Writing Advice and Inspiration: The Business of Writing Part 11/12

CHAPTER 11

THE BUSINESS OF WRITING:  DRIVING YOURSELF NUTS FOR FUN AND PROFIT

By Corene Lemaitre

THE HOLY GRAIL OF PUBLICATION

As writing is hard work, your desire to profit from your efforts is understandable.  But if you want to make serious money, fiction is probably not the best way to go about it.  

Without the incentive of wealth, you need to be very clear about your reasons for pursuing publication―and potentially, there are many.  Getting published opens doors.  You’ll meet lots of great people and get invited to nice parties.  The prestige alone improve your life.  Opportunities to travel, give talks, and be thoroughly nosy will come your way.  Writing credits will provide you with personal and professional validation.  Your confidence will grow.  And it will really piss off your enemies.  

Getting published takes time.

THE PRODUCT

So, what exactly does it take to get published?  Think of the process as a two-part equation.  First, you create the product―in other words, the novel, novella, or short story.  Then, you sell it.  Write, then sell.

As a writer, this is what you’re going to be doing―running a small business.

First part of the equation, writing.  You will need a completed piece of writing.  Not an idea, not a few pages, but a fully finished work.  Yes, the whole thing.  Beginning, middle, and end.  From the first agonizing word to the final draft that you cast, clammy-fingered, into the mailbox.  No one is going to do it for you.

YOUR TURN:

It’s time to finish something.  If you have an unfinished short story lying around, finish it.  If you don’t have a short story under way, start and finish one.  You should complete a short story even if you’re mostly a novel person because you’ll be able to finish it in a relatively short amount of time.  If you’re not sure what to work on, simply take your work from one of the exercises in this book and use that as a springboard for your project.  If you want to be a fiction writer, the most important thing is to start a project and the second most important thing is to finish the first draft.  Of course, if you’re really serious, you’ll need to take your project through numerous drafts.  So do that too.

Well, those writers probably have previous best-sellers under their belts, with a sales record so good that their very name functions as a brand (there’s that business terminology again).  Best-selling authors achieve their status by writing books―genre or literary fiction―that for any number of reasons, including quality, sell well.

Manuscript analysts, also known as freelance editors, professional readers, and book doctors, are expert in figuring out what’s wrong with your writing and how to put it right.  By identifying weaknesses and showing you how to fix them, and analyst may greatly increase your chances of acceptance.

If you want to make a good impression on an agent or editor, you must follow certain formatting guidelines.  Your adherence to these rules of presentation will set you apart as a professional.

The standard format for all types of fiction is this:

• Use black type on white 8 ½-by-11-inch paper.
• Choose a 12-point font, preferably Times New Roman, Courier, Courier New, or Arial.
• Double-space.
• Indent paragraphs.
• Place at least a one-inch margin all around
• Number the pages in the upper right-hand corner.
• Spell-check and proofread―and I do mean old-fashioned proofreading, which is done by a human, not a computer.  
• Include a title page with the title, word count, your name, address, phone number, and e-mail address.  (Also include this information on the first page of the manuscript.)
• Keep your pages loose-leaf.

Some absolute no-no’s:

• Fancy graphics or typesetting.
• Stapling or binding pages.
• Anything gimmicky, unless it is so apt and witty that it won’t be viewed as an attention-getting device.
• Your head shot, photos of your kids or pets, pencil drawings...you’d be surprised at the things people will send to catch an agent’s eye.

Having correctly formatted your manuscript, all that remains is to place it in an envelope (along with a cover letter).  Your initial approach will probably be by postal mail.  

Whenever you send anything to an agent or editor, always include a stamped self-addressed envelope.  Use a large one if you’d like the manuscript back, a small one if you’d prefer a reply only, in which case specify in your accompanying letter that the manuscript need not be returned.  No SASE, no response.

Copyright is automatic.  In other words, you acquire federal copyright protection by the very act of putting words to paper.  

Don’t get too paranoid.  Publishers are unlikely to steal a novel or story they can buy at minimal cost.

THE QUERY LETTER

A query letter is a cover letter, specifically one designed to pique an agent’s or editor’s interest in your work.  Part of the query letter’s function is to “hook” your target, so you must craft it in such a way that it impels the professional in question to request the entire manuscript.

Typically a query letter works something like this:

• An opening line or two introducing your short story or novel and explaining why you’ve contacted this particular agent or editor.  Perhaps you’ve been referred to him by one of his authors, or maybe he handles work that resembles your own.
• A brief pitch of your story.  Showcase character and situation.  Pretend you’re writing book-jacket copy.  Intrigue, don’t explain.  For short stories, a line or two is sufficient, and for novels, one well-crafted paragraph.  
• A bit about you.  Don’t sell yourself too hard; just try to convey a sense of who you are.  Include anything relevant―writing credits, personal or professional expertise related to the subject matter, promotional experience...If you have none of these things, don’t worry.  Many don’t.
• The closing.  State that you’ve enclosed a self-addressed stamped envelope and that you look forward to the recipient's response.  

The salutation must include the agent’s or editor’s name.  Be professional and concise but allow your style and personality to shine through.  Remember, this is as much a demonstration of your writing ability as the short story or novel itself.  Ensure that the end result reads well.

THE SLUSH PILE

So, what happens when you finally send out your work?  Well, your submission is probably headed for the slush pile.

The slush pile is the industry’s pet name for the accumulation of unsolicited (meaning unasked-for and largely unwanted) manuscripts received by editors and agents―and they receive many.  Although there is no guarantee of a response, a well-crafted and -presented manuscript may stand out.  Initial screening will probably be done by an assistant.  They know exactly what to look for, as agents and editors choose their staff with care.

Exercise rigorous quality control, and you have a better chance of surviving the slush pile than most.

SUBMITTING SHORT STORIES TO MAGAZINES

You’re going to have to go it alone, so let’s start by exploring potential markets for short stories.

What exactly is a literary magazine, or litmag?  Well, it’s a smaller scale publication, often published quarterly, with a circulation of anywhere from several hundred to a few thousand.  

There are hundreds of lit mags.  In addition, there is a growing body of litmags on the Web.  Some correspond to print versions, others are published solely online.  What they have in common is a willingness to work with new writers.

Market guides are industry directories and periodicals that provide essential information on book and magazine publishers―who they are, what they want, and how to submit work to them.

Among the most comprehensive market guides:  

• Writer’s Market.  The largest guide.  Covers both fiction and non-fiction.
• Novel and Short Story Writer’s Market.  Focuses on fiction and may be your best bet.
• The International  Directory of Little Magazines and Small Presses.  Title tells all.  An exhaustive source.
• The CLMP Directory of Literary Magazines and Presses.  Produced by the Council of Literary Magazines and Presses.
• Poets and Writers magazine.  Plenty of market listings, plus features on writers and writing-related topics.
• The Writer magazine.  In existence since 1887, it contains valuable tips, news, and advice.

Your next step is to select which magazines to target.

Then study them to ensure that the type of fiction they publish corresponds to your own.  Analyze the stories for both content and style―subject matter, tone, syntax, and so on.

Note in your query letter that you’ve read their publication.  It doesn’t hurt to mention that you really liked it.

With the exception of a few, lit mags pay nothing or very little, but the benefits of publication are huge.  Preparing a story for submission with lep you to hone your work to a high standard.  Seeing your work in print will provide you with a sense of accomplishment.  And when you are ready to submit a novel or collection, your writing credits will increase your chances of catching a book editor’s or agent’s eye.

YOUR TURN:

If you’re interested in writing short stories, go track down some literary magazines and read them.  Do this with at least three different litmags, keeping an eye out for the publications that feel most right for your work.  If none of the litmags you read look right for you, go find some others.  You’ll find a wonderfully diverse selection of literary magazines out there.  Certainly one of them is perfect for your fiction.

BOOK PUBLISHERS

Today, publishers can be divided into these two basic categories:  conglomerates and independents.

As a writer, it’s important that you acquaint yourself with this increasingly complex and profit-driven industry.

Some writers prefer to join forces with large publishers, finding their prestige and influence advantageous.  Others swear by independents, citing the in-house attention their work receives.  Triumph will depend on commitment and creativity, not corporate dimensions.

But if you really want to increase the odds of acceptance, you are going to need an agent.

AGENTS

Agents.  Those literary archangels who lift you out of the slush pile and carry you through the pearly gates of publication.

Agents are, in fact, merely mortal.  But they are an extraordinary breed of hard working industry professionals who can help you get your work into print.

An agent it someone who will sell your work to a publisher in exchange for a commission, generally  to  percent of the sale price.  Editors are often criticized for their reluctance to read unsolicited work, but the simple fact is that they can’t.  Their time and resources are limited, so they depend on agents to do the initial screening.

An agent’s fundamental role is to sell your work.  As part of this, he or she will:

• Read your work and provide suggestions for revision.
• Submit your work to the most appropriate editor.
• Negotiate the best possible terms for ou
• Exploit additional rights―foreign, serial, film, etc.
• Examine the contract, clause by clause.
• Track payments from publishers.

So, what does an agent look for in a writer?  Given the increasingly competitive market for fiction, what would persuade a top agent to take on a first-timer?  “Originality,” says Suzanne Gluck, co-director of the William Morris Agency literary department.  “Be it a singular literary voice, a new perspective on the human condition, or a view of a place we’ve not seen before.  And anyone who can make me laugh is a winner in my book.”

In describing the ideal author, Gluck is unequivocal.  “My dream client is someone whose work I have a genuine passion for, and for whom my advocacy is a natural outgrowth of my admiration.

You’ve got to write a good book.

“The two most critical elements in an agent/author relationship are trust and a shared vision,” notes Gluck.

How do I choose an agent?

Well, there are a number of reference books that provide lists.  The most high-profile are Writer’s Market, Literary Market Place, The Writer’s Digest Guide to Literary Agents, and Jeff Herman’s Writer’s Guide to Book Editors, Publishers and Literary Agents.  These guides are revised regularly and some have online counterparts.

Your best bet, in the first instance, is to identify a few writers whose work is similar to your own, and figure out who represents them.  Some sleuth work may be necessary, as agency client lists are often confidential, so try these methods.  Open a novel b one of these writers and check the acknowledgments―authors often thank their agents.  Search the Internet―you may find the information you need in an interview or on the author’s homepage.  Finally, visit the publisher’s website―you may find the agent listed under film or subrights, or mentioned in a press release.  Similarly, check the publisher’s catalog.

An alternative way to pick an agent is to identify a good one and then investigate the kind of writing they represent.

YOUR TURN:

If you’re interested in writing a novel, get the names of several agents who might be right for the kind of novel you have written, are writing, or plan to write.  This will take some detective work, but you’ll end up with the names of some agents who might be interested in seeing your novel when it’s ready to be sent out.  And maybe those names will give you the incentive you need to finish the novel.

Agencies come in three sizes―small, medium, and large.

Look for someone who respects your work and is willing to fight on your behalf.

SUBMITTING TO AGENTS

So, what do you send?  Well,you have two options.  Your first is to follow the specifications under each agent’s entry in the previously listed reference books.  Check these guides, and you’ll find that some agents ask for a query letter only, or a query and a synopsis (a plot summary of one to several pages), while others want to see a few pages of the book itself.  Very rarely do they request the whole novel.

Your second option is to ignore the agent’s request and send a query letter with about fifty pages of the manuscript. The reasoning behind this approach is as follows:  Many first novels have very little structure, if any.  They are episodic, merely a series of scenes strung together, and this is one of the primary reason why agents reject work.  Fifty pages will demonstrate that you can shape a story.

Should you include a synopsis?  Perhaps, but there’s a danger that they will read the synopsis and lose interest.  A synopsis will not demonstrate that you can craft prose.  Better to try to hook them on that first page and impel them to read on.  No one can resist a good audition.

“Should I send my query to every agent on my list?” you ask.  “All twenty-five?”

Begin with three or four

So, sending your initial query to three or four is a reasonable compromise that doesn’t violate the no-multiple submission policy.

Once an agent expresses an interest in your, it’s important to respond quickl.  If she requests the entire manuscript, send it right away.  Allow her eight weeks to get back to you.  At this point, it’s permissible to send a polite follow-up letter inquiring after the status of your manuscript, but don’t pester her by e-mail or telephone.

There are several possible outcomes.  You may be rejected by all of them.  If this happens try to figure out why.  Your manuscript may need a bit more work, or you may have simply hit the wrong agents.  Select several more, and try again.  Then again, each may love your manuscript and ask to meet with you in person or at least have an extended phone conversation.  Get in touch with them immediately and arrange to have this talk.  Remember, a “shared vision” is desirable.  Your relationship with your agent will be a crucial one, and this discussion will help you to determine whether or not ehe or she is right for you.  After speaking with you, each may offer you representation  If this happens, try to make a decision as swiftly as possible.  Once you’ve selected your agent and informed him or her of your decision, send a polite thank-you note to the others.  After all, your professional relationship with your agent of choice may not work out, and you don’t want to burn bridges.

If you only agent expresses an interest in your work, but after meeting it doesn’t feel right, then don’t sign with him or her.  Contact a few others.  If your work is strong, you will find the right agent for you.

BEWARE NON LEGITIMATE AGENTS

This particular “agent” is a fraud and the request for manuscripts is a scam.

These so-called agents do not make money from sales to publishers but rather from “reading fees” solicited from the author.

Legitimate agents don’t charge you for reading your manuscript or for signing you as a client.

So, how can you be sure that your agent is legit?  Well most reputable agents are members of the Association of Authors’ Representatives (www.aar-online.org).  So, find out if your agent belongs, though not all legitimate agents do.  You may also interview your potential agent, once she has expressed an interest in your work.  An excellent list of questions can be found on the AAR’s Web site.

RESPONSE AND REJECTION

But there are different types of rejections, some of which are quite useful and constitute reason to be of good cheer.  And at some point, there could be an acceptance, if you just hang in there.

• No response:  Why not, when you’d enclosed the SASE?  Who knows―too busy, too disorganized, too jaded...Whatever the reason, let it go.  Their loss.
• Form rejections:  A standardized letter, but don’t lose heart.  This is the most common type of response.  It does not necessarily mean that your work was poor or even inappropriate.  Rather, it suggests overworked agents and editors.
• Personalized rejection:  This could be anything from a form rejection with a handwritten note scrawled in the margin to a neatly typed missive detailing exactly why your story doesn’t work for them.  This is rare, and may be a sign that they regard your writing as having promise.
• Rejection with invitation to resubmit:  Consider this encouraging.  You’ll receive suggestions for improvement and a request to see the revision.  If possible, try to incorporate at least some of their recommendations into a rewrite.  Then send the story back to them with a photocopy of their letter and a thank-you note.
• Acceptance:  This may come as a letter or a phone call.  Celebrate.  You’ve earned it.

You may have good fortune and receive an acceptance right away, but chances are that you will face a lot of rejection.

The best way to deal with it is by writing.  Turn over the rejection sip and throw down some words.  Brainstorm.  Freewrite.  Draft a short story.  Don’t let the setback of rejection get under your skin.

As you send out your writing, it’s a good idea to keep track of what you’re sending to whom and when.  Remember, every no brings you closer to a yes.

You may regard keeping track as yet one more task that robs you of time for your actual writing, but remember that you’re running a business, and, as with any small business, you are responsible for day-to-day operations, including administration.  So, develop good record-keeping habits.

MONEY AND CONTRACTS

“How much money can I expect to make?”

A reasonable question.  These days a typical sum for a novel ranges from five thousand to twenty-five thousand dollars.  The sum will be based on a number of factors.  One is the estimated market value of your work―in other words, the amount your publishers think your book will bring in.  Another is luck.  But the important thing is to secure a fair deal.

Having interested a publisher, your agent will try to negotiate an advance.  An advance is essentially a loan, which you will pay back through your royalties.  The term royalty refers not to your -newfound status as a writer but to your slice of the financial pie―generally 7 to 15 percent of the cover price of the book, often stepped to reward greater sales.  New writers seldom get big advances, but you will probably get something.

Also bear in mind that getting published has a domino effect.  Having a novel or story in print can lead to paid talks, teaching engagements, and even writing commissions.  If these opportunities don’t come your way, create them.  Think laterally and be entrepreneurial.  Remember, you are running a small business.

You must also be prepared to deal with contracts.  A contract is a written agreement between you and your publisher concerning the use and sale of your work.

When offered a contract, it’s a good idea to have it scrutinized by an expert.  A publishing contract is a complicated document, particularly with the advent of electronic rights, and needs to be examined with care, preferably by more than one person.

Ultimately, you are responsible for protecting yourself.  There are a number of guides to contract law for writers.  Obtain one, and peruse the document clause by clause.  Above all, don’t ever feel pressured into signing a contract that you don’t feel comfortable with.

AFTER THE BOOK DEAL

Celebrate.  You’ve completed a long and difficult journey, and chances are that you’ll be experiencing a variety of emotions, ranging from elation to bewilderment.  But it’s important to remind yourself that you’ve achieved a significant goal, and a good way to do that is to mark the occasion.  Buy yourself a present, break out the champagne, do a private victory dance.  Enjoy your accomplishment―you’ve earned it.

Once you’ve closed the deal, you will work with your editor to make your novel or short story collection the best it can be.  You will receive notes, oral or written. These comments may be extensive and revision will probably require more than mere tinkering.  Be prepared to dig in.

At some point, probably well before your book is published, you will be assigned a publicist who will endeavor to promote your book.

Should your publicist neglect you in favor of another, more profitable author, don’t worry, because there is plenty you can do for yourself.  There are several excellent guides to do-it-yourself book promotion and marketing, so invest in a few and make a plan.

Whichever form our promotion takes, an “author Website” is essential.  In fact, you will benefit from being on the web from the day you begin submitting your work.  Acquire a domain name and establish your presence.  Your Web site should reflect not only your skills but your style and sense of humor.

SELF-PUBLISHING

With the advent of digital print-on-demand, this option has become much more affordable.  Bear in mind, though, that these companies are not selective―they’ll publish anybody’s manuscript.  If your go this route, you would do well to hire a good freelance editor, to ensure quality control.

One word of caution.  Beware “vanity publishers.”  Both vanity publishers and publishing services are sometimes referred to as subsidy publishers, as they charge a fee for putting your work between two covers.  Vanity publishers pretend to be something they’re not―namely, real publishers.  They will send you a letter telling you how wonderful your novel or collection is, suggesting that it has strong commercial potential.  Having hooked you, they will gently introduce the delicate matter of payment.  Don’t fall for it.  This is a cousin scam to the fee-charging agent.  They will produce shoddy work and the charge will be exorbitant.

While self-publishing is a legitimate option, you will probably retain your dream of having work accepted by an established publisher.

COMPETITIONS, GRANTS, AND AWARDS

Explore writing competitions.  any charge an entry fee, so make sure the competition is legitimate.  Research the sponsoring organization and magazine. Awards sometimes include publication of your short story, novel, or collection.  Your work may be brought to the attention of a literary agent.  

Your story may bet a close reading or a cursory one.  Great work is often overlooked, but it’s work the risk.  Someone’s got to win, and it could be you.

Though many grants, fellowships, and awards require writing credits or nomination by a publisher, they are worth looking into.  After all, they’re designed to assist authors in financial need, including those at the beginning of their careers.

THE WRITING COMMUNITY

Published or not, give some thought to joining the writing community.  Launching your literary career requires extreme patience; connecting with others may help you to sustain excitement and hope, and pick up some knowledge in the process.

Writing conferences and retreats are excellent ways to access the community.

Conferences offer a chance to meet publishing professionals and learn about the industry.

Retreats, on the other hand, are just that―a chance to withdraw from the world and do some writing.

You may also find fellow writing enthusiasts at literary readings or events in your corner of the world.  These generally take place at colleges, bookstores, community centers, literary festivals, and cafes.

If you find your motivation flagging or yourself desperately in need of feedback on your work, consider joining a writing class or a writing group, or both.

A writing class provides several advantages―specifically, expert advice, instruction, and feedback.  The teacher will enlighten you on the art and the business of writing.

Writing groups, also known as “writing circles,” often grow out of a class or are formed by several writers who decide to meet on a regular basis.

Finally, consider joining a professional organization.  There are many such bodies―national, regional, and local―but among the most prominent are the National Writers Union (NWU) and the Authors Guild.

The National Writers Union is the trade union for freelance writers of all genres, including fiction.  Both published and unpublished writers are eligible.  The benefits include networking opportunities, agent 

databases, market information, contract advice, grievance resolution, health insurance at competitive rates, and job banks.

The Authors Guild is the oldest and largest professional society of published writers in the country.

Bear in mind that there is a worldwide community of writers.  If you’d like to connect with this global network, you might want to check out International PEN (www.pen.org), which campaigns on behalf of persecuted authors, much as Amnesty International crusades to free prisoners of conscience.  

For the most part, writing is a solitary journey, so consider joining forces with others who share our mania.  Solidarity can help.  There is strength in numbers.

YOUR TURN:

Find some ways in which you can join the writing community, either in your vicinity, or by traveling somewhere, or through the Internet.  You can choose between conference, retreats, literary readings/events, classes, writing groups, and writing organizations.  Then join or participate in one of those for real.

BEING A WRITER

At some point,you will realize that you’ve made the transition from becoming a writer to being one.  How will you know?  Well, you’ll find it a bit easier to sit down and work.  You’ll have adjusted to the daily discipline of writing.  Submitting manuscripts will be accomplished swiftly.  Rejection will sting a bit less.  Every so often, you may receive an acceptance, and these credits will bring you personal and professional satisfaction.  Most importantly, crafting fiction will have become part of the fabric of your life.  

Though the rewards are abundant, adjusting to the writing life takes time.

Relax.  Though you may not be able to leave paid employment right away, it’s not the end of the world.  Most fiction writers, even those with impressive publication credits, supplement their income through others means, and successfully reconcile their day jobs with their writing life.

You may even find that a day job gives you forced distance from your writing and helps keep feelings of isolation at bay.  And time away from your writing may increase your hunger and drive.

Regardless of your job, make sure to set aside a period everyday, or at least several days a week, for writing.  Treat that time as sacrosanct.

The sad fact is, you will need to counteract the intrusion of family and friends.  If you’re lucky, your loved ones will turn cartwheels when you express your desire to write.  Anticipate sabotage. Seriously, expect the worst.

Talk to them.  Explain that this endeavor is important to you, and that shutting yourself away in a room with a pad of paper doesn’t mean that you don’t care about them.  To the extent that you can, however, prioritize our writing, as those who write may become enraged and dangerous if prevented from doing so for too long.

You may encounter even darker perils…

You’re at your table scribbling.  Or perhaps you’re at work, writing on the sly.  All is well, untill you stop...look up...and the bottom drops out of your soul.  You feel crushed, discouraged, and utterly alone.  Suddenly, you don’t  know what to write or how to write or why you should write.  In short, you are facing the Abyss.

The Abyss refers to the anguish that can strike you at any given moment.  This emotional chasm may shake your confidence and temporarily diminish your ability or desire to write.  So try the following antidotes.  

Stay in touch with the human race.

Also, develop a healthful lifestyle.

YOUR TURN:

Make a list of ten things that you can do to make writing more of a priority in your life.  This can include anything from waking up earlier to hiring a babysitter to exercising (to give yourself more energy) to signing up for a writing class.  Post this list somewhere, say, above your desk or on the refrigerator.  Then really do those things, at least some of them.  The best way to become a writer is to get serious about being a writer.  and the best time is to start right now.

Finally, write.  Just lose yourself in the process and let it flow.  Writing is the best stimulant in the world.  Your mood lifts, the Abyss recedes, and your confidence returns.  Creative blocks vanish and words flood the page before you.  By the very act of writing, you will have accessed your subconscious and tapped into something larger than yourself.  You will have become a conduit for the world.