The Craft of Writing

Posts Tagged ‘agent’

How to Promote Your Writing with Technology

In General Information, How-to's, Marketing Your Book on April 14, 2010 at 7:55 am

by C. Patrick Schulze

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The world of writing is about to roll over in the grave it doesn’t know it’s in yet. The writing industry is on fire and undergoing cataclysmic alterations to its landscape due to the advancement of technology. And everyone involved with writing, agents, publishers, book stores, readers and those who do the writing, are caught up in this technological conflagration. It is my opinion the landscape that emerges from this titanic struggle will look very different than the one with which we are now familiar. The industry will survive, no doubt, but in a vastly altered state from the one we see today. As to those who do the writing, I believe they will become business people who write, rather than writers who do business. In fact, this alteration has already begun in earnest as even traditionally published authors are now required to do their own marketing.

With this in mind, it becomes evident writers should embrace this technology if they wish to enhance their marketing efforts. Here’s some thoughts I garnered on how to do that.

As a writer, you should consider using podcasting and videocasting to promote your novel. Even Simon & Schuster acknowledged this was necessary. Here’s why.

First and foremost, people spend a lot of their time on the Internet which is already transportable. Even more, the future of the Internet is video. In fact, video search is growing in popularity at an astonishing speed.

If you’ve paid attention to how to market books in today’s environment, you know the new attitude toward sales is all about the human connection. This link builds trust between people and trust is a critical element in marketing. With this in mind, video is about as personal as we can get without being there.

The best aspect of video is it’s demographics. From Elites TV, you’ll find video demographics are “53% male/47% female. 55% urban with median income of $74K. Nearly 70 percent are college educated, 47% are married, median age is 33, 71 percent are employed.” Pretty strong marketing core, wouldn’t you say? And best of all, these are the people who buy the books.

Would you like one more reason to get into video casting? Few authors do it. That leaves you with a larger piece of that pie. Keep in mind as the younger writers among us come up, they’ll use video and leave those who don’t in the dust.

How do you get involved with videocasting? It’s simple, really. Pick up a video camera at your favorite electronics outlet then talk into it and upload it to YouTube. After that, promote the hell out of it. Check out Gideon Shalwick’s article GetYourVideoOnline.com for more information.

An offshoot to video is a book trailer. Joanna Penn of TheCreativePenn.com has a nice article on how to create your book trailer at Book trailers: 11 steps to make your own.

Next, you should consider podcasting as a marketing tool. Podcasting is about as easy a thing as there is to do. You download free recording software from Audacity, pick up a microphone and start talking.

Why podcast? Well, with the advent of the IPod and its multitude of copycats, your audience can take you with them anywhere they go. It’s free and the spoken word has a great deal of impact. However, one of its most important features is it makes you read your work aloud. This technique has magnificent powers of influence over your writing. I can almost guarantee your writing will improve by the simple act of podcasting. To get an idea of how this translates into real life, check out BlogTalkRadio.

I have one last comment for you on book marketing in this gilded age of the Internet. Check out this information from Joanna Penn for even more help. After all, much of my research for this article came from her.

Oops, I have one more one last comment. Fortune favors the bold, my friends. Be bold and embrace the technologies of writing and your writing career has a better chance for success. Until we meet again, I wish for you only best-sellers.

C. Patrick Schulze
Author of the emerging novel, “Born to be Brothers.”


Why I Will Self-Publish – Probably.

In General Information, Marketing Your Book, The Craft of Writing, Working with Agents on April 7, 2010 at 7:04 am

by C. Patrick Schulze

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I’m about to finalize my decision as to how I am will sell my emerging novel, “Born to be Brothers.” With that in mind, I must soon decide if I am to self-publish and endure all that entails or face the gauntlet of the publishing industry and all the rest that comes with that. (We have not chosen an easy industry, have we folks?

I see advantages with either scenario and I also see drawbacks with both. However, the more educated I become on the subject, the more it seems it is in my best interest is to go it alone. Here’s my train of thought. Please so advise if you disagree. I am open to an honest discussion on the matter.

Agents:

I like the idea of an agent who represents me and feel I have the capability to find a quality agent. That part doesn’t concern me. I really don’t like the process of how they choose the writers they represent. No, I agree with the query process. After all, even writers need a resume. What tweaks my cheeks is their query restrictions. One minor, unintended error that has nothing to do with the quality of your writing, and you’re only opportunity to have them read your resume is lost. Don’t get me wrong, they have to do this. I understand and even agree. I just don’t like it. I also consider how once I find the proper agent for me, will I be the proper author for them? The odds are quite limited. Why hang my future on such low odds when I have other options? However, the real rub? After I’m through with the exhaustive experience of agenting, then I have to deal with the pub houses.

Publishing Houses:

Publishing houses do ease, though not guarantee, entry into the brick and mortars, which are the premier distribution channel for the writing industry – for now. However, distribution is their only remaining asset of any real worth and with the explosion of technology, I see their grip on distribution slip with each day that passes. In fact, I believe the Internet is about to leave them in the dust and take over their monopoly with distribution. Amazon, a technology company, even affects their sales model. That’s not a sign that instills confidence in me relative to their strength or ever their stability within the writing world.

Another major issue I have with pub houses is they’ll hire some salesman who MAY give my book a ten second pitch. If he wants to. Honestly? I want that salesman to answer to me, not some conglomerate who sees me not as a customer but as a product. Again, I understand and have no solution for them, I just don’t like the system.

Further, there’s almost no chance for an advance, which means I work on commission – a commission based not on my productivity but some unknown salesman’s capability. Now, I’ve worked on commission before and made a bunch of money doing it. But I either held the salesman’s position or the salesman worked directly for me. Under their arrangement, I’ll most likely never even meet this person, let alone develop a relationship with him. And yet, my career hinges on his efforts. It’s a scary thought to someone like me who has always pulled up his own boots.

The pub houses will not assist with marketing, so that effort and expense lies with me regardless.

The pub houses sometimes offer editing services, but even that benefit is dying. Plus, I can purchase that service on the open market and have a say in whom I hire. They do have book cover design services and that’s nice, but I give up all control over how they present what, in the final analysis, is my work. Further, I can purchase that service on the outside at a reasonable price and maintain total control.

Something else of which I do not approve? The publishing industry is absolutely subjective and good novels are lost all the time to this limiting aspect. Again, I do understand and it can be no other way, but that also dilutes my potential to a great degree. Again, I could lose not on my abilities, but on a stranger’s tastes or even their emotions of the moment.

This whole process just does not send that proverbial tingle up my leg.

So as I see it, to work with a major pub house, I give up a huge portion of my potential profits in exchange for little more than a diminished distribution system based primarily upon old technology? Hum…

Self-Publishing:

I do have one advantage most writers do not. I’ve owned and operated my own businesses since the days of paper boys with bicycles. I’m experienced with going it alone and I’m comfortable with the idea. I will admit this aspect of who I am influences me a great deal.

The major drawback to self-publishing? All the issues rest with me. I don’t worry too much as I’ve been a business decision maker my entire adult life, so making these kind of judgments are sort of par for the course.

Cost. It’s a big issue. However, it won’t break the bank, so it’s not too large of an issue. Besides, my wife is on board, so the real hurdle is already crossed.

Marketing. This is a major issue with those who self-publish and beyond the well-written novel itself, it’s the meat and potatoes of success. However, I’ve been self-employed and marketing since I my tenth birthday. Though the cost of it is a consideration, the Internet has supplanted much of that cost. I can work up copy, build web sites, use social networking and all the rest. I’ve even got contacts.

Product: I do believe I’ve got my breakout novel in hand and am convinced my novel will sell with correct marketing. It’s a great story and the narrative is well written and well edited. In fact, I dare say it’s better than most books the pub houses crank out. I know… I know… we all feel that way about our babies, but I’ve written two stinkers, so I’ve got somewhat of a handle on good vs. bad. This one is good.

Publishers: I’m not too worried about that. I’m good enough at research and I’ll find a good print shop with benefits, which is really all they are. I used to own a wholesale print shop, so I have a feel for what to look for.

Editing: I’ve got a relationship with an excellent editor who is reasonably priced and brutally honest with me. Besides, I’ve grown into a pretty good editor myself over the years.

Book Cover Design: Graphic artists are everywhere and some are even reasonably priced. Besides, I’ve got some great ideas and I’d like to see them fleshed out.

Distribution. Now here’s the other of the three big issues which also included cost and marketing. Again, I’ll forgo the brick and mortars for the Internet any day. The B & M’s are a dying breed and the Internet allows me to get my marketing message into almost every home in the English-speaking world. I’ll have a worldwide market, which includes their customers. So again, marketing is the secret to distribution. By the way, have you noticed the B & M’s now sell the very products that will either kill their business model or force them to become something other than a book store? “Here’s yer sign.”

Profit potential? I’ve worked up a business plan and feel I’m actually ahead with self-publishing. Especially when you consider the digital end of things. I’ll not have the overhead the pub houses do so my business plan gives me an huge edge when I keep all the profits rather than some small percentage. I retired from the business of coaching other businesspeople and did so for many years. I have confidence in my plan.

So, that’s my way of thinking on this important writing decision. I challenge you to show me where I’m wrong.

In the mean time, how ‘bout some referrals to self-pub houses that have impressed you?

Thanks for your help.

C. Patrick Schulze
Author of the emerging novel, “Born to be Brothers.”


The Key to Your Author's Platform

In blogging, General Information, How-to's, Marketing Your Book on April 5, 2010 at 11:09 am

by C. Patrick Schulze

To listen to a podcast of this article, click HERE.

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The word, “platform” is bandied about these days as one of those many things an aspiring author is required to have. So what is an “author’s platform?” Here’s your quick definition. Your platform is nothing more mysterious then how you get the word out about your book. It’s how you market your novel. Or, as they describe in this associated ARTICLE, it is “your writing and publishing resume.”

The good news? A platform is within the reach of everyone who works at it. The bad? It takes time and effort to establish your platform.

The next question, of course, is why does someone writing a novel need one of these things? The initial answer is obvious. It helps you reach your target audience, those who will purchase your novel. And that is why you’re writing, right? Also, for good or bad, your platform gives you a leg up on garnering the interest of agents. If you think from the agent’s perspective, he gets paid only when your novel sells. So, he wants to know you already have a list of book buyers interested in your novel. The larger your platform, the better the chances an agent will represent you. The same thing applies to those who decide to self-publish. You’ll sell more books if you’ve developed a ready audience of novel buyers. It really is all about the money.

Now that I’ve mentioned money, if you’re smart about what you do, you can develop your platform for very little financial input. Though they could help, you don’t need expensive newspaper and radio ads. Neither is it required you find some wealthy benefactor to support you. (Boy, wouldn’t that be nice?) The fact is, most tools an aspiring author needs to build a platform are free or nearly so. Money should not be your stumbling block.

What might you do to create your author’s platform? As Joanna Penn says in her ARTICLE, “there is no magic bullet.” But here is a primer on how to get started.

Develop an email contact list. Every person with whom you come in contact is a potential book buyer. Get their email address and keep in contact. There are all sorts of programs for this, such as Constant Contact or even ACT! (No, I’m not a paid endorser of either.) However, this is one of your best tools with which to build your platform.

Here’s another idea, and one I appreciate. Write Articles. Like this one, for example. Create a blog and post your articles. This establishes credibility and offers people an opportunity to learn how you write, to experience your writer’s voice and so on. It allows them to get to know you.

You may also wish to join and utilize various social networking sites. Those you should consider include Twitter and Facebook.

Another optimum step is to publish and optimize your web site. This is your premier sales tool.

Secure testimonials. This can be daunting for many, I know, but there is nothing like word of mouth to get your platform cranking. Often when people read those articles you write, they’ll give you testimonials on their own. They leave them in the comment section of your blog. In fact, I’ll ask you to leave a testimonial when you’ve finished reading this article. Will you do that for me? (See how easy that is?)

Another option to consider is to publish a newsletter and send it those people who follow you throughout your various digital incarnations.

Don’t forget to utilize Amazon.com and its many tools. It’s a marvelous site to develop your writing platform.

There are any number of other ways to build your platform and you might look to THIS post by Rachelle Gardner for ideas from other successful authors.

As I close, allow me to offer one telling statistic I received from a very successful author here in Richmond. He told me only 6% of the people who came to his book signings found out about him from his efforts with traditional ads. 94% come from his social media contact work. So, you now have the key. Go open some doors.

Best of luck in your efforts to create your platform and drop a line if you have any questions.

I hope you know by now I wish for you only bestsellers!

C. Patrick Schulze
Author of the emerging novel, “Born to be Brothers”


The Secrets to Backstory in Your Novel

In How-to's, The Craft of Writing on March 30, 2010 at 6:20 am

by C. Patrick Schulze

For a podcast of this article, click HERE.

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Backstory is narrative that hints at or describes a character’s past. Often it presents itself in long-winded passages known as an info dump. It’s improper use conflicts with a number of the “rules” writers are supposed to follow including, providing too much information, too much information too soon, it shows rather than tells and worst of all, does not hold your reader’s interest.

Possibly the most common mistake writers make relative to backstory is to include too much too soon in their novels.

Another issue with backstory is writers think their readers need this information. Yet, more often than not, they require much less than you give them. The truth about backstory? Most of it is forgotten or ignored.

Everyone in the industry knows good writing is alive, it’s exciting and vibrant. Therefore, the most interesting writing is usually in the now, it’s immediate in its presentation. Backstory is not in the now by its very nature. That fact alone tells us to limit the backstory in our novels.

The secret to backstory is to introduce it in miniscule amounts and only as necessary. Let it loose when your reader needs to know about it and then drip it into your novel rather than pour it. Offering your reader pieces of information is much more effective than info dumps.

Think of backstory as morsels of your character’s prior life rather than meals of data about them. Offer your reader a taste of what they need to know and allow their imagination to fill in the rest of the picture.

Now for some tips as to how to infiltrate backstory into your novel.

Introduce backstory only after you’ve secured your reader’s interest in the story and in the character. Write about the action first.

Incorporate backstory when the specific character is the focus on your narrative. This, I think, is self-explanatory.

Convey backstory as soon as it’s needed, but only when its needed. That is, incorporate it just before the reader needs to know it. For example, if your character is a murderer, your reader might not need to know what draws him to this explosive mode of expression until after he kills his first victim, and maybe even later.

You may wish to use flashbacks to introduce large amounts of backstory. As your story moves along, you can write a single flashback chapter, then return to your storyline in the following chapter. Be cautious however, for flashbacks are tricky things to master and many readers, agents and editors don’t care for them.

You might introduce a dream to outline the needed backstory. Again, this is another tricky technique and is overused, so take care.

You can divulge family secrets to bring out backstory. Secrets are always exciting, so they have a better chance to keep from losing your reader’s interest.

Memories are another tool to consider. Often this comes out in dialogue or a character’s thoughts.

Regardless how you introduce your necessary backstory, keep in mind that it’s mystery that hooks your reader. Don’t tell them too much or they’ll have no reason to learn more about your characters.

Don’t be concerned if this technique takes a while to learn. It does for most writers. Just keep an eye open for excessive backstory then cut or disperse it wherever and whenever you can. You’ll do well with a little practice.

Until we speak again, know I wish for you only best-sellers.

C. Patrick Schulze
Author of the emerging novel, “Born to be Brothers.”


How to Write Your Novel’s Hook-Line

In General Information, How-to's, Marketing Your Book, The Craft of Writing on March 25, 2010 at 4:29 am

By C. Patrick Schulze

To listen to a podcast of this article, click HERE.


A hook-line is a one or two sentence summary of your novel. Although the term, “hook-line” is singular, it may consist of two sentences, but it should probably be no longer than that. It is the high-concept of your novel compressed into a few words and should enable your target audience to grasp your storyline at once. Think of it as an elevator speech for your novel or as a teaser on its dust jacket. You might even consider it a marketing tag-line.

The purpose of your hook-line is to grab someone’s attention and encourage them to learn more about your novel. The secret to it, however, lies in its hidden sales pitch. That pitch should suggest your novel is something they would want to buy. You’ll see what I mean when we outline the five elements of your hook-line.

Why do you need a hook-line? Well, consider the target market, or audience, you’ll want to develop for your novel. Your initial market is comprised of a single person, an agent. In this person’s case, your hook-line will often be the opening line of your query letter. Your hook-line should spark their curiosity in some way and persuade them to learn more about your novel. It should do the same with an editor, a publicist, wholesale book sellers, retail book buyers and eventually the consumer or reader.

So, how does a writer create their hook-line? It’s not as difficult as you might think as it need not encompass your entire storyline, just some critical aspects of it. All you need is enough information to peak someone’s interest. If you cover the five fundamental elements of a hook-line, you’ll be all right. The premier elements of your hook-line are listed below.

1.  Character: Who is your hero and what does he want?

2.  Conflict: What is it that keeps your hero from his goal?

3.  Uniqueness: What makes your novel stand out from all the others?

4.  Setting: Insure your setting, or at least your genre, is obvious.

5.  Action: Your hook-line needs to at least promise excitement.

Can you see how these five components would have the potential to tweak an agent’s or a reader’s curiosity? Might a compelling description that highlights these points encourage them to buy your book? If you know much about selling, you’ll realize it just might.

Let’s take a look at the tag line for my current manuscript and see if it fits the criteria.

Though Jak and Clay share a camaraderie known to few but brothers, each falls in love with Kate and requests her hand in marriage. Despite her choice of one, their brother’s bond remains intact until the American Civil War threatens and forces them to decide whether their loyalties lie with love, with friendship or with their nation.

Let’s evaluate this to see if it fits the criteria outlined above.

Character(s):

Jak is our hero and he wants to hold onto his friendship with Clay and have Kate for his wife. He also requires an honorable decision as to his personal loyalties when the war erupts.

Core Conflict:

This is the decision the characters must make relative to the war and their relationships.

Uniqueness:

How many love triangles do not tear apart the relationships? The fact the three remain close is most unusual.

Setting:

This novel takes place during the mid-nineteenth century in America, which is shown by the outbreak of the Civil War.

Action:

We have three lives that revolve around the love triangle, the war and the decision they all must make.

Do you agree or disagree this covers the five critical elements required of a hook-line? Have you come up with your hook-line as yet and would you care to share? I’d love to see it.

Until we meet again, you know I wish you only best-sellers

C. Patrick Schulze
Author of the emerging novel, “Born to be Brothers.”

How to Find Your Agent

In How-to's, The Craft of Writing, Working with Agents on March 23, 2010 at 6:52 am

By C. Patrick Schulze

To listen to a podcast of this article, click HERE.

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Most of us understand the passage to shelf space at the major book retailers is best realized by way of agent representation. And whether a writer wishes to admit it or not, each of us at least fantasizes about seeing our titles on the stores’ shelves.

So, how does an author find an agent to offer representation? This isn’t so difficult, though it does take time and effort.

It goes without saying you first must have mastered the craft of writing, with all that entails, and have that well-written book or novel completed. After all, an agent can’t ask to represent you unless you have a quality product they can sell for you. However, once you’ve traversed that long, arduous path of writing, it’s time to look for your agent.

A first priority is found in your professionalism. Few louts will ever receive an offer. Think of it from the agent’s perspective. Would you rather work with an idiot or a professional? So would they.

Next, you need to take the time to focus on the right kind of agents. Take careful aim at those suitable agents who might offer you the best chance of representation. The shotgun approach, that is querying every agent that might still live and breathe, will only waste your time, ego and money, not to mention the time and money of the various agents. Your purpose is to identify those agents who are most suitable to your novel or book, those who represent your genre.

Here are some tips on how to find the right agents.

If you’re unpublished to date, a great way to find your agent is at writers’ conferences. (Check out James River Writers for a great one in central Virginia, USA.) Focus on those agents who represent your genre and those with whom you’re a match on a personal level. Don’t forgo the personality match. It’s kind of like getting married to the wrong person.

There are any number of literary publications that can point you toward that perfect agent. They include, Writer’s Market, Literary Marketplace, Publishers Weekly, Writer’s Digest Magazine and the current Guide to Literary Agents. Pick up or check out these and other literary sources at your local library. All of these publications can assist you to identify those agents who might be interested in your novel.

Review books of those authors who write in your genre, then read the acknowledgement section. Quite often a novelist will mention their agent in this part of their novel. Those identified are, without question, agents who accepts your genre.

The Internet is loaded with sites to help you find that one agent you need. Consider Agent Query or The Society of Authors’ Representatives. Google “literary agents” and see what else you might find.

Network with other writers. Join a local writers’ group or two and become active in those groups. Being active is the secret to become known within these organizations. The membership should include a number of published authors and after they get to know you, they may be willing to introduce you to their agents.

Join one or more of the hundreds of national and international writers’ associations such as Poets and Writers, National Association of Women’s Writers or The Association of Writers & Writing Programs. Take the time to insure the groups you join are useful to you. Again, after they get to know you and your work, these members may be willing to pass your name along to their agents.

In time, you’ll have a list of potential agents developed. Once you do, organize it according to those who best suit your needs. If you’re an aspiring author, the secret is being honest with yourself. Look first to those who don’t represent the biggest names in the business. Try to find those agents with a bit of experience, but who still seek new authors to represent within your genre.

Once your list is complete and organized, it’s time to query. After that, it’s time to wait. On them, not on your writing. It can take months to hear from an agent, so here is where your mother’s warning comes into play: patience is a virtue. In the mean time, work on your next novel, enhance your education and so on. Just keep writing.

Once you do receive that first exhilarating call, be particular. The wrong agent can be worse than no agent at all.

Best of luck with your agent search and know I wish for you only best-sellers.

C. Patrick Schulze

Author of the emerging novel, “Born to be Brothers.”


THE Secret to the Slush Pile

In General Information, How-to's, The Craft of Writing, Working with Agents on March 19, 2010 at 7:14 pm

by C. Patrick Schulze

To listen to a podcast of this article, click HERE.

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We all know the best way to an agent’s heart is through a well-crafted query. The problem of course, is how to see that query past their hands and into their heart. However, did you know even if you’ve written the world’s best query, there’s a chance it might not be placed on an agent’s desk at all? Would you like to know why? It’s because the agents are not the first to review it.

I listened to a panel of agents a while back and they revealed a secret about queries. That is subalterns read your query first. Only if it passes their inexpert eye does it move into the agent’s inbox. So the first issue we as authors face with our book or novel, is it must pass muster with an inexperienced person. Now, I’m not knocking agent’s assistants, for we all have to start somewhere, but I have to rely upon an unproven stranger’s abilities to advance my writing career? This is not the most comforting thought, if you ask me.

So, how does your fraught-with-angst query get out of the infamous slush pile? That same agent’s panel I mentioned above gave me that answer too. All three agents agreed ninety percent of all queries are, and I quote, “crap.” Imagine! Nine out of ten queries are not even acceptable, let alone worthy. As severe as that sounds, I see it as an advantage.

Think of it this way. One hundred people apply for an important position at a company. Ninety of the applicants arrive in jeans and t-shirts, while ten of them are dressed in business suits. Which ones will move past the admin? The lesson here? Wear nice pants. Well, that too, but the real message is to learn the craft of writing. And the craft of writing includes the knowledge of how to formulate an effective query.

Now, armed with these two pieces of information, can you tell me what an agent’s assistant looks for? Here’s a hint, it’s not the next Great American Novel. The agent simply teaches them to spot a well-crafted query and to pass it along. With this information, the answer on how to avoid the slush pile, like so many answers in life, is simple. Write an effective query. How many times have we heard that one before?

I’ll bet we are all intelligent enough to craft a query letter, so I’ll assume everyone who reads this blog post will get theirs into the agent’s inbox. Now, comes the real problem. Once your query lands on an agent’s desk the process is, as you might suspect, subjective. And there ain’t nothing you can do about subjective. So, learn the craft of writing, pen an excellent query letter, be persistent and have faith.

The formula for an effective query is clean and simple and can be found all over the Internet. But in case you’d like an assist, here are some people and their article that tell you how to, and how not to write a query.

Rachelle Gardner

Nathan Bransford

Kathleen Ortiz

YA Highway

Chuck Sambuchino.

Until we meet again, I wish you only best-sellers.

C. Patrick Schulze
Author of the emerging novel, “Born to be Brothers.”


The Secrets to Your Novel Writer's Reputation

In General Information, Marketing Your Book, Working with Agents on February 15, 2010 at 8:17 am

I can only suppose you’re reading this article because you are already a successful author or you plan that same accomplishment soon. If either case is true, then you’ve got a professional standing to uphold. How might you go about keeping your reputation up to form? As with anything worthwhile, it’s a bit time consuming but necessary. The good news, there are only a few secrets to keep in mind.

I attended The James River Writer’s Conference last year and listened to a panel where all three speakers agreed to the concept a writer needs to spend seventy-five percent of their time marketing their business and twenty-five percent writing. This means that to keep up your status as a professional writer, you should spend a great deal of your efforts on promoting your name and maintaining your status as a professional. Look at it like this. An Olympian isn’t racing most of the time, he’s practicing. The secret is this concept applies to your writing.

Basically, there are six major steps you should consider if you wish to build and maintain a professional writer’s reputation. I’ll outline them then discuss each in a bit more detail. These considerations are:

  1. 1. Utilize Social Networking
  2. 2. Join an Association
  3. 3. Create Your Web Presence
  4. 4. Write Nonfiction
  5. 5. Keep a Professionals Attitude
  6. 6. Stay Current

Utilize Social Networking: You’ve chosen a field where the competition is fierce, and when a novel writer wants to generate buzz about his manuscript, you have to employ WOM, or word of mouth. Keep in mind social networking is beyond simple posts on Facebook and Twitter, though these are important. You should also join writers’ groups, attend conferences and the like. Be found in those places where writers and readers congregate. Despite all the technological advances in recent years, WOM is still your best way of getting known.

Join an association: Once you’re published, joining a professional writers’ association helps build your cred. For example, if you write mysteries, consider the Mystery Writers of America. Find whatever organization(s) fit your genre then pay their dues and go to their gatherings. It’s a great way to hobnob with the successful and to garner loads of useful information.

Create Your Web Presence: In an earlier post I talked about when to build your web site, which is after you have something to sell. However, you should begin to build your web presence well before the web site is up and running. However, if you wish to establish a profile page sooner, that’s not a bad idea. You should establish a blog one to three years prior to becoming published. Update this no less than weekly.  You should have a professional email, (mine is CPatrickSchulze@yahoo.com). Be sure to include this web information on business cards and other marketing material you might produce.

Write nonfiction: You write fiction all the time. Why not improve your cred by writing nonfiction, such as this article? It helps you boost your reputation as a writer and if you’re unpublished, it also builds confidence.

Maintain a Professional Attitude: Nobody wants to do business with a prim donna or a fool. The more professional your presentation, the more others are willing to deal with you. And, after all, you are in The Business of Writing. You’ll gather more potential proponents and customers with the correct personal presentation. The old adage of “Image is Everything,” holds true in this industry as with any other.

There was an agent I followed on Twitter, had placed in my database, and planned to query at the appropriate time. I met her at a writer’s conference and although her personal appearance was well below standards, I attempted to look past that to get to know her and appreciate the work she might perform for me. Quite frankly, she’s a bitchy woman who looked down upon the unpublished and I soon discovered she is someone with whom I could never work. She lacked even a modicum of professionalism and I’ve dropped her as a possible agent. If you don’t present a professional attitude the reverse happens to you as a writer.

Stay Current: Keep your knowledge of publishing trends and market preferences up to date. You do this by reading industry magazines, various newsletters, blogs, articles and by reading the invaluable information on Twitter and other social networking sites. Staying current also means to write, write, and write some more.

Are there other thing you must do to establish and maintain your cred? You bet there is. However, get these initial steps under your belt and these other opportunities present themselves to you.

Do you have any stories about how you’ve worked to build your credentials as a professional writer? Are there other ways you go about building your reputation?

Until we meet again, I wish you only best-sellers.

C. Patrick Schulze

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The Secrets of the Dreaded Synopsis

In The Craft of Writing on February 12, 2010 at 8:39 am

I’ve yet to meet an author who looked forward to writing their novel synopsis. In fact, many believe it’s more difficult to write than the novel itself. Not to say it’s easy, but a few simple tenets can get you started.

Let’s first ask if a synopsis is even necessary these days. From reading the submission guidelines of agents, I see many don’t request one and that leads me to believe it has lost much of its influence. However, some still do, and as an aspiring author never knows which agent will represent them, it’s a good idea to have it ready.

The second question is why would an agent would feel a synopsis necessary. The critical reason I found in researching this article is it can be THE pivotal item that gets an editor to read your manuscript. That’s enough for me right there. However, if you need more, consider the following. A well-crafted synopsis can assist the author in finding weak plot points and point you toward ways to polish your story arc. It also assists in improving characterization, plot and setting. Further, it is often utilized by various departments of a publishing house once they accept your novel.

We now know the if and why, but what about the what? What, after all, is a synopsis? Many confuse it with an outline which describes what occurs in the storyline, to whom it happens and when it happens. In contrast, a synopsis portrays the “why” of your story. The novel outline describes the action or what happens, whereas the synopsis offers the conflict or how your characters react to that action.

The essential components to a novel synopsis are:

  1. The Opening Hook
  2. Character Sketches
  3. Plot Highlights
  4. The Core Conflict
  5. The Conclusion

If you think about what the synopsis is supposed to accomplish, these five aspects make perfect sense. It will give the various readers a good feel for everything they might need to know about your story. Let’s look at each of these components.

The Opening Hook: Start strong. Remember this is about conflict, how and why your characters react the way they do. It is not about action, what happens to them. For example, you would not open with the first line following for it speaks of the action in the story, whereas the second tells the reader about the characters’ REactions.

Two men fight over a woman.

Two brothers lose their friendship when a woman comes between them.

As with any reader, the agent looks for something that will engage them. If your story doesn’t’ sound interesting right away, they’ll probably not read further. You’ve got ninety seconds, so power your way through them.

Character Sketches: This does not mean you describe your characters but rather get to their individual core conflict and the conflict between your two or three main characters. What makes your hero undertake his great quest? Why is your villain working with such diligence to thwart your protagonist? Think motivation rather than descriptions.

Plot Highlights: Give some detail to the first and the climactic scenes and a couple of those in the middle of your story. Use only those scenes that highlight the emotional action and conflict within your story. Make sure whoever reads your synopsis knows just how much trouble befalls your hero.

Core Conflict: Your Opening Hook will probably introduce your core conflict, but make sure you enhance it here. Don’t allow anyone to misunderstand the “why” of your story. If you have multiple conflicts, highlight the premier point then maybe the next couple of levels.

The Conclusion: Show the agent your novel is worked to its completion and flesh out the ending. They want to know the entire story. If they don’t know the ending, they’ll assume it doesn’t work. Tie together any major loose strings and point to a sequel if your novel is one of a planned series.

That’s all there is to it. With things spelled out like this, it doesn’t seem quite so onerous, does it? Use your writer’s voice as you did with your novel and the agent will have a good idea of what it is you’re offering for him to sell.

Best of luck and know I wish you only best-sellers.

C. Patrick Schulze



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The Single Most Important Secret to Landing an Agent

In General Information, Working with Agents on January 8, 2010 at 9:44 am

Yesterday in my blog I promised another article about how to find an agent for your novel. As I slaved over the research for today’s post, I searched for those perfect suggestions to include when a thought struck me. The information aspiring authors need is overabundant on the Internet. Multitudinous tomes are rife with just such instructions. With this understanding, I asked what knowledge could I possibly impart that might be new or unique? I slipped away for a cup of coffee but a single thought kept coming back to me, one I heard at a writers’ conference not too long ago.

While attending the James River Writers’ Conference, (@jamesRVRwriters on Twitter), a panel of accomplished agents sat perched behind a wide, draped table in the center of the stage to the front of an auditorium. The subject of the talk was what agents look for when writers send in query letters. I had parked myself in the second or third row, which is where you get the most information at any seminar by the way, and with ballpoint in hand waited to pen the copious notes the speakers would soon convey to launch my writer’s career toward the heavens.

I sat, writing implement poised and waited for that blaze of information to spark my livelihood and make my name a household word within the literary world. The speakers spoke, as speakers do, and I sat pen still poised, and waited for that flash of inspiration so critical to my plans. After about thirty minutes, I still sat, pen now drooping, and started wondering why I’d bothered with this seminar at all. I wasn’t hearing anything I didn’t already know.

Then at last! A note I could smear across the blank page before me! All three speakers attested to the accuracy of this information and with great fervor, I scribbled two numbers and a symbol appeared on the legal pad in my lap.

And that was all.

When the fifty minute seminar concluded, the audience clapped, the speakers smiled and people filtered out of the auditorium and into the halls. I sat, waiting for the crowd to thin, and considered the single note I had written on that otherwise blank sheet of paper. That’s it. That was all I got out of the seminar. Two numbers and a symbol.

Now, don’t get me wrong. The speakers did their job well, the audience was more than appreciative of the panelists’ time and as the writers herded out, the hubbub sounded enthusiastic and engaging. Nice seminar. Even to me, the time had been well spent. I was quite pleased with my one note that read, “90%.”

That number represented the number of authors who, when querying an agent, fail to follow even the most basic instructions required of their query.

Ninety percent of those who query don’t write a professional letter. Ninety percent don’t include a phone number for the agent to request a partial. Ninety percent don’t start with the story. Ninety percent don’t send in the first fifty pages when requested. Ninety percent talk down to the agent, etc, etc, etc. The secret of this story is found in a sage bit of advice my father offered so often in his life.

“If all else fails, follow directions.”

In the case with authors, you’ll have a better chance of publication than nine out of ten authors by listening to my father. Smart guy and good odds, I’d say.

Until we speak again, I wish you only best-sellers.

C. Patrick Schulze