Monday, June 25, 2012

Power Networking for Writers: It is About Who You Know, by Julie Fast



Julie FastIt's very exciting to finish a writing project. This requires time and diligence and is a true accomplishment. Unfortunately, some of the most talented writers work for years to sell a project, be it a book or a screenplay and wonder why the success they crave remains elusive.

It's easy to feel that authors who are published know something secret. And they often do. They understand that who you know is sometimes as important as the project itself. They understand the power of networking.
Networking takes confidence, research and planning. But it can make a huge difference in your conference experience.

My best advice is to take advantage of every networking opportunity you can find. Scope out the agents and publishers you want to meet and take their classes. You can then hear their special offers. Talk with people in the café and sit next to the person at lunch who has something you want. Yes, it's Machiavellian, but if you want to get published, this is often what it takes.  

I've taught ePublishing classes at the conference for seven years. I always say, "Let me know your topic and I will point you in the right direction of an agent or my agent." Guess what? About 10% take me up on the offer. Five of my students are now published and one worked with my agent. As a teacher, I'm impressed by networking. So don't be shy about networking. They weren't.

You are no different than writers who seem more successful than yourself. They wrote well (as I hope you do!) and then knew how to relentlessly network to get what they wanted. I've been in the publishing world for ten years and I know the big secret. Agents and published writers have to network as much as you do. So get out there, network at the conference and sell your project!

I hope to see you in class.

Julie A. Fast

Thursday, June 14, 2012

Great Expectations: Writing Opening Lines To Hook Your Reader, by Lois Leveen



There's an unspoken contract at the heart of every work of literature:  the writer must provide the reader with something so irresistible, the reader puts aside every other thing she or he might do and keeps reading.  Nowhere is that contract weightier than in the opening line.  How can you create a single sentence that makes it impossible to resist reading on?

Plant something in your opening line to cause your reader to wonder.  An intriguing character is good.  An intriguing relationship is even better.  Refer to something that happened in the past in a way that makes the reader want to learn more about it.  Or imply something that will happen in the future in a way that makes the reader want to watch happen.

"Major Pettigrew was still upset about the phone call from his brother’s wife and so he answered the doorbell without thinking."  Helen Simonson begins Major Pettigrew's Last Stand with a deceptively straightforward-seeming description.  In a single sentence, we know something big—implied in the reference to the upsetting phone call—has already happened.  And we sense another big thing is about to happen, because answering the doorbell without thinking is bound to lead to some unforeseen complications.  One sentence, and we’re already wondering about two different things. 

"In my earliest memory, my grandfather is bald as a stone and he takes me to see the tigers."  Téa Obreht opens The Tiger's Wife by setting action in the present tense (the grandfather is bald, and he takes the narrator), which imbues immediacy.  But the opening clause tells us this time has already slipped away.  Even as we feel a young child's present-tense anticipation about going to see something as exotic and ferocious as tigers, we have the bittersweet sense of retrospection.  

A short opening can be as effective as a long one, if you construct it well.  I begin my novel The Secrets of Mary Bowser with a five-word sentence, "Mama was always so busy."  What reels the reader in is what isn't there.  What keeps Mama so busy?  And whose Mama is this—i.e., who's speaking?  What does Mama's constant busyness mean for the narrator—what will it set in motion that unfolds in the pages to come?  The only way to find out, is to read on.

 
BIO:
Lois Leveen is the author of The Secrets of Mary Bowser (William Morrow/HarperCollins), a novel based on the true story of a woman who became a Union spy by posing as a slave in the Confederate White House.  A former faculty member at UCLA and Reed College, she'll be leading a session on crafting compelling openings at the 2012 conference, and another on creating convincing dialogue.

Sunday, June 10, 2012

Low Cost Book Publicity

by Bill Johnson

As the office manager for a writers group with over 1,750 members, I'm often asked by newly published or self-published authors, what do I do to promote my book in my local area?

First, it's easier to get an announcement about a talk into a local newspaper than a lone author doing a book signing. Many authors have some lifetime experience they can speak about at a local library. And some libraries also allow book sales for a nominal commission.

If you can't arrange a talk through a library, local community colleges often rent rooms on weekends for a small fee, and such locations generally offer easy parking and access.

Using a space at either a library or school also lends some status to your talk.

If these spaces aren't available to you, many communities have arts organizations, some that meet in publicly subsidized spaces. They can also be a resource for renting a room to hold a talk.

Retirement communities also will host speakers (or performers in general).

My most dependable resource for getting the word out about these kinds of events has been a local alternative weekly (most major cities have one). These weeklies generally have a bulletin board in their print editions that anyone can put notices in for .95+ cents a word. (Online bulletin boards are vastly cheaper, but you get what you pay for).

If you have an event, always keep fliers about it in your car. Bookmarks and post cards are also good resources that you can distribute; Avery provides templates for creating them. There are online services that will print small quantities of inexpensive business cards that can include the cover of your book and info about an event.

If you are near a community college, see if they have a continuing education program that offers non-credit classes. Such programs are frequently open to instructors with new class ideas. Teaching a workshop at a community college will help raise your newsworthy standing.

If you are determined to do a book signing at a book store, I suggest you set up a signing with at least three other authors who write in a similar genre. I've known authors who banded together to set up a signing at a table in a mall during a literary-themed time (like a national poetry month).

I advise new authors to think long and hard about putting down money for table space at another author's book fair, unless money is not an issue. If you choose to be involved in a book fair, look for one that is part of a larger event that generates foot traffic.

If you do want to do a book release party, contact a local book store and see if they can accommodate you. Many book stores are set up to handle authors giving short presentations. This is where a well-designed media kit can make a great first impression.

I've never had great success with free PR services that distribute announcements. Some of these services send announcements to link farms that are set up to automatically post every announcement received, so don't be fooled by promises of wide distribution if you'll just sign up for a service that costs hundreds of dollars.

If you can't get a response from a major newspaper in your area, contact someone at your local neighborhood paper. I've known a number of authors who have been interviewed and featured in smaller, community papers.

Does your town have a local public access radio station called Golden Hours? See if you can get interviewed about your book.

Whatever kind of event you set up, NEVER depend on anyone else (including book stores, loved ones, friends, or fellow authors) to send out your event/meeting/workshop PR. Always do it yourself to be sure it gets out. And if you send out notices to local papers or magazines, make the effort to read their submission guidelines. A third of the PR notices I receive are deleted because the authors didn't bother to find out my guidelines, like someone sending me a website link and telling me I can go there and write an announcement for them.

Ask your extended family if anyone has any media contacts or would be willing to do a book review and post it online. In general, the more relevant links you have on the web, the higher your search engine rating (some search engines discount links posted on link farms).

Authors Den now offers contacts for people who do inexpensive book reviews.

Writing a book is a creative process, but marketing a book requires a different kind of mental focus, determination and planning. But if you put yourself out there in the world, you'll come across avenues to promote your book you never knew existed.

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Bill Johnson is the author of A Story is a Promise and The Spirit of Storytelling, a writing workbook. Spirit is now available on Amazon Kindle, http://www.amazon.com/dp/B004V020N0. He's teaching a workshop on narrative tension at the Willamette Writers conference on Sunday, August 5th.

Thursday, June 7, 2012

Graph Your Novel (Seriously!)




If writing a first draft is like trying to out-run an avalanche, revision resembles digging out with a shovel.  Any tool that can cut through the details and provide a panoramic view of the shape of our story is useful.  Try a graph—seriously! 
Pick 1-3 things that you want to focus on and that you can rate on a 1-10 scale.  Some examples include voice, pace, likeability of a character, emotional intensity, conflict, fluidity of language, narrative coherency, moving plot forward, or a character’s transition from one state to another.  If a critique partner is doing this for you, asking if s/he’s “lost” will help analyze backstory components.  One of my critique group members analyzed the “turn the page factor” on a scale from 1, completely uninterested, to 10, can’t stop to pee.
Next make a graph that has all the chapters of your book on the X-axis (that’s the bottom line) and the numbers 1-10 on the Y-axis (vertical line).  Read each chapter and try to give a gut-level rating for each of your factors.  Connect the dots with a different color pen for each factor (e.x. red for conflict, blue for emotional intensity). 
Patterns will emerge.  For example, if properly plotted, conflict should trend upward (zigging and zagging a little on the way) toward a peak at the climactic chapter and then resolve downward quickly to the end.  One recent novel analyzed this way showed three distinct peaks at the end.  The author gave equal weight to the resolution of three major plot lines.  The book felt like it didn’t know where to end.  A line tracking reader’s involvement of the story will identify flabby chapters. 
Graphs like these can be powerful tools to help writers identify the parts of their manuscript that aren’t doing enough work or aren’t doing the right work.  They help you see where to focus your revision work.  And they’re pretty cool—seriously!
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Amber Keyser is the author of five books for young readers, including a picture book, three nonfiction titles, and a forthcoming novel that is part of Angel Punk, a transmedia storyworld.  At the conference, Amber will teach Creating Transmedia: Big Stories, Collaboration and Cross Pollination and Using a Critique Group to Enhance Your Writing Life.  More at AmberKeyser.com and VivaScriva.com.

Monday, June 4, 2012

Ten things a writer must do to succeed online




Ever wish the rest of the world really understood what it takes to write a book, or just write something well? Good news…Google knows and understands! In fact… they do everything they can to weed out poor writing and let the cream rise to the top (of the search results).

The problem is, while writers have the advantage in print, the web is a completely different animal. Web content is not just about good writing. Book marketing used to be driven by publishers, now it’s driven by search, and until you’re a celebrity writer, you have to know what your readers are searching for.  This involves keyword research, the understanding of Search Engine Optimization (SEO), and basic web mechanics to be effective and rise above the noise. 

Web Developers and SEO experts have been using SEO for years… producing average content that usually rose above better content because they understood SEO.  

If you want to be successful on the web, you have to learn SEO also. Not just the mechanics, but what it means for your web presence. SEO is not something you set and forget. It is an ongoing process. It is used everywhere and in everything you do on the web. SEO is what makes content get found. Just think what it can do for you as a professional writer.

The ten things writers need to know are.

1.     Start with keyword research

2.     Build an SEO website using WordPress

3.     Create a blog queue

4.     Blog your butt off

5.     SEO everything

6.     Promote your content

7.     Engage with your fans

8.     Measure your results

9.     Revise and repeat

10. Never stop doing items 4-9


These are the what. We’ll cover how in depth at the conference. The bottom line is… you have to educate yourself and learn how the web and SEO works. The industry has changed and the time has come to evolve from writers into writers that can use the web and eventually…Blogging Rockstars. Join us and learn how!


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Bio:

John Ellis co-founded Portland Internet Design, a custom web development and SEO consulting company based in Portland, Oregon.  A small business SEO fanatic… John’s passion is educating business owners about the infinite power of the web, what SEO web development is, and why SEO blogging is essential. Learn more in his presentation, “The Web was Made for Writers”. 

Learn more about Portland Internet Design