You must have had how Amazon.com has given authors a massive break in the publishing industry. The story of Jeremy Robinson is dramatic and revealing. Upcoming writers will find ideas to discover markets guaranteed to give them the needed exposure in the publishing industry just as Lulu.com did for Robinson.
Tina Crandell had an interview with this enterprising author. Enjoy it.
'Jeremy Robinson has had a good year. His self-published books have been wildly successful, his self-started small-press is about to grow, and he just finalized a book deal with a major publisher. He has demonstrated that being a published author not only means being a good writer, but also being a good businessman. The writing entrepreneur discusses his experience with Lulu.com, his recent book deal, and how hard work pays off.
When did you know you wanted to be a writer?
There was never an actual "a ha" moment for me, no conversion to the ways of the writer. I started out wanting to be an artist; majored in illustration in college and started out in comics. I moved from illustrating comics to scripting them, then to screenwriting and finally to novel writing.
Are you a full-time writer?
I spend about four hours writing every afternoon. The other four hours in my "work day" are spent on marketing, building deals, and responding to e-mails. But all that is part of being a writer. I think that's what most new writers don't realize, that being a good writer is only part of the job. I've had to become a business savvy, outgoing marketing machine. None of those are natural for me. I'm a creative, introverted homebody at heart.
Your first book, The Didymus Contingency, was published by Lulu.com, a website that offers free self-publishing. What was your experience like with Lulu?
Lulu was a great start for me. It showed me that my books could sell and gave me a lot of experience. Plus, it helped land my agent, who found my (at the time) Lulu edition of Didymus Contingency doing very well on Amazon and contacted me as a result. So Lulu helped open some doors for me. But this is not true for all authors who use Lulu, probably the majority. I think the right agent happened to be looking at the right time and saw my book doing well. I don't think authors should look at my success with Lulu as the norm or easily achievable. I've spent the past three years absolutely dedicated to the professional production of my POD books and the non-stop marketing of them. Simply putting a book on Lulu or Amazon is not going to help anyone. I may be proof that self-publishing via POD is a viable option to land an agent and sign a book deal, but it's vastly more work than going the slush-pile submission route. For me, it was simply a more educational and rewarding route.
You started your own small press, Breakneck Books. What drove that decision?
After seeing how well my sales at Lulu were doing I did some math and discovered how much money I would have made if I cut out the middle man (Lulu) and started my own small press. I started Breakneck, at first, just for my books, but I had just finished reading two other books about to be released on Lulu by authors who had asked me to read and blurb their books. Both were fantastic books (with not so great covers) and I thought I could do better. So, I signed both authors and Breakneck was born. I've signed ten authors in the past two years. Some books have done poorly and some have been homeruns (Jack Wakes Up by Seth Harwood became an Amazon.com bestseller). The result is that I've been able to be a full time writer/publisher using print-on-demand. I'm not sure if that's been done before. It's been a TON of work-- non-stop really-- but after two years, all that work is starting to pay off.
You just signed with a major publisher. Will you give us details?
I just landed a three book deal with Thomas Dunne Books, an imprint of St. Martins. The books will come out in hard cover first, then mass market paperback. I have yet to write any of the three books, though I'm hard at work on the first. The deal came about as a direct result of my POD sales. The editor saw my books doing well on Amazon (just like my agent), contacted me and over the past YEAR we've been developing the series. It was a long year, but worth the effort.
As a newly represented novelist, what will become of Breakneck Books?
Of course, this is the first question all of the novelists I've signed at Breakneck asked when I announced the St. Martins deal. Luckily, I had the best answer possible. Breakneck is currently in the process of merging with a new hard cover publisher (Variance) who has far greater resources than Breakneck ever had. Breakneck is becoming the paperback imprint for Variance. We'll be switching from a POD model to offset printing, pumping out small to large size print runs and signing some bestselling authors (I can't say who yet).
What inspires you?
I have a hard time with this question because the answer is "everything." I'm always looking for ideas and just about everything I experience gets filtered for juicy bits that might make a good concept, detail or character trait. My more generic answer is the ocean. Though I must say I get a lot of story ideas from the Bible. I think it's an untapped mainstream resource. There's a lot of great material in there (disasters, wars, ancient mysteries, creatures) that if taken at face value makes great fodder for thrillers.
How did you celebrate your book deal?
Well, this is my most pitiful answer. We got take-out. But I added mushrooms to my broccoli/chicken alfredo. Now that's a wild party...
For more information on the upcoming releases or samples of his books, readers can visit his website at: www.jeremyrobinsononline.com or www.myspace.com/sciencethriller.'
CULLED FROM www.absolutewrite.com
Monday, January 19, 2009
Monday, January 12, 2009
Success Tricks From Expert Author 2
As if being quirky isn't bad enough, Donna Gephart's pre-teen protagonist is...
An Interview with Donna Gephart
By Sandra Miller-Louden
Donna Gephart (www.donnagephart.com) has written everything from greeting cards to romantic short stories to humorous articles. Humor is Donna's stock in trade and never is her wit sharper than in her debut novel, As If Being 12-3/4 Isn't Bad Enough, My Mother is Running for President! (Delacorte Press, 2008), a young adult novel whose main character is Vanessa Rothrock.
Besides her debut novel, Donna has sold her work to both national and regional magazines, including Highlights for Children, Family Circle, Parents, Weight Watchers, Games, and The Star.
She's a member of SCBWI (Society of Children's Book Writers & Illustrators, www.scbwi.org) and helps run a critique group in Palm Beach Gardens, FL.
Titleholder!
Q: I simply must start out asking about your title, since for many writers finding just the right set of words to encapsulate the essence of a book is so difficult, it borders on the impossible. Was this your working title while you were writing the book or did you go through numerous revisions and how did you finally arrive at a 13-word (counting the age designation) book title?
A: My title is a fun way to let readers know exactly what the book is about, but it's quite a mouthful to say when I'm being interviewed. At those times, I think a one-word title would have been nice. Early in the writing process, I had only the first part of the title when a member of my critique group suggested I add "My Mother Is Running for President." I did, and the title remained unchanged.
The Writing Process
Q: In a recent interview, you said your book started out in life as a short story and with the encouragement of your agent and your critique group, you turned it into a novel. Give us some specifics about how one goes about amplifying a work that's maybe 2,000 words into one that's 22,000 words.
A: Voice. Right from the beginning, I latched onto the voice of this bright, self-conscious, klutzy girl. Then I worked hard to get inside Vanessa's head and let her tell her own story of spelling bees, a crush on the wrong boy, a secret admirer, missing her busy politician mother, loathing gym class, and dealing with threatening notes about her mother's campaign. Vanessa simply wouldn't fit into the constraints of a short story!
Q: One of my favorite things about your book is how deftly you mix humor with suspense; you have more than one cliffhanger chapter ending, as well as many clever puns and dialogue twists. Did you conceive the plot like this from the get go or was there more of one aspect (humor or suspense) at the beginning stages?
I think it's important to tell a good story and let the humor evolve naturally. So, I really didn't plan out the humorous parts ahead of time. They emerged from Vanessa's character and the situations she was facing.
When I began the story, I had an idea of how I wanted it to end, but there were lots of surprises along the way, like one day I was writing and realized something dreadful had happened to Vanessa's father.
I think that with the B.I.C. (Butt in Chair) practice, surprises like that turn up throughout writing a novel. When your subconscious knows it's expected to show up for work the same time every day, it seems to do some pre-writing when it's off duty.
Q: You also seem to really be able to get into the mind of a pre-teen girl, as when Vanessa dreams up medical scenarios for herself to catch-- yet not bad enough to kill her-- in order to get her Mom to drop out of the race... maladies such as impetigo or hypothermia. This is the type of thinking I remember going through at that age. How much memory dredging was involved in coming up with these engaging scenes?
A: Thanks. I don't know if I used my memories from that age directly, but I used the feelings and emotions from that age while writing. There was lots of adolescent angst to draw from! And it didn't hurt that I had two pre-teens in the house while I was writing this.
Q: I know you did a lot of research on the entire political process that goes into the making of a presidential campaign. Since much of your book also revolves around Vanessa's security with Secret Service Agent Martinez, did part of your research also have to do with Secret Service issues? Tell us some of the other related areas you brushed up on to write the novel.
A: Since I wrote about so many things with which I was unfamiliar, I did quite a bit of research. I learned about campaigning and the political process on-line and in a number of books. I learned about progressing in spelling bees when I interviewed a girl who went to the national bee twice. I found what information I could about the Secret Service on-line and imagined the rest. I enjoyed learning about politics and campaigning and spelling bees and sharing that information in a fun way with young readers.
The Loving Words/Reading Books/English Major Syndrome
Q: I don't know if you majored in English, but you obviously love words and reading books. Vanessa also shares these traits (she spells her way through the novel, in part because she makes it all the way to the Regional Spelling Bee), and on the flip side, couldn't care less who Shaquille O'Neal-- and by extension, any sports figure-- is. She hates Phys Ed partially because she's a klutz and we suspect she's always called last to be on a team. So, how much of Vanessa Rothrock is in Donna Gephart and vice versa?
Vanessa and I share our love for the color purple, competitive Scrabble games… and we both have big feet! A bit of any writer, I think, seeps into her characters.
Q: Following up on that question, you set up the spelling in the format that spelling bee participants must use. (Protrude. P-R-O-T-R-U-D-E. Protrude.) Besides setting forth that this is how Vanessa processed words and practiced them, did you also include this throughout your novel to get young readers more involved in words they may not know?
I recently got a lovely letter from a young fan. She wrote: "Not only did I learn a lot of big, new words, I'm interested in what's going on in politics now." So, yes, I thought it would be fun for young readers to learn some really big words right along with Vanessa.
Timing is Everything!
Q: Could you give our readers a quick time line from the germination of your idea through the writing of the short story to transforming it into a novel. Once the novel was underway, how long did the rewrites take, and finally, when were you notified of the target publication date of February, 2008?
A: I began writing the novel in 2005. That's when I connected with Tina Wexler at International Creative Management. Tina encouraged me to write the novel, then offered excellent suggestions for revision. Research, writing, and revisions took about a year. It was sold early in 2006. At that time, we all thought it would be best to release it during the election year, so there was nearly a two-year lag from the time I sold it until it hit the shelves.
Q: I'm confident you've frequently gotten this question in one form or another, but I'd be remiss if I didn't ask it. When you were planning your novel, had Hillary Clinton announced her candidacy for president? And do you think the ongoing drama of the Democratic nomination process has increased interest in your book?
A: Of course, I wrote this book before anyone announced his or her candidacy. It was in the back of my mind, though, that Hillary or another woman might run. The current campaign certainly makes my book relevant to young readers who would like a greater understanding of the nomination process. And it lends a nice hook for reporters when writing about the book.
And finally...
Q: Are you at work on a second novel? We'd love to hear whatever details you'd care to share with us.
A: My second book is for the same age range. The main character is a quirky boy who has quite a bit to contend with as he begins junior high school. It has the same combination of humor and heartache that's found in As If Being 12-3/4 Isn't Bad Enough, My Mother is Running for President! And, if you can believe it, my new novel has an even longer title! (But it has to remain top secret for now.)
Thank you, Donna Gephart, for taking the time to share your creative vision with our readers. Once again, to read more about Donna, visit: www.donnagephart.com and be sure to see what's new on her blog: www.donnagephart.blogspot.com.
Sandra, thank you. It's been my pleasure.
Sandra Miller-Louden (www.greetingcardwriting.com) has worked for Absolute Write as a greeting card writing instructor since 2001. Her work won the coveted Louie Award (the industry's highest honor) and in addition to teaching and writing, Sandra does major consulting work in the field of greeting cards.
Her work has appeared on "Live! With Regis & Kathie Lee" and she's been interviewed in many places, including The National Examiner, Staples, com, Metro, The Christian Science Monitor, Voice of America, The Washington Post, Focus: Entrepreneurs (2nd Edition), Attaché (U.S. Air), Talk Magazine, the BBC (three different occasions), Valentine in the Morning Show (Los Angeles), The Philadelphia Inquirer, spawn.org, and NBC-TV. She also appeared on the cover of Parade Magazine in 2006.
In additional, Sandra has written two successful books on writing and a number of booklets. Her book reviews, quizzes, articles, and short stories have appeared in various publications.
CULLED FROM ABSOLUTE WRITE(www.absolutewrite.com)
An Interview with Donna Gephart
By Sandra Miller-Louden
Donna Gephart (www.donnagephart.com) has written everything from greeting cards to romantic short stories to humorous articles. Humor is Donna's stock in trade and never is her wit sharper than in her debut novel, As If Being 12-3/4 Isn't Bad Enough, My Mother is Running for President! (Delacorte Press, 2008), a young adult novel whose main character is Vanessa Rothrock.
Besides her debut novel, Donna has sold her work to both national and regional magazines, including Highlights for Children, Family Circle, Parents, Weight Watchers, Games, and The Star.
She's a member of SCBWI (Society of Children's Book Writers & Illustrators, www.scbwi.org) and helps run a critique group in Palm Beach Gardens, FL.
Titleholder!
Q: I simply must start out asking about your title, since for many writers finding just the right set of words to encapsulate the essence of a book is so difficult, it borders on the impossible. Was this your working title while you were writing the book or did you go through numerous revisions and how did you finally arrive at a 13-word (counting the age designation) book title?
A: My title is a fun way to let readers know exactly what the book is about, but it's quite a mouthful to say when I'm being interviewed. At those times, I think a one-word title would have been nice. Early in the writing process, I had only the first part of the title when a member of my critique group suggested I add "My Mother Is Running for President." I did, and the title remained unchanged.
The Writing Process
Q: In a recent interview, you said your book started out in life as a short story and with the encouragement of your agent and your critique group, you turned it into a novel. Give us some specifics about how one goes about amplifying a work that's maybe 2,000 words into one that's 22,000 words.
A: Voice. Right from the beginning, I latched onto the voice of this bright, self-conscious, klutzy girl. Then I worked hard to get inside Vanessa's head and let her tell her own story of spelling bees, a crush on the wrong boy, a secret admirer, missing her busy politician mother, loathing gym class, and dealing with threatening notes about her mother's campaign. Vanessa simply wouldn't fit into the constraints of a short story!
Q: One of my favorite things about your book is how deftly you mix humor with suspense; you have more than one cliffhanger chapter ending, as well as many clever puns and dialogue twists. Did you conceive the plot like this from the get go or was there more of one aspect (humor or suspense) at the beginning stages?
I think it's important to tell a good story and let the humor evolve naturally. So, I really didn't plan out the humorous parts ahead of time. They emerged from Vanessa's character and the situations she was facing.
When I began the story, I had an idea of how I wanted it to end, but there were lots of surprises along the way, like one day I was writing and realized something dreadful had happened to Vanessa's father.
I think that with the B.I.C. (Butt in Chair) practice, surprises like that turn up throughout writing a novel. When your subconscious knows it's expected to show up for work the same time every day, it seems to do some pre-writing when it's off duty.
Q: You also seem to really be able to get into the mind of a pre-teen girl, as when Vanessa dreams up medical scenarios for herself to catch-- yet not bad enough to kill her-- in order to get her Mom to drop out of the race... maladies such as impetigo or hypothermia. This is the type of thinking I remember going through at that age. How much memory dredging was involved in coming up with these engaging scenes?
A: Thanks. I don't know if I used my memories from that age directly, but I used the feelings and emotions from that age while writing. There was lots of adolescent angst to draw from! And it didn't hurt that I had two pre-teens in the house while I was writing this.
Q: I know you did a lot of research on the entire political process that goes into the making of a presidential campaign. Since much of your book also revolves around Vanessa's security with Secret Service Agent Martinez, did part of your research also have to do with Secret Service issues? Tell us some of the other related areas you brushed up on to write the novel.
A: Since I wrote about so many things with which I was unfamiliar, I did quite a bit of research. I learned about campaigning and the political process on-line and in a number of books. I learned about progressing in spelling bees when I interviewed a girl who went to the national bee twice. I found what information I could about the Secret Service on-line and imagined the rest. I enjoyed learning about politics and campaigning and spelling bees and sharing that information in a fun way with young readers.
The Loving Words/Reading Books/English Major Syndrome
Q: I don't know if you majored in English, but you obviously love words and reading books. Vanessa also shares these traits (she spells her way through the novel, in part because she makes it all the way to the Regional Spelling Bee), and on the flip side, couldn't care less who Shaquille O'Neal-- and by extension, any sports figure-- is. She hates Phys Ed partially because she's a klutz and we suspect she's always called last to be on a team. So, how much of Vanessa Rothrock is in Donna Gephart and vice versa?
Vanessa and I share our love for the color purple, competitive Scrabble games… and we both have big feet! A bit of any writer, I think, seeps into her characters.
Q: Following up on that question, you set up the spelling in the format that spelling bee participants must use. (Protrude. P-R-O-T-R-U-D-E. Protrude.) Besides setting forth that this is how Vanessa processed words and practiced them, did you also include this throughout your novel to get young readers more involved in words they may not know?
I recently got a lovely letter from a young fan. She wrote: "Not only did I learn a lot of big, new words, I'm interested in what's going on in politics now." So, yes, I thought it would be fun for young readers to learn some really big words right along with Vanessa.
Timing is Everything!
Q: Could you give our readers a quick time line from the germination of your idea through the writing of the short story to transforming it into a novel. Once the novel was underway, how long did the rewrites take, and finally, when were you notified of the target publication date of February, 2008?
A: I began writing the novel in 2005. That's when I connected with Tina Wexler at International Creative Management. Tina encouraged me to write the novel, then offered excellent suggestions for revision. Research, writing, and revisions took about a year. It was sold early in 2006. At that time, we all thought it would be best to release it during the election year, so there was nearly a two-year lag from the time I sold it until it hit the shelves.
Q: I'm confident you've frequently gotten this question in one form or another, but I'd be remiss if I didn't ask it. When you were planning your novel, had Hillary Clinton announced her candidacy for president? And do you think the ongoing drama of the Democratic nomination process has increased interest in your book?
A: Of course, I wrote this book before anyone announced his or her candidacy. It was in the back of my mind, though, that Hillary or another woman might run. The current campaign certainly makes my book relevant to young readers who would like a greater understanding of the nomination process. And it lends a nice hook for reporters when writing about the book.
And finally...
Q: Are you at work on a second novel? We'd love to hear whatever details you'd care to share with us.
A: My second book is for the same age range. The main character is a quirky boy who has quite a bit to contend with as he begins junior high school. It has the same combination of humor and heartache that's found in As If Being 12-3/4 Isn't Bad Enough, My Mother is Running for President! And, if you can believe it, my new novel has an even longer title! (But it has to remain top secret for now.)
Thank you, Donna Gephart, for taking the time to share your creative vision with our readers. Once again, to read more about Donna, visit: www.donnagephart.com and be sure to see what's new on her blog: www.donnagephart.blogspot.com.
Sandra, thank you. It's been my pleasure.
Sandra Miller-Louden (www.greetingcardwriting.com) has worked for Absolute Write as a greeting card writing instructor since 2001. Her work won the coveted Louie Award (the industry's highest honor) and in addition to teaching and writing, Sandra does major consulting work in the field of greeting cards.
Her work has appeared on "Live! With Regis & Kathie Lee" and she's been interviewed in many places, including The National Examiner, Staples, com, Metro, The Christian Science Monitor, Voice of America, The Washington Post, Focus: Entrepreneurs (2nd Edition), Attaché (U.S. Air), Talk Magazine, the BBC (three different occasions), Valentine in the Morning Show (Los Angeles), The Philadelphia Inquirer, spawn.org, and NBC-TV. She also appeared on the cover of Parade Magazine in 2006.
In additional, Sandra has written two successful books on writing and a number of booklets. Her book reviews, quizzes, articles, and short stories have appeared in various publications.
CULLED FROM ABSOLUTE WRITE(www.absolutewrite.com)
Thursday, January 8, 2009
Freelance Writing Opportunities In Health Magazines
I just received a mind blowing freelance writing opportunities in health magazines in my inbox from worldwidefreelance.com. Going through it exposed insider information on hidden markets never discovered before. I know that there are many of my followers over there who will need this hot information to explore the jaw cracking opportunities in writing for health magazines. These paying markets are worth giving a trial. You never can tell where your first offer will come from.
Before i sign off, remember that this post is a breaking news. It was written by Gary McLaren. Enjoy it.
'WRITING FOR HEALTH MAGAZINES
By Gary McLaren
Freelance writing for health publications will not only keep you on
the edge of the latest trends and advice for maintaining a healthy
mind and body - it can also be healthy for your bank account.
Freelance writers produce articles covering a range of diverse
topics including nursing, disabilities, diseases, prevention and
cure, health research and education, alternative treatments and
more.
On the technical writing side medical writers also work in the
pharmaceutical and biotechnology industries, writing materials that
include regulatory documents, investigative drug brochures, and
clinical study protocols.
There is a good demand for health writing and this is a growing
industry. Consider for a moment for 76 million baby boomers that
have been entering their fifties. They are worrying more about
their health. They want to lose weight. They are trying to get fit.
They want to prevent disease and remain as healthy as possible.
It is not just the boomers, of course. Everyone wants to be healthy
and avoid sickness in order to feel better and enjoy life.
Here Are A Few Examples of Health Publications
360 MAGAZINE
An ezine accepting articles on all topics related to the wheelchair
community, including health, travel, sports and relationships.
Payment ranges from $0.10 to $0.25 per word.
Guidelines: http://www.360mag.com/submissions.cfm
ARTHRITIS TODAY
A national consumer health magazine published by the Arthritis
Foundation. Contains information about arthritis research,
treatment, self-care and emotional coping. This publication pays up
to $2,000 for feature articles of up to 2,000 words.
Guidelines: http://tinyurl.com/arthritistoday
CURE
A publication for those with cancer and their caregivers. Providing
the latest cancer updates' research, and education. Pays freelance
writers $1.00 per word. Guidelines:
http://www.curetoday.com/index.cfm/fuseaction/page.show/id/40
DIABETES HEALTH
Providing patients, educators and healthcare professionals with
practical advice and the latest information on new methods,
technologies and research related to diabetes. Payment varies with
experience and length of article.
Guidelines: http://www.diabeteshealth.com/writersguidelines.html
HEALTHPLAN
This magazine of trends, insights, and best practices is published
by the American Association of Health Plans. Pays freelance writers
$0.65 per word.
Guidelines: http://tinyurl.com/healthplangl
In addition to specialty health magazines, remember that you can
also write about health topics for hundreds of other magazines,
such as family magazine or men's and women's interest publications.
For example there are more than 200 publications that are looking
for health-related material in the Markets Plus writing markets
database at WorldwideFreelance.com
There are also some good organizations and associations for medical
writers. Here are several of them.
American Medical Writers Association
http://www.amwa.org
European Medical Writers Association
http://www.emwa.org
Health Sciences Communications Association
http://www.hesca.org
National Association of Medical Communicators
http://www.ibiblio.org/namc/
World Association of Medical Editors
http://www.wame.org
So be healthy. Be wise. And become a health writer. It's a great
niche for freelance writers'.
Before i sign off, remember that this post is a breaking news. It was written by Gary McLaren. Enjoy it.
'WRITING FOR HEALTH MAGAZINES
By Gary McLaren
Freelance writing for health publications will not only keep you on
the edge of the latest trends and advice for maintaining a healthy
mind and body - it can also be healthy for your bank account.
Freelance writers produce articles covering a range of diverse
topics including nursing, disabilities, diseases, prevention and
cure, health research and education, alternative treatments and
more.
On the technical writing side medical writers also work in the
pharmaceutical and biotechnology industries, writing materials that
include regulatory documents, investigative drug brochures, and
clinical study protocols.
There is a good demand for health writing and this is a growing
industry. Consider for a moment for 76 million baby boomers that
have been entering their fifties. They are worrying more about
their health. They want to lose weight. They are trying to get fit.
They want to prevent disease and remain as healthy as possible.
It is not just the boomers, of course. Everyone wants to be healthy
and avoid sickness in order to feel better and enjoy life.
Here Are A Few Examples of Health Publications
360 MAGAZINE
An ezine accepting articles on all topics related to the wheelchair
community, including health, travel, sports and relationships.
Payment ranges from $0.10 to $0.25 per word.
Guidelines: http://www.360mag.com/submissions.cfm
ARTHRITIS TODAY
A national consumer health magazine published by the Arthritis
Foundation. Contains information about arthritis research,
treatment, self-care and emotional coping. This publication pays up
to $2,000 for feature articles of up to 2,000 words.
Guidelines: http://tinyurl.com/arthritistoday
CURE
A publication for those with cancer and their caregivers. Providing
the latest cancer updates' research, and education. Pays freelance
writers $1.00 per word. Guidelines:
http://www.curetoday.com/index.cfm/fuseaction/page.show/id/40
DIABETES HEALTH
Providing patients, educators and healthcare professionals with
practical advice and the latest information on new methods,
technologies and research related to diabetes. Payment varies with
experience and length of article.
Guidelines: http://www.diabeteshealth.com/writersguidelines.html
HEALTHPLAN
This magazine of trends, insights, and best practices is published
by the American Association of Health Plans. Pays freelance writers
$0.65 per word.
Guidelines: http://tinyurl.com/healthplangl
In addition to specialty health magazines, remember that you can
also write about health topics for hundreds of other magazines,
such as family magazine or men's and women's interest publications.
For example there are more than 200 publications that are looking
for health-related material in the Markets Plus writing markets
database at WorldwideFreelance.com
There are also some good organizations and associations for medical
writers. Here are several of them.
American Medical Writers Association
http://www.amwa.org
European Medical Writers Association
http://www.emwa.org
Health Sciences Communications Association
http://www.hesca.org
National Association of Medical Communicators
http://www.ibiblio.org/namc/
World Association of Medical Editors
http://www.wame.org
So be healthy. Be wise. And become a health writer. It's a great
niche for freelance writers'.
Monday, January 5, 2009
Success Tricks From Expert Author 1
Interview with Elizabeth Lyon
Manuscript Makeover: Revision Techniques No Fiction Writer Can Afford to Ignore
Interview by Andrea Campbell
Elizabeth Lyon, a regular speaker at writing conferences and retreats nationwide, has been a contributor to The Writer and Writer's Digest and is a mentor, professional book editor, and writing teacher. She is the author of The Sell Your Novel Tool Kit, A Writer's Guide to Fiction, Nonfiction Book Proposals Anyone Can Write, A Writer's Guide to Nonfiction, and National Directory of Editors & Writers. Her new book is Manuscript Makeover: Revision Techniques No Fiction Writer Can Afford to Ignore (Perigee Publishing/Penguin). Visit www.manuscriptmakeover.com for more about her new book, www.4-edit.com for Editing International, and www.elizabethlyon.com for her author website.
Elizabeth, could you tell readers a little about your background?
I've been a full-time independent editor and writing instructor for twenty years. In 1988, a close friend of mine committed suicide and bequeathed his continuing ed, community college writing classes, and his editing business to me. Two weeks later, I stood before four summer classes. I had been studying, writing fiction and nonfiction, participating in critique groups, attending conferences, and doing a small amount of freelance writing and editing since 1980. My most potent way of learning is by doing, and I believe I've had a talent for teaching and editing. I also credit my background in psychology and counseling (I have a masters and have had years of various types of psychotherapy and been a therapist), and my undergraduate classes in the humanities, three foreign languages, and sociology as an ideal foundation relating to people and just about all ideas they write about.
Your new book, Manuscript Makeover, just came out. Can you tell us what inspired you to write this book?
Two decades of working with novelists of every level of skill helped me clarify the terminology of fiction craft and hone specific techniques for writing and marketing. Long ago, I identified several dozen mistakes common to almost all of the novels I edited, no matter what genre and applying to published and unpublished novelists alike. It felt like time to share what I'd learned-- and hand the tools of revision to writers.
There are many prescriptive books out there on how to write fiction, why is yours different?
In writing any of my six books for writers, I've always held myself to a specific standard: My books must contribute to the literature, offer highly organized and accessible instruction, and be comprehensive. I was very familiar with the literature on craft and revision and found value in each book, but I did not find one that met all three of these criteria.
My speculation is that editors within publishing houses customarily work with novels that have been acquired, and thus these works are "almost ready." What they might offer as guidance for revision won't be detailed enough for someone starting out. Some authors of books on revision are instructors at various colleges or universities, and they are most likely to have a similar demographic of students, and they may be expected to teach specific ideas and coursework. In their books on revising fiction, these teachers often demonstrate the "how-to" from the classics in English and American literature. They seldom draw examples from contemporary novels. They seldom use examples from genre, mainstream, and literary writing. And they seldom include or address children's literature. Other how-to books on revision are written by successful novelists, and that means the slant and examples may be skewed toward a particular genre or style, or rely too heavily for examples on the authors' own novels. As an independent editor, I don't suffer any of these limitations, and I wanted my book to be of great value to all writers.
Can you tell us one or two parts of the book that are your favorites and why?
In the style section, I introduced what may be a first discussion in the literature about the powerful role of unconscious censorship, and not just the "inner critic." Because each writer is an individual unlike any other human being, all of us should have a unique style. Why not? I offered several techniques, like "riff-writing," to answer that problem.
I also enjoyed sharing the technique of increasing the impact of writing by taking advantage of "power positions." These are the first and last words or sentences, of paragraphs, sections, chapters, and novels. I had not seen "power positions" taken up by any other instructor/authors, except with scant mention.
In the section on structure, I felt strongly about teaching the inner structure of scenes, which I see as my contribution to the understanding of scene structure-- the other half and missing half of the instruction. Inner structure develops internal characterization within viewpoint and includes "subtext." This refers to sources of tension and interest that operate beneath the surface of events and actions in a scene, such as sexual attraction or repulsion, a strong emotion, nature, and so forth.
Another favorite section for me covers movement in detail, because this element of craft has been given short shrift. There is so much to it, and so much fun for the writer. Revision in the many ways that creates movement also instant improves a story.
In characterization, I gained greater clarity myself by writing about "attitude" and "passion," that if writers understand the differences and emphasize both, their characters will take on greater depth and move the reader.
For years, I have addressed and edited problems in punctuation, grammar, and format, so it was satisfying to put those answers in one place in the chapter on copyediting.
I noticed you address things such as pace and flashback in this guide. Are these difficult to explain?
I think flashback is fairly easy to explain, and to outline when to use it to great effect and when not to use it. For instance, it is often misused by introduction too early in a story, before a reader cares to know backstory and is not yet engaged in the forward story. A premature flashback is a natural trap, because it is so tempting to brief the reader with a chunk of indigestible exposition.
On the other hand, I do agree that pace is difficult to explain and tricky to get right. Flashback and pace involve a dive into the time-space continuum. One of the great aspects of fiction involves the manipulation of time, controlling its speed. And characters are constantly moving through time in a particular setting. With flashback, the writer directs the reader to become a time traveler. Changing pace throughout a story requires development of a writer's intuition to a great extent, a special kind of deep listening to the story to catch when to make a shift in speed. After deciding when and in what direction-- faster or slower-- then the writer needs to know the techniques for speeding or slowing pace. There is much to it, and I sought to address all aspects.
I've always thought that voice was integral to fiction. How have you talked about that in Manuscript Makeover?
I discuss voice as an expression of a writer's individuality that blends with the story, setting, era, and characters. Voice is similar to and often used synonymously with style. I think of voice as coming from within the writer, reflecting everything about the writer's self, family, age, race, heritage, religious, region, and so forth. I think of style as an effect of voice. Style can also be altered by strengthening word choice, varying sentence structure, and otherwise manipulating the writing. For an easy handle, I think of voice as "inside-out" and style as "outside-in," and using techniques to cultivate both are part of revision. A unique voice (or style) is all-important and part one on "Style Speaks" offers ways to improve it.
What do you think is the single most egregious mistake writers make with fiction?
The most egregious mistakes just happen to be clichés that are true. Turned into advice, a writer can counter mistakes by doing the following:
Keep writing; don't give up. Writing at a professional and publishable level of skill takes far longer than most writers think.
Read how-to books about all aspects of craft. Don't live in a bubble.
Get constructive feedback from other writers, readers, teachers, and editors.
Don't work one novel or story to death. After a reasonable amount of time writing and revising, move on to other stories. Each one teaches you something new and your skill grows with practice facing different creative challenges over time.
Immerse in the writing community-- attend author talks, workshops, and conferences. Become savvy by osmosis.
There will always be writers with more talent and skill and less talent and skill than you possess. Stop comparing yourself. Write, revise, market. These are your jobs.
Be flexible. If one genre doesn't work, try another one. If one strategy of marketing fails, adopt a new one. Don't accept two words: "I can't."
We've heard that raising questions increase increases tension. Your book is the first one I've read that analyzes that issue. Care to comment?
Most of us have difficulty implementing instruction, what a mentor of mine referred to as "know of," directly into writing, which is "know how." For instance, it's obvious that when a writer raises curiosity in a reader, the result is an increase in suspense. "What's going to happen next?" the reader should ask. But what techniques create this result? I discovered long ago that my students and clients learned best from models, i.e., examples, either of published authors or from excerpts taken from their own writing that I revised. I can do this latter technique for editing clients but not for readers. Analysis of successful published examples leads my readers into recognition of how the "magic trick" is accomplished.
Have query letters changed in the last decade?
Yes, they have. I have the sense that the squirrel cage is spinning faster. Agents and editors are under enormous pressure to select and sell, and to select well. Agents now receive as many as 100 queries a week, and they may not have staff. Writers must realize that snap decisions are made. The day of the e-mail query is here as well; I estimate that about 30 percent of literary agents accept, prefer, or require e-mail queries. Although they are mutually beneficial to writers and agents because of their efficiency, the nature of e-mail is short communications. Whereas the paper query has been whittled down to one page, about five or so paragraphs, the e-mail query is best shortened even more. Can a longer query ever succeed? Exceptions abound and yet, the word "exception" means, not very often. I advise writers to study how to write queries and then to revise 'til the cows come home, that this one little manuscript can make all the difference in getting to first base with your novel.
Will you tell us about your publisher? Good experience? Fair treatment? Good support?
I've now experienced four publishers.
I was my own first publisher with Red Lyon Publications. I self-published a 2500-copy print-run of one book, Mabel: The Story of One Midwife. That experience exposed me to every facet of publishing, and I was hooked. Ten years after the 1982 publication, I had finally sold (almost) all of the copies, and broke even. I've been told that this book about Mabel Dzata, a Ghana-born woman who moved to Oregon and did home births in the Northwest, is considered a "midwifery classic." I've thought about bringing it back into print via print on demand.
A first "real" publisher can be like a first lover that you remember and hopefully adore forever. I was lucky to be with an outstanding small press, Blue Heron Publishing in Hillsboro, Oregon. The owners, Dennis and Linny Stovall, were the hub of information and publishing in the Pacific Northwest. They published perhaps 400 writers and fostered the development of many, who have since become well known (Diana Abu-Jaber, Sherman Alexie, Judith Barrington, Martha Gies, Lorian Hemingway, and Chuck Palahniuk, among many others). The Stovalls held progressive ideas about writer's rights, and they cared about all of their authors, their books and their lives. My book contracts were not only fair; they were superior. My relationship with Dennis and Linny was and is precious to me. I had their full support, even for marketing and promotion, and that included modest funds I requested as well as Linny's efforts to set-up talks, signings, and conferences. I felt respected. When the Stovalls moved on to other endeavors, I was orphaned, gaining back the rights to my first two books, Nonfiction Book Proposals Anybody Can Write, and The Sell Your Novel Tool Kit.
Since 2001, my publisher has been Perigee Books, an imprint of US Penguin, in New York, publishing over 100 books a year. They acquired my orphaned books, reprinting them, and subsequently published three more books I've written: A Writer's Guide to Nonfiction, Writer's Guide to Fiction, and now Manuscript Makeover. In contrast to receiving no advance with Blue Heron, all Perigee contracts have included advances. Sales have been far better because of big publisher distribution. I lucked out with the three editors I've had; they've been experts in writing books in particular. Their editing has been superior. Communications have always been friendly, professional, and timely. When I had a series of family crises, my requests for extensions were granted. Yet, the culture and operations of the corporation pervade everything. I don't have that intimate feeling that I enjoyed with Blue Heron. In fact, I have lunch with Dennis Stovall about once a year, and he, Linny, and I will always have a bond of friendship.
The big house contracts were written by attorneys whose singular goal was to figure out how to give authors the least amount of money possible. The contracts are mostly non-negotiable and I have always felt like a serf on the feudal lord's estate. Publicists are assigned to each book, e-mails are answered, and I'm assured that there is promotion within a three-month window of a book's release. Yet, publicity or the results of it, haven't been visible to me. And there is no monetary support for any efforts I make. Because the corporation publishes 100-120 per year, the math says it all; promotion is up to me. I'm very small peanuts.
My fourth experience was working with a smaller independent New York publisher, M. Evans & Company. They brought out my National Directory of Editors & Writers, a compilation of 530 profiles of US freelance writers and editors. As I expected, my relationship with my M. Evans editor had aspects of the warm and informal friendship I had with the Stovalls at Blue Heron, and yet the process also had the distance and constraints of Perigee's corporate style. Shortly after my directory was published, however, a bigger fish bought M. Evans & Company, my editor and other staff found other jobs, and that was that. The "half" of my four and a half publishers is Rowman & Littlefield, the bigger fish.
Anything you'd like to add?
I realize I am very fortunate, period. Books on writing are a niche, and I have six books in print, nearly continuously since 1995 when my first book was published. They are all small, backlist sellers, but I envision them as my IRA. Because hope springs eternal, I hope that Manuscript Makeover will be my bestseller.
CULLED FROM www.absolutewrite.com
Manuscript Makeover: Revision Techniques No Fiction Writer Can Afford to Ignore
Interview by Andrea Campbell
Elizabeth Lyon, a regular speaker at writing conferences and retreats nationwide, has been a contributor to The Writer and Writer's Digest and is a mentor, professional book editor, and writing teacher. She is the author of The Sell Your Novel Tool Kit, A Writer's Guide to Fiction, Nonfiction Book Proposals Anyone Can Write, A Writer's Guide to Nonfiction, and National Directory of Editors & Writers. Her new book is Manuscript Makeover: Revision Techniques No Fiction Writer Can Afford to Ignore (Perigee Publishing/Penguin). Visit www.manuscriptmakeover.com for more about her new book, www.4-edit.com for Editing International, and www.elizabethlyon.com for her author website.
Elizabeth, could you tell readers a little about your background?
I've been a full-time independent editor and writing instructor for twenty years. In 1988, a close friend of mine committed suicide and bequeathed his continuing ed, community college writing classes, and his editing business to me. Two weeks later, I stood before four summer classes. I had been studying, writing fiction and nonfiction, participating in critique groups, attending conferences, and doing a small amount of freelance writing and editing since 1980. My most potent way of learning is by doing, and I believe I've had a talent for teaching and editing. I also credit my background in psychology and counseling (I have a masters and have had years of various types of psychotherapy and been a therapist), and my undergraduate classes in the humanities, three foreign languages, and sociology as an ideal foundation relating to people and just about all ideas they write about.
Your new book, Manuscript Makeover, just came out. Can you tell us what inspired you to write this book?
Two decades of working with novelists of every level of skill helped me clarify the terminology of fiction craft and hone specific techniques for writing and marketing. Long ago, I identified several dozen mistakes common to almost all of the novels I edited, no matter what genre and applying to published and unpublished novelists alike. It felt like time to share what I'd learned-- and hand the tools of revision to writers.
There are many prescriptive books out there on how to write fiction, why is yours different?
In writing any of my six books for writers, I've always held myself to a specific standard: My books must contribute to the literature, offer highly organized and accessible instruction, and be comprehensive. I was very familiar with the literature on craft and revision and found value in each book, but I did not find one that met all three of these criteria.
My speculation is that editors within publishing houses customarily work with novels that have been acquired, and thus these works are "almost ready." What they might offer as guidance for revision won't be detailed enough for someone starting out. Some authors of books on revision are instructors at various colleges or universities, and they are most likely to have a similar demographic of students, and they may be expected to teach specific ideas and coursework. In their books on revising fiction, these teachers often demonstrate the "how-to" from the classics in English and American literature. They seldom draw examples from contemporary novels. They seldom use examples from genre, mainstream, and literary writing. And they seldom include or address children's literature. Other how-to books on revision are written by successful novelists, and that means the slant and examples may be skewed toward a particular genre or style, or rely too heavily for examples on the authors' own novels. As an independent editor, I don't suffer any of these limitations, and I wanted my book to be of great value to all writers.
Can you tell us one or two parts of the book that are your favorites and why?
In the style section, I introduced what may be a first discussion in the literature about the powerful role of unconscious censorship, and not just the "inner critic." Because each writer is an individual unlike any other human being, all of us should have a unique style. Why not? I offered several techniques, like "riff-writing," to answer that problem.
I also enjoyed sharing the technique of increasing the impact of writing by taking advantage of "power positions." These are the first and last words or sentences, of paragraphs, sections, chapters, and novels. I had not seen "power positions" taken up by any other instructor/authors, except with scant mention.
In the section on structure, I felt strongly about teaching the inner structure of scenes, which I see as my contribution to the understanding of scene structure-- the other half and missing half of the instruction. Inner structure develops internal characterization within viewpoint and includes "subtext." This refers to sources of tension and interest that operate beneath the surface of events and actions in a scene, such as sexual attraction or repulsion, a strong emotion, nature, and so forth.
Another favorite section for me covers movement in detail, because this element of craft has been given short shrift. There is so much to it, and so much fun for the writer. Revision in the many ways that creates movement also instant improves a story.
In characterization, I gained greater clarity myself by writing about "attitude" and "passion," that if writers understand the differences and emphasize both, their characters will take on greater depth and move the reader.
For years, I have addressed and edited problems in punctuation, grammar, and format, so it was satisfying to put those answers in one place in the chapter on copyediting.
I noticed you address things such as pace and flashback in this guide. Are these difficult to explain?
I think flashback is fairly easy to explain, and to outline when to use it to great effect and when not to use it. For instance, it is often misused by introduction too early in a story, before a reader cares to know backstory and is not yet engaged in the forward story. A premature flashback is a natural trap, because it is so tempting to brief the reader with a chunk of indigestible exposition.
On the other hand, I do agree that pace is difficult to explain and tricky to get right. Flashback and pace involve a dive into the time-space continuum. One of the great aspects of fiction involves the manipulation of time, controlling its speed. And characters are constantly moving through time in a particular setting. With flashback, the writer directs the reader to become a time traveler. Changing pace throughout a story requires development of a writer's intuition to a great extent, a special kind of deep listening to the story to catch when to make a shift in speed. After deciding when and in what direction-- faster or slower-- then the writer needs to know the techniques for speeding or slowing pace. There is much to it, and I sought to address all aspects.
I've always thought that voice was integral to fiction. How have you talked about that in Manuscript Makeover?
I discuss voice as an expression of a writer's individuality that blends with the story, setting, era, and characters. Voice is similar to and often used synonymously with style. I think of voice as coming from within the writer, reflecting everything about the writer's self, family, age, race, heritage, religious, region, and so forth. I think of style as an effect of voice. Style can also be altered by strengthening word choice, varying sentence structure, and otherwise manipulating the writing. For an easy handle, I think of voice as "inside-out" and style as "outside-in," and using techniques to cultivate both are part of revision. A unique voice (or style) is all-important and part one on "Style Speaks" offers ways to improve it.
What do you think is the single most egregious mistake writers make with fiction?
The most egregious mistakes just happen to be clichés that are true. Turned into advice, a writer can counter mistakes by doing the following:
Keep writing; don't give up. Writing at a professional and publishable level of skill takes far longer than most writers think.
Read how-to books about all aspects of craft. Don't live in a bubble.
Get constructive feedback from other writers, readers, teachers, and editors.
Don't work one novel or story to death. After a reasonable amount of time writing and revising, move on to other stories. Each one teaches you something new and your skill grows with practice facing different creative challenges over time.
Immerse in the writing community-- attend author talks, workshops, and conferences. Become savvy by osmosis.
There will always be writers with more talent and skill and less talent and skill than you possess. Stop comparing yourself. Write, revise, market. These are your jobs.
Be flexible. If one genre doesn't work, try another one. If one strategy of marketing fails, adopt a new one. Don't accept two words: "I can't."
We've heard that raising questions increase increases tension. Your book is the first one I've read that analyzes that issue. Care to comment?
Most of us have difficulty implementing instruction, what a mentor of mine referred to as "know of," directly into writing, which is "know how." For instance, it's obvious that when a writer raises curiosity in a reader, the result is an increase in suspense. "What's going to happen next?" the reader should ask. But what techniques create this result? I discovered long ago that my students and clients learned best from models, i.e., examples, either of published authors or from excerpts taken from their own writing that I revised. I can do this latter technique for editing clients but not for readers. Analysis of successful published examples leads my readers into recognition of how the "magic trick" is accomplished.
Have query letters changed in the last decade?
Yes, they have. I have the sense that the squirrel cage is spinning faster. Agents and editors are under enormous pressure to select and sell, and to select well. Agents now receive as many as 100 queries a week, and they may not have staff. Writers must realize that snap decisions are made. The day of the e-mail query is here as well; I estimate that about 30 percent of literary agents accept, prefer, or require e-mail queries. Although they are mutually beneficial to writers and agents because of their efficiency, the nature of e-mail is short communications. Whereas the paper query has been whittled down to one page, about five or so paragraphs, the e-mail query is best shortened even more. Can a longer query ever succeed? Exceptions abound and yet, the word "exception" means, not very often. I advise writers to study how to write queries and then to revise 'til the cows come home, that this one little manuscript can make all the difference in getting to first base with your novel.
Will you tell us about your publisher? Good experience? Fair treatment? Good support?
I've now experienced four publishers.
I was my own first publisher with Red Lyon Publications. I self-published a 2500-copy print-run of one book, Mabel: The Story of One Midwife. That experience exposed me to every facet of publishing, and I was hooked. Ten years after the 1982 publication, I had finally sold (almost) all of the copies, and broke even. I've been told that this book about Mabel Dzata, a Ghana-born woman who moved to Oregon and did home births in the Northwest, is considered a "midwifery classic." I've thought about bringing it back into print via print on demand.
A first "real" publisher can be like a first lover that you remember and hopefully adore forever. I was lucky to be with an outstanding small press, Blue Heron Publishing in Hillsboro, Oregon. The owners, Dennis and Linny Stovall, were the hub of information and publishing in the Pacific Northwest. They published perhaps 400 writers and fostered the development of many, who have since become well known (Diana Abu-Jaber, Sherman Alexie, Judith Barrington, Martha Gies, Lorian Hemingway, and Chuck Palahniuk, among many others). The Stovalls held progressive ideas about writer's rights, and they cared about all of their authors, their books and their lives. My book contracts were not only fair; they were superior. My relationship with Dennis and Linny was and is precious to me. I had their full support, even for marketing and promotion, and that included modest funds I requested as well as Linny's efforts to set-up talks, signings, and conferences. I felt respected. When the Stovalls moved on to other endeavors, I was orphaned, gaining back the rights to my first two books, Nonfiction Book Proposals Anybody Can Write, and The Sell Your Novel Tool Kit.
Since 2001, my publisher has been Perigee Books, an imprint of US Penguin, in New York, publishing over 100 books a year. They acquired my orphaned books, reprinting them, and subsequently published three more books I've written: A Writer's Guide to Nonfiction, Writer's Guide to Fiction, and now Manuscript Makeover. In contrast to receiving no advance with Blue Heron, all Perigee contracts have included advances. Sales have been far better because of big publisher distribution. I lucked out with the three editors I've had; they've been experts in writing books in particular. Their editing has been superior. Communications have always been friendly, professional, and timely. When I had a series of family crises, my requests for extensions were granted. Yet, the culture and operations of the corporation pervade everything. I don't have that intimate feeling that I enjoyed with Blue Heron. In fact, I have lunch with Dennis Stovall about once a year, and he, Linny, and I will always have a bond of friendship.
The big house contracts were written by attorneys whose singular goal was to figure out how to give authors the least amount of money possible. The contracts are mostly non-negotiable and I have always felt like a serf on the feudal lord's estate. Publicists are assigned to each book, e-mails are answered, and I'm assured that there is promotion within a three-month window of a book's release. Yet, publicity or the results of it, haven't been visible to me. And there is no monetary support for any efforts I make. Because the corporation publishes 100-120 per year, the math says it all; promotion is up to me. I'm very small peanuts.
My fourth experience was working with a smaller independent New York publisher, M. Evans & Company. They brought out my National Directory of Editors & Writers, a compilation of 530 profiles of US freelance writers and editors. As I expected, my relationship with my M. Evans editor had aspects of the warm and informal friendship I had with the Stovalls at Blue Heron, and yet the process also had the distance and constraints of Perigee's corporate style. Shortly after my directory was published, however, a bigger fish bought M. Evans & Company, my editor and other staff found other jobs, and that was that. The "half" of my four and a half publishers is Rowman & Littlefield, the bigger fish.
Anything you'd like to add?
I realize I am very fortunate, period. Books on writing are a niche, and I have six books in print, nearly continuously since 1995 when my first book was published. They are all small, backlist sellers, but I envision them as my IRA. Because hope springs eternal, I hope that Manuscript Makeover will be my bestseller.
CULLED FROM www.absolutewrite.com
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