscript is perfect and ready to send off to a publisher who is eager to receive it, STOP! Always use these functions and you can be confident that you'll please the editor, improve your writing, and boost your sales.

Also, to improve your story, put the following words above the start of your story. Then use your Searh\Find function to find them. Write out as many of them as possible: "is" "was" "were" "have" "has" "had" "be" "being" "been".

For e-mail submissions
Transferring your story from Word to E-mail

• Write your story in Word (or your word processor)
• Use Times New Roman 12 font, or Courier 12 font
• Single space lines
• Don't indent paragraphs, but put two lines between paragraphs
• Save the file in RICH TEXT format or in ASCII format
• Don't close the file yet
• Right mouse click and Select all, to highlight the entire story, and Copy
• You now have a copy on your clipboard
• Now, you can change the format you want it saved the file in a different format. Save file and close it.
• Next, open a new message in your e-mail program. Place your cursor into the body of the message.
• Right click and Paste

You've created a clean copy to send to the editor that will transmit without trailing = or spaces.

If you are querying the editor, you might wish to insert something, after the salutation, like the following and place it ahead your story. (Hit Enter a couple of times to create space.)

• In the Subject line put: Offer: (Title of article)
• In the body, begin with the publisher's address (publication title, department), a salutation, just like in regular mail. Then just say that you're offering, "title", an article about "blah, blah" for their (whatever department it's for, or magazine it's for)
• Then Right click and Paste your manuscript
• Follow by short, pertinent credentials, (ie: I've been published in xxxx, or website) and state whether clips are available
• Close by saying. "Thank your for your time. I look forward to your reply."

Last, include your signature file (NOT A LENGTHY ONE).

Example:
Mona Leeson Vanek, Freelance Writer
mtscribbler@air-pipe.com
Ph: xxx xxx xxxx
Montana Scribbler, http://montanascribbler09.blogspot.com/

Author,"Behind These Mountains," vol. 1, 2 & 3. Twenty year newspaper correspondent and photo-journalist. Published in several media, including Mother Earth News, Writer's Digest, FreelanceSuccess.com, EMS Magazine, Montana Magazine, Trailer Life, and contributor to Chicken Soup for the Traveler's Soul(TM). Creator\Producer: 28 minute history docu-drama,"Aunt Lena, Cabinet National Forest's Unsung Heroine."
~~~~~~~~~~~~~~~~~~~~~~~~~~
End

Chapter 10 - Manuscript Preparation: http://tinyurl.com/3xvzuze

Next, Chapter 11 - Greeting Card Business: http://tinyurl.com/3xta55u

5-3 Model Release

When a signed release is required to publish photographs taken of people you can be prepared. Here's an example of the release form I've carried with me, and used successfully when opportunities for photo-stories came my way. You can also buy release forms at office supplies stores.


MODEL RELEASE

In consideration for value received, I hereby authorize the photographer, __________________________________________, and or parties designated by the photographer (including clients, purchasers, agencies, and periodicals or other printed matter and their editors) to use photograph in conjunction with my name (or fictitious name) for sale to or reproduction in any medium the photographer or his designees see fit for purposes of advertising, display, audiovisual, exhibition, or editorial use.

I, ___________________________________________, affirm that I am more than (circle one) [18]  [21] years of age.

Signature:______________________________________________

Date:______________________________

MINOR MODEL RELEASE

I, ____________________________, the legal parent or guardian of

________________________________, a minor, in consideration for value received, assign to

__________________________________ its customers and representatives, the exclusive right to copy and reproduce for the purpose of illustration, advertising, and publication in any manner whatsoever any photograph of said minor in its possession.

Signed:____________________________________________

Address:___________________________________________

Witness:___________________________________________

Date:________________________________

5-1 Essay Cover Letters

(c) 2010 Mona Vanek

When offering an essay to a newspaper or magazine editor, begin the cover letter (even in e-mail) with a paragraph or a combination of paragraphs from your essay. An example from a cover letter written by Julia Rosen, a well-known Canadian Freelance Writer, demonstrates her successful technique:

"So begins my essay, 'A Farewell to Begonias.' This (x-word) piece traces the history of my love affair with plants, tells how I came to be in possession of this particular example of horticulture mastery, and takes the reader on a journey from spring to fall of that fateful year, showing how my love of plants reflected my love of life."

Follow that with your background in essay writing. Paste your essay after your closing signare. If the editor isn't interested s/he'll know before diving into the whole essay. If s/he is, she'll read on. And you may have made a sale. If you have all the elements that ooze professionalism, the rest is hit and miss. What one editor loves, another will hate.

eHow,com offers a good article on writing essay cover letters, http://tinyurl.com/22vlf6n
How to Write a Cover Letter for an Essay Submission, by Contributor, Jennifer L. Potts.
End

Chapter 10 - Manuscript Preparation: http://tinyurl.com/3xvzuze

Next: 5-2, Expedient Word Processor Functions: http://tinyurl.com/2ao7faw

4-6 The 'Rights' You Market

(c) 2010 Mona Leeson Vanek

When you 'sell' rights to magazines, or book publishers, or online media, film, radio, tv, etc., you don't actually sell rights -- you license rights. That is, unless you do give up your copyright by selling it. Otherwise, you license rights.

You may want to license "First publication rights only", "Electronic publication rights for thirty days only", "Unlimited archival rights", "One-time print use only -- all rights reserved", or any other of the many intellectual rights you own to a manuscript. Learn all you can before you're offered a contract for "rights" you're marketing.

At Writing-World.com you'll find a wealth of helpful articles. To learn about 'rights' before you sell them, click on The Business of Writing link at top of the page: http://www.writing-world.com/ to get to, http://www.writing-world.com/rights/index.shtml where you should study until you're satisfied that you understand the business side of writing.
End

Chapter 9 - Querying and Related Issues: http://tinyurl.com/349p8ej

Next: Chapter 10 - Manuscript Preparation: http://tinyurl.com/3xvzuze

10-2 Selling Reprints + Finding Reprint Markets

(c) 2010 Mona Leeson Vanek

Moira Allen is the editor of Writing-World.com, http://www.writing-world.com/ and the author of more than 300 published articles. You'll find good initial information about selling reprints at Moira Allen's site: http://www.writing-world.com/freelance/reprints.shtml. Her books on writing include Starting Your Career as a Freelance Writer and The Writer's Guide to Queries, Pitches and Proposals. (See use terms on her site.)

You'll can locate publications that buy reprints with an online search by typing the following, (complete with + and quotations marks), "publications" + "sell reprints".

Happy reselling!
END

Chapter 21 - Polish, Sell, and Enjoy Rewards!: http://tinyurl.com/38et5xn

Next: 10-3, Publishing and Book Manuscript Format: http://tinyurl.com/2dumo9g

4-3 Improving The Query Letter

© 2010 Mona Leeson Vanek

The following example is an actual critique between two professional writers.

QUERY LETTER WRITER sent the query letter she was planning to send to a magazine editor to her peer to be critiqued. HER PEER gave her opinion (critique) of what should be done to improve it -- before QUERY LETTER WRITER, sent it to the editor.

Study it and see how a query letter can be improved.

THE QUERY LETTER with (\\\\) inserted improvements suggested by PEER

Dear MAG. EDITOR,

I would like to propose a 700-word article that would include interesting facts about the carapace box turtle indigenous to the southeastern region of the United States.

\\\\Yawn! Sorry, fell asleep. :) Seriously, in the first place you say you would like to propose. Well, actually you ARE proposing. Find a hook. Maybe start with a quote. Something COMPELLING.

Hang on a sec. Okay, decided to read this through and then come back and do a line-by-line.

How about starting it with something like:

"Just as I know that the daffodils are going to poke through the frozen dirt after the last frost has gone, I know that Boomer is going to show up in my garden in the spring," retiree Bob Mitchell tells a fascinated eleven-year-old Jimmy Browne.

The story would center around a box turtle that was marked with a dot of nail polish years ago. This turtle returns yearly to the same house where a kind retired man feeds and waters him.

\\\\\ How about, "Boomer is a carapace box turtle that's been visiting 74-year-old Detroit native Bob Mitchell for the last nine years. Easily identifiable because of a spot of nail polish painted on his back, my 700-word story relates the relationship of this turtle and his companion-keeper. Intermingled in the story Bob tells Jimmy, important facts about how these indigenous reptiles survive the hard elements of a Michigan winter and live a long life are taught."

\\\\ (I made that up, but you get the idea. Make it positive and engaging, not passive.)

The story would go further into detail about the environment that has enabled this turtle to live a long life as well as other important facts relating to the carapace box turtle. I would write the article as if Bob, the turtle's sometimes caretaker, is visiting with and relating this story to my eleven-year-old son.

\\\\ See my comments above.

Thank you for your consideration. I look forward to hearing from you.

\\\\ Wait a second. What about your past writing credits? Name the publications, and state your relationship with Bob and Jimmy. Explain how you did your research on the turtle. Are these facts or are these just things that Bob tells your son? You want to have provable resources. \\\\ Actually, you're trying to do a lot in 700 words. Are you sure it's possible to get all that in that space?

\\\\ Also, in the last line, make a positive statement consider this, "I look forward to working with you on this story for Boy's Life. You can reach me at (100) 333-2345 or by e-mail at xys@yaolw.com to discuss this assignment further."

Do you see how a query can be more than you envisioned in your first draft?

Rewrite, rewrite, rewrite, and polish, tweak, and polish, before you send out a query to an editor.

You'll also find excellent advice here if you download BirdersWorld.com writers guidelines .pdf files and study them, http://tinyurl.com/2g3xbcc
End

Chapter 9 - Querying and Related Issues: http://tinyurl.com/349p8ej

Next: 4-4, The Internet - Your Road To Successful Writing and Marketing: http://tinyurl.com/29e5n5q

2-1 How To Be Your Editor's Favorite Freelancer

(c) 2001 by Kathleen Purcell

There's no secret, really. It alls boils down to one precept: editors are people, too. People with jobs. And as a freelance writer, what you do is part of their job. Editors have bosses, deadlines and deliverables. An editor's boss does not care WHO is or is not delivering on time. The editor's boss will hold the editor personally responsible for any and all failures of production. Your's included.

To become an editor's favorite freelancer:

• 1. Turn in assignments early. One day is good; two is better. As it creeps closer to deadline, editors begin to wonder, how is my freelancer doing? I wonder if she conducted her interviews yet? Do you suppose she got all those people to return her calls? I wonder how long her story is?

By deadline day your editor is a nervous wreck unless he or she was wise enough to give you a false deadline. Put your editor out of his misery, turn the story in early.

• 2. Stay in touch.

When my staff reporter is doing a story, I can walk out to the newsroom floor anytime I want, grab him by the collar and bark, "Pieper, how's that story coming?" When I do that (this is my favorite part) he HAS to answer.

I like my freelancers to be proactive about communication. This is especially important when you are new to the editor, if you have ever let her down in the past, if the story is particularly long and complex, or if the deadline was longer than one production cycle. But editors are busy, too.

Personally, I hate freelancers who need me to spend lots of time telling them what great writers they are. All I want is a quick status. A brief email will do. Like this:

• "Hi. Thanks for the assignment. This morning I called the school district and left a message for the superintendent to call me."
• "Hi. Just wanted to let you know the school superintendent called me back. I got the interview. The story looks like it might be as long as 1500 words. Have a nice day."
• "Hi. Had a great interview with the superintendent yesterday. He thinks I should interview the district CFO. I have an appointment later today."
• "Hi. The CFO was full of useful information. He has a color chart. Would you like to use it for art?"
• "Hi. I know this is early, but my story is all done. I will drop by later today with the chart. Have a nice day."

The editor has some idea of what he wants from this article.

• 3. Read the editor's mind.

Seriously. He may -- or he may not -- share that with you. If he does not, you can coax it out of him with a few questions:

• What's my deadline
• How long should the story be
• Do you want art
• Is there anyone in particular you want me to interview
• Do you have any background on this that you'd like to share?

If he answers all that, you will have read his mind.

• 4. Don't deliver surprises.

Editors hate surprises. A good editor is, by definition, a control freak. Turn in the story you promised at approximately the length you promised by deadline or sooner. If something happens midway that will change the focus, scope, length or timing of the article, tell the editor as soon as possible and negotiate a new focus, length or deadline.

Last week one of my favorite freelancers called me 5 minutes before deadline to say she did not get the story. Had done nothing on it, in fact. No interviews, nothing. She knew, and I knew, and she knew I knew that she knew days ago that she was going to be late. Still, she waited until 5 minutes before deadline to tell me. So I had 5 minutes to find a 15 inch story to plug into the giant hole she left on my front page.

Hey, thanks Robyn! You know that series you were going to do on the VFW? Nevermind.

That's it. Four steps. Do them consistently, and --assuming you have also done your best on the article itself -- you can win a priority spot on any editor's rolodex.###

NOTE: All of the above applies only to ethical editors. Unscrupulous editors (and there are many) are low-lying snake in the grass rodents who deserve to be trampled.

My apologies to rodents everywhere ~~ KP
End
Chapter 4 - Writers Guidelines and Magazine Calendars http://tinyurl.com/2v6ej46

Next: 2-2, Tools for Writing Online: http://tinyurl.com/2bbstta

3-1 Copyright Infringement + Abstracts

Copyright Infringement or Downright Plagiarism -- What You Should Do
(c) 2010 by Mona Leeson Vanek

Someone online is offering your work for sale without your permission. So what should you do about it, if anything?

Lee Farren, a freelance journalist makes her living by creating stories and photographs and selling them. She has this to say, "They are my intellectual property, and are protected by U.S. and international copyright law. When someone republishes my story without permission I am injured in two ways--first, I'm not paid for the use of my property and second, its value is decreased when I offer it to additional markets."

"My experience so far has been that reputable publishers do pay when they realize what happened. Businesses and nonprofits have taken the stories down when asked. Most of what I've encountered is ignorance--people with a good cause reproducing my stories because they are about people with the same good cause.

"The folks running the websites are amateurs when it comes to publication--I think they feel a small nagging doubt, but really don't know how copyright works. So I have taken it upon myself to educate them.

"I've been asked for permission a few times, and I've always granted it. I don't think it hurts me to have a story reprinted on a website for true believers--depending on what they believe in, of course. From commercial publications or websites, though, I want payment."

Lee also reported that after she'd contacted them, the Associated Press paid her double what she'd earned from the original publication of her work. She said, "I asked if I could write for them instead -- I mean, three stories, they must like my work."

Using http://www.msn.com/ (also http://www.dogpile.com/ and other search engines), search your name. Check relevant URLs. Contact the owner of the website. When contacted, a site owner must, by law, remove your material at your request.

Also, search a unique string of words from each story and check the returns. Copyright enforcement is part of your job as a freelancer.

Follow Lee's example. She says, "Many writers don't mind a link to the original story -- that's like lending your copy of the newspaper to a friend. And many sites at the publications archive the material after a week or a month so that it is only available to subscribers after that. However, I did find an entire story, complete with "Lee Farren, Freelance Writer" included in a post to a list ... I'll email them, too. I think it constitutes publication -- it was certainly public enough for me to find it!"

I'm unfamiliar with abstracts and royalties for abstracts, but while browsing the web, I also learned interesting things about my out-of-print Montana regional history books: one reports 4-8th grade reading level for Volume 1. US prices for used volumes are more than double the publishers initial 1986 and 1992 prices. And, international prices triple US prices for used volumes! Some old books age extremely well.
End

Chapter 5 - Copyrights, Previously Published Works,and Using Quotations: http://tinyurl.com/38t4xpd

Next: 3-3, Critiquing How-To: http://tinyurl.com/29p5usy

3-6 Words to Pages + Book Lengths

(c) 2010 Mona Leeson Vanek

The boundaries of word count to published story or book fluctuate. Every writer can cite examples that violate the following word ranges. However, below are the word counts a writing group member recently came up with, derived from the number of times the question about story and book lengths was asked by writers, from various articles and conferences, discussions with agents, agent blogs, and those self-help books that all writer's love.

In general:
Flash Fiction, 1 - 500 words
Short Shorts, 501 - 2,000 words
Short Story, 2001 - 20,000 words
Novella, 20,001 - 50,000 words
Novel, 50,000 - 150,000 words (For first-time novelist, best to be 60,000 -90,0000.)
Big novel - over 100,000 words (a significant investment by the publisher)
Epic Novel - 150K+ (Think "Lord of the Rings", "Gone With The Wind", etc.)

Manuscript page count is relatively unimportant, since it is word count that seems to drive the whole process. If you're using courier new font, divide each of the above by 250 to get the number of double-spaced pages you would submit. Actual publication pages will vary depending upon how the book is typeset.

Words to pages = book size
Each publisher usually has a formula for determining the number of words per manuscript page and how that translates into words per printed page for that particular publisher's template(s), but a given formula won't necessarily be accurate in relation to books published by a different publisher.

One set of writer's guidelines I received from a publisher gave the following approximations of how many words = how many pages:

• 30,000 words = 107 typed pages, 104 printed pages
• 40,000 words = 142 typed pages, 139 printed pages
• 50,000 words = 178 typed pages, 174 printed pages
• 60,000 words = 213 typed pages, 208 printed pages
• 70,000 words = 248 typed pages, 243 printed pages

The variation from publisher to publisher, and even from book to book within the same publishing house, depends on several factors:

• Book format (the same exact book in hardback and paperback rarely have the same number of pages.)
• Book dimensions (an "oversized" paperback or "softcover" can get more words on a page, given the same font size, than a "pocket book" or standard paperback-font size. Publishers also use a smaller font size as the page count for a popular book increases.
• Text formatting. Bullet lists and tables use fewer words than continuous paragraphs of text. Also, whether there are photos, drawings, etc., inline in the text.

Title page, dedication page (optional), preface, contents, acknowledgments, and section title pages (optional) count as part of manuscript length.

None of the above figures should be taken as hard and fast rules, but rather as rough guides.
End

Advice FromThe Pros: http://writerinsidertips.blogspot.com/

Chapter 8 - Newsgroups, Forums and Reference Desks: http://tinyurl.com/36guoob

Next: 3-7, Let Writing Careers and Writers and Artists Glossary Terms Enhance Your Vocabulary:
http://tinyurl.com/24xpowt

3-3 Critiquing How-To

(c) 2010, Mona Leeson Vanek

Critiquing is to meant to help us learn more about what works, and what doesn't work in writing.

It's not always easy - but, with a bit of care you can critique writing.

Basically, critiquing involves the following:

• Paying attention to what you like do and what you don't like about the writing -- not about the topic or the style of writing.
• Are you bored?
• Interested?
• Does the writing flow smoothly, or does the reader stumble?
• If it was hard to read, why?
• Were the sentences poorly constructed?
• Was the plot unclear?
• What might have worked better?
• If you didn't like something, identify clearly what you didn't like. Write notes to prompt your comments.

Remember to critique the story, not the author or the topic.
Examples:

• Sometimes I simply note how many times a particular word is used -- such as "I" "would" "had", etc.
• Pay attention to tense shifts, ("were" and "is" are different tenses)
• Discern the "theme focus statement" because it tells me what the story is about. I like it to appear fairly soon, so I'm not left to wonder what the point of the article or story is.
• In fiction, I'll watch for clues, hints of what's to come, and I love twist endings!
• Phrasing your points.
• If you make a point gently - the author is more likely to listen. Try to be diplomatic. (On the other hand, don't be so gentle you fail to make your point.)
• Remember to mention the story's good points.
• State your impressions.
• If several critiques make a point, the more seriously the author should take it.

The key to being a good critic is to be an intelligent reader. The advantage of critiquing (beyond returning the favor to the people you hope will critique your own stories) is to help us learn more about what works, and what doesn't work, in writing.

Never take the attitude "How dare you say that about my work?" Critiques are meant to improve writing -- not to criticize the author.

Receiving critiques is hard - it's not fun to have people point out problems in our carefully crafted work. Expect that sometimes people miss the point, and that not everyone likes everything. However, if more than one reader (or listener) misses the point, there's a strong likelihood that the point isn't well made. And if several people don't like the work, think carefully about the content and about where your readership will be. Think "market potential"

How you deal with critiques is your business - you can ignore them, or take them seriously. Don't argue over points; arguing has the potential to create hurt feelings. If you attack a critique, you discourage people from critiquing again. Remember that this person is spending valuable time trying to help you with your writing.

1. It is not productive to try to justify your work or to explain it. Your story must stand on its own once you offer it.
2. If something needs to be clarified, then change the story to make it clearer.
3. Remember, you won't get the opportunity to explain the story once you mail it to an editor, or after it's been published.

If you do have questions about a critique, if you'd like more information, then feel free to ask. Your intent should be to explore this point further, not to challenge it. Discuss the fine points of someone's advice in detail ONLY if you feel the subject matter is relevant to writing in general.

If you choose to ignore a critique, you do so at your own risk. Maybe the critique was wrong; maybe not. The critique may be off target, but still show some deficiency in the story.

Examples of crits that are helpful to writers
Suggesting places to tweak or strengthen a story\article:

• Overall, this is an interesting piece with a great deal of potential but I think the quotes are overabundant and they overwhelm the details. (Suggestions of places for improvement should be included.)
• This is beautiful, but I think you need to tweak it more. I hear what you want me to hear, but it isn't coming across clearly. My perception is that you want me to see [xxx] but in some ways you [xxx] (be specific -- refer to your notation.)

Pointing out things readers might also want to know:

• This is really a good idea and very informative. Why not add some personal anecdotes to go along with each point? (Give anecdote example, or tell where quotes can be obtained that will be pertinent to the article.)
• I love the gentle way you go back and forth between [x person] and [xx person]. My only suggestion is this -- as I read your piece I wondered a bit about [xxx]. Maybe you could gently give the reader a bit more details in this area.

First reaction crits:

• As soon as I read the title of this piece, my first impulse was [xxx].
• Something's wrong (state where -- here's where your notes will help you pinpoint the place for the author to rework.) 1. It doesn't read smoothly; 2. I just couldn't figure out [xxx].

Market suggestion crits:

• This article would work well as a [xxx]. But to be a [xxx] I think it needs to be a little [xxx] with more [xxx].
• This reads well and fits with what I see in [xxx] magazines and books on [xxx] topic.

Beginnings and endings:

• I'm not a fan of sentences ending in: "of" or "from". I would rearrange them. (This sort of crit is sometimes applicable to sentence beginnings: "but" "however", [xxx].)

Grammar and other errors:

• This was out of my area of understanding, but I didn't notice any errors in grammar. It read smoothly and seemed fine -- Or I heard [xxx -- a specific error -- see your notes] and that didn't sound right to me.
• [xxx] sentence is way too long and needs to be broken up.

A really tough comment to make -- but a very helpful one for the writer to know (often applicable to romance writing or personal essays):

•  Something is missing here, some vital key, and it may be something too private for you to put down on paper. As a reader, I do want to know more about the narrator and those parts of her life that do not directly concern the other person involved, but shape the narrators interaction with that person. (or -- I would like to know a lot more about the narrator and [xxx].)

There are many critiquing services and groups online. The best interactive critiquing is enjoyed by members of Internet Writing Workshop, http://www.internetwritingworkshop.org/index.shtml.

Search, howto critique at, http://www.dogpile.com/ and http://www.msn.com/.

Be as kind to other writers.
End

Chapter, 2: Careers and Marketing, >http://tinyurl.com/332rlsw

Next: 3-4, Interviewing to Write Profiles: >http://tinyurl.com/35ecn6p

2-2 Tools for Writing Online

*NOTE: The following material is for educational use only and may not be used for any other purpose and may not be published in any format due to the nature of releases I've secured from website owners.

(c) 2010 by Mona Leeson Vanek

Writer's Toolbox: 35 Best Tools For Writing Online, by Paul Glazowski, was published on MASHABLE.com on December 13, 2008 http://mashable.com/2008/12/13/writers-toolbox/. Nicely organized, Glazowski's list of resources provides links to many tools, some of which are free. You'll find WordProcessing, Blogging, Microblogging, Jotting Ideas, Social Networking, Jobs and Employment Resources, Book Fairs/Shows, iPhone Apps, and under Other Resources, much more helpful information.
End

Advice FromThe Pros: http://writerinsidertips.blogspot.com/

Chapter 4 - Writers Guidelines and Magazine Calendars http://tinyurl.com/2v6ej46

Next: 2-3, Make Tiny URLs: http://tinyurl.com/27xvwfy

3-2 Publishing Letters

(c) 2010, Mona Leeson Vanek

US Copyrights spell out the laws governing letters, old and recent in, http://www.copyright.gov/circs/circ1.pdf *(See Chapter 5.)

For instance, WWII letters would fall under "Works Originally Created Before January 1, 1978, But Not Published or Registered by That Date." (see pg. 5 and 6 of the pdf). The actual legal text can be found here: http://tinyurl.com/25rj37p. Legally, these letters are copyrighted for 70 years after the author's death, so you would have to get permission from the letter writer (or more likely, the letter writer's heirs--if they can be found.)
End

Chapter 5 - Copyrights, Previously Published Works,and Using Quotations: http://tinyurl.com/38t4xpd

Next: 3-3, Critiquing How-To: >http://tinyurl.com/3ywx8xm