Archive for June, 2009

The business of writing isn’t only about writing

Monday, June 29th, 2009

Back in the days when I was a magazine editor, I often worked with people who were perfectly competent writers but who hadn’t quite figured out some of the basics.  For example, when I said, “Talk to a couple of experts about simple ways to organize your socks,” I didn’t mean that the writer should interview herself and list ten tips that came off the top of her head.  I meant she should talk to a couple of experts and list their ten tips. 

A journalist friend of mine mentioned that a couple of months back she got an assignment from an editor of a national business magazine who stressed that she would have to interview expert sources for her piece, so I guess it’s not just me.  My friend was amazed that an editor would have to point out that a journalist needs to interview sources in order to write an article (as opposed, for instance, to an op-ed piece), but apparently I’m not the only one who has received nicely written work without a single source attribution.

What does this have to do with book publishing?  Just as I never hired the “I’m the expert, why would I need to interview experts?” writer again, I wouldn’t want to work with someone who wasn’t willing to do the legwork needed to be a good book author.   When I’m looking at a pitch, my main question is, “Do I think I can sell this book?”  But when it comes time to sign an author, I have to be sure this is a person who is going to be able to deliver what’s promised.  So there are some emails, some phone calls, some getting-to-know-you manuevers.  And it’s clear to me almost immediately which writers are going to be able to do what they say — they educate themselves, they respond within a day or two to emails or messages, they clearly understand that there’s a lot of competition out there and they’re not going to get caught napping.

I love those kinds of writers.  Send me more.

Tell me about THIS book, please

Thursday, June 25th, 2009

I’ve been having way too much fun connecting with writers this week, which is why I’ve neglected the blog a bit.  An interesting thing I’ve noticed as I’m reading through emails from writers: I didn’t realize how much I would, as an agent, focus on THIS book, the one that’s being pitched to me.  What’s running through my mind the whole time is, Do I think I can sell this book?  Not, do I think this writer is talented, do I think she has a great career ahead of her, but Do I think I can sell this book?

Because I’m building my list (understatement), I have more time to work with potential clients — especially when they happen to be writers I know and I’m familar with their work.  But I can see where an agent with a full or mostly full client roster would not be able to spend much time with promising writers whose projects aren’t quite “there” yet.

Twice already I’ve found myself saying, “Just finish the damned thing, okay?  Then we’ll talk.”  And I’ve been an agent since, umm, Monday.  I’m starting to understand what other agents say about getting pitched by writers not ready to pitch.   Before, when I was coaching/mentoring writers, I saw the opposite problem: people whose work was ready to go, but they weren’t.

Anyway, that’s my first lesson in the land of “I’ll call you next week.”  What matters most to me is the book that you’re pitching me right now.  All the other stuff is secondary.

A short interlude

Wednesday, June 24th, 2009

While I try to organize my life.  Back tomorrow and hope to be on schedule again by next week.  Thanks for checking in!

Lo Mein and Second Acts

Monday, June 22nd, 2009

Occasionally on this blog I interview someone who has embarked on a second act — which I define as making a complete change in some area of your life at a time when you think you’re pretty much going to keep on doing what you’ve been doing for as long as you’re able. 

Today the person beginning her second act happens to be me.

I was talking to my delightful non-fiction agent a few weeks ago over plates of lo mein (although almost everything important in my writing career happens at the local coffeehouse, this was an exception).   I’d been looking for my “next thing” for a while.   I enjoy my work, but I’ve been doing it for a long time and wanted to shake things up.  Though I didn’t know exactly what my “next thing” was going to be, I knew I wanted to work with smart writers with great ideas.   I happened to mention this to Neil.

He got a glint in his eye — I now realize that when Neil gets that glint, it means your life is about to get turned over and shaken up, but I was more innocent then — and he said, “You should be a literary agent.  You’d make a great agent.”

“Yeah,” I said.  “I know.”  (A becoming sense of modesty is not one of my strong suits.)  “But I’m a writer,” I pointed out.  I didn’t have to add, “in Kansas,” because he was sitting right there. 

The thing about Neil is that he can’t hear the construction “Yes, but.”  All he hears is “Yes.”

“Great,” he said.  “Let me talk to a few people.”

Which is how, a few weeks later, I found myself signing a contract with The Salkind Agency (part of Studio B Productions) as a literary agent. 

Yes, I’m leaving out the parts where a bunch of people do a lot of hard work to make sure this is the right step for everyone involved, but in retrospect, it seems like it was almost that easy.  You know how sometimes you just know when you’ve found the right thing to do and the right people to do it with, and they feel the same way?  That’s how this was.

In the coming weeks, I’ll be posting more about how things work at The Salkind Agency and the kinds of authors I’ll be representing (under the guidance of the amazing Neil Salkind), but for right now I’m looking at pretty much anything that could be classified as “smart writer, great idea.”  My agency email is jennifer at studiob dot com and more about The Salkind Agency can be found at www.salkindagency.com

So that’s my Monday.   More as we go along.

Things that make me smile

Saturday, June 20th, 2009

I’m not exactly a teenager anymore, but I still manage to act like one now and then.   On Friday a real hottie walked into the coffeeshop, so what was the first thing I did to catch his eye?  Dumped my mocha all over the front of my t-shirt.  Ah, yes, I’m always the soul of elegance.

How to: Learn

Friday, June 19th, 2009

Recently I embarked on a project that I was afraid would require some skills I don’t have and that lack was worrying me a great deal.  Then I overheard my daughter saying to her father, “Well, I don’t know how to do that yet, but I will.”

 

Listening to my daughter is almost always the fastest way for me to acquire wisdom.

How to: Avoiding bad decisions

Thursday, June 18th, 2009

Yesterday I talked about finding good guidance.  Following incorrect or misleading advice won’t do your career any good.  You also need to be careful because there are people who take advantage of writers and can make you waste a lot of time and money – some of them end up tying up your work or your copyright for long periods of time.  Some of these people may be well-meaning but clueless, while others are out-and-out scammers.  With experience you can learn to spot them, but you have to be aware that they exist. 

 

One of the best ways to keep from falling for scams and other “deals” that are bad for your health is to develop what martial artists call aiki, or impassive mind.  Basically, the idea is that harboring emotions like fear, doubt and confusion make it hard for you to respond in a healthy way to challenges and opportunities.  Having an impassive mind means taking a second to step away from the excitement or pressure of the moment and make a judgment or decision based on what’s really best for you at this time.  There is always time to take a deep breath and think about what you’re getting into before you get into it. 

 

Scammers rely on writers to make ill-considered decisions in order to walk off with your money.

 

Suppose you’ve sent a manuscript to an agent and she says, “I love your work!  I’d like to represent it, and I’ll need $2,000 upfront for us to get started.”  If you’re new to the business and haven’t done a lot of homework, you may be thrilled at the prospect, scrape together the money and send it off to the agent, hoping to hear back soon that she’s managed to place your manuscript with an imprint of Simon & Schuster.

 

But if you step back for a moment and clear your mind, it’s easier for you to ask, “Hmm, I wonder if this is the right thing to do.”  Then you can do a bit of research and learn that legitimate agents don’t charge fees upfront. 

 

It’s not just scams that you can avoid by cultivating aiki.  Pressure to make snap decisions that you’ll later regret can also be handled.  Suppose an editor calls you up in response to a pitch you’ve sent, offers an assignment, states how much the publication can pay, then says, “Can you have it done by Tuesday?” 

 

Such pressure may push you to say yes to both the fee and the deadline, yet maybe the fee isn’t sufficient for the work and the deadline is too rushed for you to do a good job.  If you work on developing aiki, instead of feeling as if you might lose an opportunity if you don’t agree right away, you can say something like, “Let me double-check my calendar and get back to you in a few minutes.”  (Or later this afternoon or whatever is appropriate for you to do the clear thinking and any research you may need to do.)

 

Rarely is any professional decision so urgent that you must act now.  And on the off-chance that you’ll lose an opportunity by pausing and thinking about it, that’s a much better risk to take than to commit yourself to a decision that you’ll regret.

How to: Finding good guidance

Wednesday, June 17th, 2009

The other day, I was putting together a resource list on how to write book proposals, and came across a promoter who sells all kinds of information on how to write book proposals – but as far as I can tell has never sold a book to a traditional publisher. 

 

A blogger recently suggested that before “hiring” an agent, you should interview the last three publishers she has worked with and ask how professional and ethical the agent was in her dealings with them. 

    

And then there’s always that contest judge who criticizes writers for poor grammar when they fail to write in complete sentences.  Yeah, that.  Or marks them down for starting a sentence with a conjunction.  Such judges feel gloriously superior as they sleep with their beloved copy of Strunk & White, and it will never occur to them that developing a personal style – which may, in fact, include incomplete sentences and other sins – is one of the most important steps a writer can take on the road to mastery.  You can compose as many grammatically correct sentences as you like, and that does not make you a good writer.  (It won’t even make you a good editor.)

 

As a writer, you’re going to get a lot of advice/judgments/opinions from people who don’t what the hell they’re talking about.  It’s important that you figure out, early on, how to distinguish between people whose advice/information/feedback is worth considering and those who are just blowing smoke. 

 

How can you do that?

  • Know who’s talking.  I love online forums and participate in a couple of them.  But while letting people post anonymously may allow for a freer and more open exchange of information, it also means you don’t know how credible an advice-giver is.  Be careful and use your brain.
  • Do a little research.  When you read a blog post (yes, even mine), find out a little about the person who is writing.  If they’re talking about the finding-an-agent process, are they an agent?  Or at least have an agent?
  • Ask, have they done what they’re talking about?  Or at least interviewed some experts? 
  • Question the advice: Is what they’re suggesting completely different from or the exact opposite of what everyone else is saying?  Mavericks and renegades are all well and good, but there’s a reason why most people don’t suggest calling up publishers and asking them to dish about a specific, named agent.  Do the words Not. Gonna. Happen. mean anything to you? 
  • Slow down if the information is “secret” and “confidential” but can be yours for only fifty bucks.  There isn’t much in this business that’s confidential (except perhaps what a specific agent sold a specific client’s manuscript for.)  And the stuff that is confidential isn’t going to be yours for fifty bucks. 

How to: Motivate your characters

Tuesday, June 16th, 2009

The art of adding conflict to fiction and motivating your characters has been summed up thusly: “Put your character up a tree and throw rocks at him.”  (Or her.  Or them.  Obviously.) 

 

Upping the stakes for your main character adds dramatic tension to your plot, whether you’re writing a sweet contemporary romance or a spine-tingling thriller about ritual murder.  It’s how you keep readers turning the pages.

 

The problem is, we get attached too our characters, we identify with them, and then we’re not mean enough to them.

 

If you have this problem in your current WIP, you could do a lot worse than to read all of the Grant County novels Karin Slaughter has written.  Read them in order, and watch all of the vile things she does to her characters to destroy them.

 

I’ve read plenty of books that break my heart.  But she rips it out, stomps on it, pours gasoline on it and then sets it on fire. 

 

I mean that in a good way, of course. 

 

Even if you can’t bring yourself to be as cruel as Karin, you should at least read her books to see how it’s done.

How to: Asking random strangers for information

Monday, June 15th, 2009

I’ve been on the receiving end of a lot of requests for information in my time, almost always having to do with martial arts or writing, and for the most part I’m happy to help.  I’d be a little disappointed if all of my efforts as a writer led to echoing silence.  But sometimes I hit the delete key because the person asking is just clueless (or a jackass) and I don’t have the time or energy to respond.  Here are my suggestions for getting it right, whether you’re asking me or some other random stranger to give you advice or information:

  • Do your research.  Before you start asking live humans to take time out of their lives to deal with you, look it up.  Google is your friend.  There’s so much information online and in bookstores that practically every question you can ask has already been answered.  In other words, why are you emailing me to ask, “How does an aspiring writer break into print?” when there are approximately ninety thousand books, two million websites, four hundred thousand blogs and any number of print magazines dedicated to answering this very question. 
  • Then do more research.  So maybe you don’t want to know “How does an aspiring writer break into print?”  Maybe you want to know how I, personally, broke into print (or Suzanne Brockmann or John Lescroart or whomever).  I’ve written or talked about it in at least fifteen different places, and so has every other writer who has met with even a tiny modicum of success.  Remember, Google is your friend.  It’s not like writers are keeping secrets about this stuff and you have to beg them for the decoder ring.  The information is already out there. 
  • No one owes you anything – especially if you don’t already have a personal or business relationship already established.  I have a challenging and demanding job, challenging and demanding (yet wonderful) clients, a kid with lots of needs whom I love spending time with, friends I adore, missions I care about, personal and professional goals, demons and dreams.  You’re asking me to take time away from them and devote it to you, a random stranger who probably doesn’t even spell my name right.  And you know what?  99% of the time, as long as you’re not a jackass, I do respond to you.  But you’ll help your case a lot more if you mention you’ve read something I wrote or heard an interview with me.  You know why?  Because then you’re not a random stranger. 
  • Ask a specific question.  I’m probably going to respond to most “How does an aspiring writer break into print?” question with my standard, “Read the books on writing at your local library, then get back to me.”  Or I’ll direct you to some of the reams of writing I’ve already done on the subject.  So if you want an actual thought-out answer, ask me something new, or something to do with you.  Or at least something specific!  A recent example: a reader asked me what board-breaking I had to do for my black belt test.  This didn’t take long to answer and it sparked a very interesting email exchange with the reader.  We had a conversation.  She told me things about her experience and I told her things about mine and it was very satisfying.  If she’d asked, “What’s it like to train in martial arts?” I would have brushed her off.  I’ve written ten or fifteen books that cover that subject and it’s not something I can summarize in five sentences. 
  • Don’t ask for the universe.  A couple of specific questions are fine.  Ten or fifteen is more than anyone I know is willing to answer, including me. 
  • Common courtesy won’t kill you.  “Please” is nice.  So is “thank you for your time.” 
  • Find a way to make it useful for more than one person.  I’m more likely to spend time giving information it if will benefit more than one person.  If you plan to write a blog post, write an article for your school newspaper or share what you’ve learned with your writing group, I’m more inclined to help. (Tell me what you’re doing ahead of time, though). 
  • Mention any mitigating circumstances.  If you’re twelve years old, say so.  I’m nicer to kids than to grown adults.  Plus I watch my language better.