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Category : Questions from Beginners
We’ve been talking about “making a living at writing,” and I had several people ask what essential tools are needed if someone is going to do more than just type up a manuscript at home. A fair question…
I suggest there are nine essential things every writer needs:
—A time to write. That is, a set time when you’re going to sit down and write every day. When I decided I was going to make my living at writing, I had a regular job, so I got up early and sat down at my computer every day from 6 to 8 in the morning. I’m not a morning person at all, so this was a sacrifice… but I had three small children, and it was the only time when I thought I could get uninterrupted writing time.
—A place to write. You may need peace and quiet, or you may do best with the buzz of a lot of people around. You may like music playing, or you may insist on silence. Some writers use a spare room in their house, others want to take in the atmosphere at Starbucks. But whatever the exterior trappings, most writers do best if they have one place and one time, when they KNOW they are going to write.
—A project to write. When you sit down to write, you’re not journaling or searching for your muse — you’re working on a project. It might be a blog post, or an article for a website, or the next chapter in your book. But when you start, you know exactly what project you’re going to work on.
—A writing goal. Many writers set a goal of creating 1000 words per day. Others set it much higher. When I was writing full time, I had a goal of a chapter per day. The trick is to set some sort of goal, so
Someone wrote to ask, “If a writer has never published before, but has a completed novel manuscript ready to go, what would you recommend he/she do with it?”
I like this question, since it’s a situation I see frequently. If an author has a manuscript done, I’d encourage him or her to spend some time creating a few other pieces: a one or two page synopsis, a quick overview, a one sentence hook, a good list of three or four comparable titles to give the novel context, and a one-page bio that focuses on platform. All of those things are going to be important when you get to the important stage of talking to an agent or editor.
Then, I’d probably say, “The first draft of any novel is usually bad.” So if this is actually a first draft, I’d encourage the author to use the next couple months to polish it. Take it to a critique group. Have writer friends read and comment. Get it in front of an editor. Pay for a professional critique, if that’s possible. Not every bit of advice you get will be great (or even correct), but listening to the wisdom of others, particularly those who are farther down the path, can help you improve your book. Take your time to improve it, rather than typing the last word and sending it off. Make it as sharp as possible, since that’s the best way to get it published.
Getting your first novel done is an accomplishment, and you should feel proud. But the fact is, not many authors get their first book published. The average in the industry is six or seven — meaning most writers have completed six or seven novel manuscripts before they get done with one that is ready for publication. (You don’t have to take my word on that — check out my numbers. It’s pretty widely accepted in
Some wrote to ask, “I’ve been told we should have a launch party when my book comes out. Is that a good idea? And what what makes a good launch party?”
I think a book launch party is a great idea — it allows an author to involve friends and acquaintances in the release of the book, is an easy way to garner some local media, and can help you kick off book sales. (Besides, it can be great for an author’s ego, if done right.) Let me offer a couple of suggestions to help make it a success…First and most important, you want to make sure you INVITE people. In other words, don’t sit around and hope people show — be proactive and make sure you get a house full. That means you need to find a big group who can be supportive, like your local writer’s group, you church congregation, the organizations you belong to, all your relatives, people at the clubs or sports you’ve joined, and all your fans in the region. Pick a venue you can fill up, since getting 40 people in a tiny bookstore makes it feel like a great party, but getting those same 40 people in a huge shopping mall gallery can feel empty. Determine a definite start and end time, and make sure everyone sees it’s a celebration. Again, you’re trying to get the word out, and get commitments from some folks to attend.Second, if you really want to make people show up, offer an incentive — books at a discount, or free chocolate, or wine and cheese (a few big boxes of wine don’t cost much and seem to bring people out of the woodwork). If you can’t do wine, ask a couple people to bring their latte machines and offer free lattes to everyone. Your only expense is the price of coffee. But have something that is
Someone wrote to say, “I know you’re going to the Thrillerfest conference next month. Of the appointments you have at a conference like that, how many actually result in your asking for more material? How many result in you giving serious consideration to an author? How many will you actually sign to represent? Just curious.”
For those who don’t know, at almost every conference I go to the organizers ask if I’ll spend some time having short meetings with authors. I usually agree, since I enjoy meeting writers and talking about their books. One of the misunderstood aspects of those author/agent meetings is that “the agent is trying to find new clients.” That’s partly true, at least for newer agents who are looking for salable projects to fill their lists. But for someone who has been agenting a long time (I started working as a literary agent in 1998), it’s rare that my goal in attending is to sign up a bunch of authors. That might happen, of course, but generally at a conference I’m looking to be a resource to authors. Some want my reaction to their idea, others want a brief critique. Some want to ask questions about the market, or about publishers, or are looking for career advice. Others are looking for advice on their proposal, or to ask about marketing and sales ideas. Often people just want to know what is hot and what’s not. So “finding new clients” isn’t the only topic being discussed. Sure, plenty of writers are pitching their ideas, but that’s not the only reason for meeting.
So long as you keep that in the back of your mind, I’ll answer your question directly: When I volunteer to do appointments at a writing conference, I’d say I might have 15 to 40 appointments — some formal, some informal.
Of those, maybe 5 or 6 result in my asking to see more. Don’t
We’ve been doing our “Ask the Agent” series for a month now, and I still have a handful of questions to get to. Someone sent this: “I hate talking money when it comes to my writing. I wanted to do this for the art, not for money! How can I get over my reluctance to talk dollars?”
I realize some authors are reluctant to talk about money issues, but it’s necessary if you’re going to get to know the business. When I was a free-lance writer, I noticed that publishers (both magazine and book publishers) tended to put me on the bottom of the pay ladder because I was a small free-lancer. I once called a publisher to complain that I hadn’t been paid, and the response was, “Oh. Yeah. Sorry. Guess we’ll get you next quarter.” To them, it was a measley $1500 they owed me. But to me, it was MY HOUSE PAYMENT that month. So, yeah, I eventually got over my reluctance to talk money with publishers.
But if you’re going to talk money, that means you have to know what you’re worth (in terms of money-per-page or money-per-hour), and you have to be able to share that with others. The good news is that it gets easier to talk about when you have a pretty good feeling of your value. I mean, if you know you should be making $3000 per month, and the publisher asks you to work on a freelance project that will take two months, it’s much easier to say, “I’ll need to make about $6000 for that project” than to take a wild stab at a number.
So let me suggest something… Figure out what you’d like to make from your writing in a year. (You need to be reasonable. Don’t say, “A million dollars” unless your name is James Patterson or George R.R. Martin.) Let’s say you think it’s reasonable for
This month we’ve been doing our “Ask the Agent” series — your chance to ask a literary agent anything you want. I’ve received a bunch of short questions (or questions that don’t require a long answer), so I wanted to take today’s blog and try to jump on several of them…
Do you see a resurgence in literary fiction?
I do. What a lot of people don’t realize is that fiction is always the thing that has paid the bills at big publishing houses, and literary fiction (in one form or another) has often been the genre that created the biggest impact on the culture. Literary fiction, like all genres, will wax and wane a bit. But we’re seeing huge successes in today’s market with literary fiction.
Are you more or less likely to take on an author who has self-published?
Neither. It depends on the author. If an author has proven that she can sell her indie-published book, then publishers will take note of that, thus making the selling of her rights easier. But if I love a manuscript, even if the indie version of that title that isn’t selling, we may just encourage her to take it down and let us sell the book. The fact of the author self-publishing doesn’t make me more or less inclined to work with her.
What does an author do if she has great word-of-mouth network, but still is struggling to build a social media platform?
My advice would be to preach patience. A strong social media platform can be developed, but it takes time. Perhaps too many authors are impatient and want big success right now. The fact is, if you’ve got a great word-of-mouth network, that should pretty easily translate into a strong social media platform, given some time and effort.
Are agents taking on more culturally diverse projects?
I think everyone is publishing is trying to. We’ve all been
In today’s publishing market, there are a handful of things I think every author needs to know about marketing. These are all things you can think through, and though none of this is going to be earth-shattering or terribly “new” to you (my guess is you’ve heard much of this before), sometimes we can think about choosing certain marketing strategies or ideas, then lose track of the bigger picture. Or we assume the publisher is going to take care of things, when in fact they’re busy worrying about the new 50 Shades novel they’ve just released, and they’re waiting for YOU to market your own book. So let me offer a big-picture look at marketing your book in today’s environment…First, you have to know yourself. What are your strengths at marketing? What do you do best? What is your message? How do you define your brand? What are the elements of marketing you love to do? The fact is, if you know your core competencies, know what you do well and what you’re comfortable with, you’re ahead of most authors who are just trying ideas they’ve heard from others. So think back through your history, and make a list of the areas where you were good and comfortable and successful with your marketing. What are the resources you have available to you? Next, make a list of the opportunities you know you’ll have — the people, places, organizations, media, and venues you know you’ll be able to count on.Second, you have to know your weaknesses. What are the typical problems you have with marketing? What are your struggles? What do you NOT enjoy? What are the roadblocks you face? (Hint: often these include lack of money, lack of time, and lack of expertise.) As you think through the problem areas, you’re trying to clarify both the strengths and the weaknesses, the resources and the roadblocks that are
I’ve been trying to catch up on all the questions people have sent in, so let me share a handful of queries: “When speaking with an editor at a conference, what is the best way to approach the allotted 15 minutes? Do I focus on the editor and the titles she’s worked on? Do I focus on my novel? Do I bring a one sheet?”
The best way to approach your time at an editorial appointment is to do some research and practice. Check to make sure the editor you’re meeting actually acquires books in your genre. Find out what you can about the editor’s likes and dislikes. Then practice what you’re going to say — sharing your name, your book idea, the conflict, theme, genre,and hook. Be clear and succinct, and rehearse your talk out loud, so you know what it feels like to say the words. Be ready to engage in dialogue with the editor. Dress professionally, and bring some words to show them (many like a one-sheet; I prefer the first five pages). In my view, the focus of a successful editorial appointment is your book, so think through how to talk about your book in an engaging way without sounding like just another pitch.
Another person wrote to ask, “Should I pay more attention to a literary agent’s list of authors they represent, or to their agency’s list of authors? In other words, if a Big Deal Agency has bestselling authors, how much does that mean if the agent I’m talking to doesn’t represent any of those writers?”
That’s an interesting question, since every agency tries to promote their bestselling authors. I was at Alive Communications when we represented the Left Behind series that sold 70 million copies worldwide — and while I didn’t have much of anything to do with that series, I certainly mentioned that we represented it when I was a young
I’m nearing the end of my series on how to write great endings, and am talking briefly today about one of the most frustrating types of endings to read, for an agent, editor, or any other reader, the “bait and switch” ending, particularly in terms of the tone of a story.
I’ve talked several times throughout this series about the importance of being fair to your reader in your endings– that you satisfy their sense of justice, that you’ve laid some groundwork for any surprises, etc.– yet I’m constantly surprised by the number of manuscripts I read that end in a way that is completely dissimilar to the tone/story universe/set of expectations the author has spent the entire preceding manuscript establishing. If you’ve spent 200 pages developing a nice, sweet, wholesome romance, don’t try to get all depressing and cynical at the end. If your comedic cozy mystery stayed on mostly “safe” ground for the first 3/4ths of the book, don’t turn it into a chilling, violent crime novel at the end. If you spent the majority of a book developing deeper themes and a more literary voice, don’t just slap a conventional romance ending onto it and call it a day.
I want a book to end with the same “flavor” that compelled me to follow the story through to completion. It’s as if someone ordered a mint-chocolate-chip ice cream cone but the soda jerk decided to put a dollop of lemon sorbet at the bottom– even if the lemon sorbet is good, it’s not what the customer was expecting, and it’s not going to compare favorably to the mint-chocolate-chip, coming as it does when they’re not expecting it and have their mouth all set for something completely different.
There are a number of reasons this happens, even to experienced authors. First, writing is largely a solitary profession. Even if you have a critique partner/group to bounce ideas off
I’ve got a new book coming out very soon — How can I find an agent? (and 101 other questions asked by writers). In celebration of that, I thought we’d take the month of March and just answer the agent questions you’ve got. So if there’s something you’ve always wanted to run by a literary agent, this is your chance. Drop a note in the “comments” section, or send me an email at Chip (at) MacGregor Literary (dot) com. I’ll try to get to as many questions as I can. So let’s get started with some of the questions people have already sent in…
A friend wrote to say, “I’ve noticed that agents at conferences will list several genres they’re interested in, but rarely see any specifications about the exact type of books that interest them. I write YA – can I pitch them ANY YA novel?”
The conference often asks agents to briefly list what we’re looking for. They usually don’t give us room to offer a lot of detail. So, for example, I represent romance novels, but there are some areas of romance I don’t really work with (paranormal, for example). There’s no method for offering much beyond a quick description, so I’m always happy to talk with any romance writer who stops by, and will try to help or steer him or her in the right direction, if I can. From my perspective, if an agent says he or she represents YA, then set up an appointment to go talk through your project and ask questions.
This came in on my Facebook page: “How do I get what’s in my head onto paper in a way that will grab the reader’s attention?”
Great voice… and that’s easier said than done. I’ve never been sure if we can teach an author how to have great voice. We can help writers improve, help them use better