A.M. Boyle's Blog
Writing is a compulsion, an addiction and a privilege,
all rolled into one. Let's talk about it.
SHOW ME THE MONEY a/k/a Making it as a Freelance Writer
You’ve got your comfy, high-backed chair, your ergonomically designed keyboard, your state-of-the-art flat screened monitor, and a cup of coffee by your side. You’ve officially labeled yourself as a freelance writer (and you have the business cards to prove it, fresh off the Vistaprint presses). You’re ready to go.
Now what?
Exactly how do you take the next step and actually make money as a freelancer? After all, even if I put on a cape and strike a noble pose, I may look like a super hero (well, a frumpy, middle-aged superhero, anyway), but that doesn’t make me a superhero.
Actions need to follow intent. If you're going to talk the talk, you've got to walk the walk. In addition to all the trappings, to be a freelance writer you actually have to…well, you know…write…and actually get paid for it. Yes, really.
Believe it or not, it is possible.
When I first discovered that there were people out there who wanted to pay me to write stuff, I was floored. I mean, that’s like people wanting to pay me to breathe. After all, I cannot not write—it’s in my blood, part of who I am. Slowly, though, I came to the realization that not everyone can write. Sure, they can pick up a pen and jot down a few things. But not everyone can sit down at a keyboard and tame those wild words, calling them to order and coaxing them into forming recognizable images. And those that can’t work that particular magic are willing to pay those of us that can. The trick is finding them.
In this wonderful age of the Internet, it’s not as hard as you might think. There are tons of forums out there, dedicated to matching writers with projects. Still, before you go charging out into the maze of freelance forums, if you want to have any degree of success, you need to take one very important step. You need to take yourself out of any self-imposed box you may have placed yourself in. You need to convince yourself that, as a talented word magician, you can write anything. You might prefer to write science fiction or historical essays, or whatever it is you’re into. But the truth is, no matter what your preferred interest, there likely isn’t going to a plethora of jobs out there with that particular focus. You may find one or two, but not enough to bring you a steady paycheck. Therefore, if you are a writer at heart, you have to be prepared to write anything. Of course, you’ll have to step out of your comfort zone, challenge yourself, maybe even frighten yourself. After all, as an author, I write eerie science fiction thrillers. It’s my thing. Writing a sappy children’s birthday story designed for 4 to 6 year olds doesn’t come naturally. But I did it. Not because I particularly enjoyed it, but because someone paid me to do it and I can write anything.
So, to make the point once more, unless and until you’ve convinced yourself that you can write anything, you will not make money as a freelance writer.
Once you’ve truly accepted that fact, though, you're ready to go shopping.
There are a host of sites out there where people post writing projects, and freelancers bid on those jobs. The available work runs the whole gamut—blog entries, sales letters, informational articles, resumes, reports, telephone hold scripts, ghostwriting, proofreading—well, you get the drift. Anything goes. Some of these sites charge a small fee to join. Others take a small percentage of your earnings. Some do both. A lot of them give you a free "test drive," i.e. you can set up a basic account for free just to get onto the listing pages and see what's out there. You have to judge which sites fit in your budget and whether they are worth the fees.
Most of the freelance sites require writers to register an account and set up a profile. The profile is not usually a just a name, password, address, and some fluffy information. Rather, it is a detailed summary of who you are—your skills, your experience, your specialties, your platform, and so forth. It’s your place to shine and spell out exactly what it is that sets you apart from the competition (and believe me, there is plenty of competition). This can be time consuming and tedious, especially if you’re signing up for multiple forums, but it is absolutely necessary. Do not short change yourself. Take your time and really build your profile. Some sites offer you a place to upload samples of your writing. Choose your best, error free, grammatically correct writing and put it there for the world to see. Other sites suggest taking certain skills tests in areas such as word usage, grammar and punctuation, spelling, etc. Take the tests. They may cost a few bucks, but if you do well, it will keep you in stride with the competition. If you don’t do well, you don’t have to post the score and you can always take it again after a short period of time.
By the way, open a Paypal account, if you don’t already have one. That’s how most of the job postings will pay. Plus, if you ever have an issue, Paypal offers a service to help mediate any problems. I suggest you link your Paypal account to a bank account you've set up specifically for your freelance earnings. It simplifies things and allows you to keep better track of what your earning and what happens to it after it's in your bank account. Aside from your own edification, these are the little things Uncle Sam takes a keen interest in every April.
Once you set up your account and profile on one of these forums, you'll be able to take a closer look at what kind of jobs are posted. If you find one you want to bid on, you'll typically have to submit a short proposal, which is basically a short statement indicating why you should be the one to get the job as opposed to the 15 or so others who are bidding against you. Use the proposal for all it's worth. Sell yourself. Attach sample documents similar to what they want you to write (if you have any). This is your time to shine; you have to give the poster a reason to hire you above all others.
Make sure you have your freelance rates in mind before you start bidding for projects. Different proposals will require different types of rate quotes. Some may request an hourly rate, while others will request a per word rate. I also have a “range” rate (i.e. any project between 500 and 1000 words costs X amount of dollars while anything between 1001 and 1500 words will cost XX amount of dollars, and so forth). Some
projects request a straight, one time bid for the entire package (i.e.
someone needs a 50 page paper done on a particular topic and will
request a lump sum bid for the completed paper). Once you have your rates in mind, it will be easier to weed out the jobs that are not for you (i.e. too far away from your desired rate), and you can jump right in and bid once you find a job that really floats your boat.
If you’re not sure what to charge, check out some of your competition. Clikc on the profiles of some other writers who are bidding and see what they are charging. Honestly though, I've found that rates are all over the place. You can find a host of information and advice on setting your rates if you Google “freelance writing rates.” Many projects set the bidding parameters for you (i.e. the budge is between $ 250 and $ 500 dollars), and some even tell you exactly what they are willing to pay. Still, what you charge as your rate will often fluctuate, depending on your experience and how labor intensive the project is. For instance, I would charge much less to write a 500 word article on “How to Cook Spaghetti” then I would for a 500 word article on “The Pros and Cons of the Electoral College in the United States;” I know a lot about cooking spaghetti and could write it on the fly, without much research but I know diddly squat about the electoral college and would have to do hours of research to write anything worthwhile.
In the end, you have to charge what you feel comfortable with. Don't sell yourself short, but don't shoot for the moon either, if your serious about landing jobs. If you’re new and just getting established on a forum, I would suggest keeping your rates low initially, just so you can land a couple of projects. This will help you get established on the forum and start racking up some reviews (hopefully positive). Then, once you’re reputation begins to grow, so can your rate. I’ve gone as low as $ 2.00 per 100 words just to beat out the competition and get the job so as to build my reputation. That’s an extreme though, and I don’t recommend going lower than that—ever. Granted, there are many on the forums that do. Some will bid ridiculously low. For instance, I saw one guy take on a 50 page report, single spaced, one inch margins, for a whopping $ 24.00! That sets a bad precedent for the rest of us. Some job posters come to expect ridiculously low bids and will state in their proposals that they will so graciously pay you $ 10.00 for ten 500-word articles. No, I’m not exaggerating. Stay away from those.
When you get on these freelance forums, you’ll likely see a bunch of jobs you want to bid for (keeping in mind that you’ve already convinced yourself that you can write anything). Be careful. You probably won’t get all the jobs you bid for, and sometimes you won’t get any. But, if the stars are aligned just right, and your bid is competitive, you might wind up with ALL of them. This doesn’t happen all that often, but you have to keep in mind that your time is limited, and if you over-commit and can’t keep up with your projects, it’s going to reflect badly on you and affect your ability to get other jobs in the future.
When bidding on projects, read them carefully. Make sure you know exactly what the person is looking for. Most forums allow writers to ask questions, and any poster worth his salt will answer those questions promptly and without complaint. No matter which forum you’re on, you can always view information about the person posting the project. Check them out before you bid. Have they posted other projects? What kind of reviews have they gotten? Do they pay on time? Do they tend to give positive reviews in return? Last thing you want is to write your heart out for someone who will then rip your work apart, get irrational about corrections, or refuse to pay you. If you find a project that no one else has bid on, there may be a reason; the poster may already have a bad reputation in the forum. Make sure you check them out so that you’re not bidding on work posted by a psycho.
Okay, here’re some of the forums that I find fruitful:
No doubt, there are plenty of others, and if you run a search for “freelance writing jobs” you’ll probably come up with a bunch of them. Obviously I haven’t tried them all, so I can’t vouch for them one way or the other. But the ones listed are sites where I’ve gotten good work and made decent money without getting screwed, so I pass them along to you. Most legitimate forums offer some modicum of protection in case a job poster tries to pull one over on a writer.
I’ve also gotten jobs from Craig's List, which has a small section devoted to writing jobs. Some of the posters on Craig's list can be a little dicey, with no way to check their reputation and no real recourse if you don’t get paid for your work so be careful.
If you’re very aggressive and have lots of time on your hands (yeah, right!) you can find other freelance writing jobs that might be a bit more steady and stable with regard to pay. For instance, e-zines, magazines and local/regional newspapers usually will consider hiring freelance writers, although they are hard to break into. I’ve even heard that greeting card companies hire freelancers, although I’ve seen no hard evidence of that. Honestly, the jobs I get from the forums I mentioned (and, of course, writing my novels) has kept my busy enough that I haven’t had the opportunity to look into those other avenues. But they are out there, and I know some authors who have tapped into them and do make decent money through steady work.
Whether you're freelancing on the side (or “moonlancing,” as I like to call it), trying your luck in between novels, or attempting to make it a full-time gig, there are jobs available. Ours is a singular craft and, like tombstones and tax advice, is always in demand. If you can write, you can earn a living. You may not get rich but with time, effort and perseverance, you won’t starve either. And remember, your golden ticket to the "show me the money" moment lies in one simple yet vital understanding—you can write anything.
(This post is the third in a series about finding success as a writer. Stay tuned for the fourth—and final—installment discussing marketing and promotion).
JUGGLING BALLS and SPINNING PLATES
(This post, Part II of my four-part series on succeeding as an author/freelancer, deals with time management.)
When I tell people that I am an author/freelance writer, most tend to think it’s a glamorous, low-stress, fun job…well, one out of three ain’t that bad. When I tell them exactly what I do during an average day and what types of things I write about on the freelance circuit, they usually crinkle their nose and back away. The truth is, the pay sucks, the hours can be brutal, and the work is often times dry and tedious. Don’t get me wrong; I love being a writer. In fact, I wouldn’t trade it for the world. It is not, however, glamorous by any means (at least not for me), nor stress-free. It is fun as all get-out though—most days, anyway. When all is said and done, it is still work. Like any job, it comes with its fair share of challenges and obstacles. One of my biggest challenges as a freelancer/author has been time management.
Any author/freelance writer knows that there are many balls to juggle and many plates to spin in this profession and more often then not, you are doing it alone. If you’re an author, the novel itself is probably a huge time hog. For instance, the actual writing of a novel requires hours of focus and discipline. It’s mentally strenuous and not something you can usually do (effectively) with a bunch of other distractions buzzing around. Once the draft is actually written, there’s an endless string of edits to follow, not to mention the drafting of various length synopses. After that, you will likely spend hours researching agents and publishers and sending out countless query letters and submissions. Of course, once the book is finally published, it’s a whole new ball of wax as you are baptized into the world of marketing and promotion.
While all this is going on, if you are also a freelance writer, you have to somehow find the time and energy to invest into those efforts as well. It takes time to join your chosen freelance forums, develop a profile and search their database for available jobs. It also takes time to draft and submit the necessary, well-crafted proposals. And, if you lucky enough to land a project., it takes time to do the job right. If you manage to land more than one project, then the time invested increases exponentially.
On top of all this, you still have your everyday responsibilities. Many authors and freelancers have "day jobs" to worry about—a means to support their writing addiction. Then there's the home, kids, spouse, pets and so forth. You can’t neglect those either—after all those windows aren’t going to wash themselves, nor will the laundry fold and put itself away. Your kids actually need to see their mother/father every so often and, unless you tie Fido's leash to the treadmill (yes, I actually have tried it—it wasn't pretty) he is not going to walk himself. Finally, there is you. Believe it or not, you still need time to take care of your personal needs, like bathing, eating, exercise, bathroom breaks…you get the idea.
The problem is this: although everything I’ve just stated (and it’s not even the full list) adds up to about a 26 hour workday, last I checked there were only 24 hours in a day (some of which are reserved for sleep). There have been times when I had so much on my plate that I simply lost my appetite and couldn’t do a damn thing. Those were the times that I just shut down, threw my hands up in exasperation, and spent hours in a Zuma Blitz stupor, not accomplishing anything worthwhile. With deadlines looming, that’s not usually the best course of action.
So what’s a writer to do?
It all comes down to effective time management. It’s a skill that is typically learned and usually learned the hard way. Believe me, I’m no expert, but I have developed two simple systems that have helped me budget my time and keep me from getting too overwhelmed to function. Of course, neither one is foolproof and should be molded to suit an individual’s preferences and personality, but the principles offer the structure needed to organize your time and get things done.
Time Block Management: This system revolves around organizing your schedule into designated blocks of time. For this to work, aside from patience and discipline, you need to have a daily calendar that divides each day into blocks of time (written, digital, it doesn’t matter—whatever works for you). You also need a timer, preferably with an alarm. You can use the timer on your phone, a kitchen timer, the timer on your stove—whatever floats your boat—but whatever it is you need to use it. The next thing you need to do is set your time parameters for the writing day (i.e. are you working 8:00 to 5:00, 6 p.m. to 10 p.m., 1 in the morning until 12 noon, etc.).
Once you’ve determined the length of your workday, it’s important to make a list of things you want to accomplish by the end of the day. Of course, this should all be done before the workday begins or you’ll have to include “making a list of things to do” on your list of things to do. Kind of self-defeating. It is crucial that you keep the list realistic! Don’t overachieve and don’t underestimate how long something will take to complete. This is the surest way to sabotage yourself. What I usually do is make a master list of all the things I need to accomplish and prioritize them by date and comparative importance. Then I choose my daily goals from the master list (it’s particularly satisfying at the end of the week when you get to cross a bunch of stuff of your master list).
Once you’ve chosen your tasks, you need to plug them into your calendar, making sure you allot enough time for each task. Don’t forget to schedule break time and lunch time and make sure you leave enough room for the mental transition from one task to another (it usually takes me about 5 minutes to stretch my legs, grab a cup of coffee, and get my brain ready for the next task). Now you’re ready to go. You have your day all mapped out. Make sure you start on time, and set your timer before each task. Most importantly, when that timer goes off, stop what you’re doing. Resist the temptation to keep on going, (i.e. you’re on an editing roll and hate to stop in order to write a 500 word article about the hand-washing habits of people in Nova Scotia). For the record, this is where I struggle the most. I always want to do “just one more thing” before I move on. If something is left unfinished, make a note of it and add it back onto your master list for another day. By the end of the day, you should have completed a number of tasks and will feel good about your productivity. If you find that you are not completing the tasks in the time allotted, then you have fallen into the overachiever trap. You need to modify your goals to fit more realistically into a given time frame.
Admittedly, I have a really hard time sticking to this type of time management plan because once I get into doing something, timer or no timer, I can’t seem to pull myself away and refocus. Consequently, I developed an alternate plan.
Daily Assignment Plan: For this plan to work, I recommend a monthly calendar (one that has a large block set aside for each day of any given month) and a master list. The master list should be divided into a number categories, one for each of the days during the week you plan on doing your writing thing. For instance, mine has five categories right now: Freelance tasks; Marketing/promotion goals; Writing/editing SENTRY'S RETURN: Veil of Reason; Other Writing (such as short stories and other projects) and Household/Personal tasks (grocery shopping, bill paying, miscellaneous errands, etc.).
Once you've fully developed your list, designate each day of the week as a day to focus on one particular category. For instance, Monday might be your marketing/promotion day, Tuesday might be your novel writing day, Wednesday might be your freelance project day, and so on. Then, on any given day, focus on only those tasks related to the category assigned to it. For example, if Wednesday is my Freelance day, I will focus on finishing my freelance projects due that week. If I have no projects, then I focus on finding them—kind of a job-hunting day. For each day, I still write out a sub-list of things I want to accomplish, but unlike the Time Block method, I don’t set apart a certain block of time to complete each task. I just prioritize and tackle them in order.
If you have more than five categories (as I have at times), then you may need to either work weekends or stagger your days so that one or more of your categories gets done only every other week. Also, I typically reserve some “extra” time at the beginning and end of each day for checking e-mail, Facebook and Twitter. I like to keep my Twitter feed fairly active, and I try to update Facebook at least once a day. I’m a compulsive e-mail checker, so I can’t honestly say I just check it twice a day—usually a lot more than that.
Which brings me to my final point. For this method to work, you need to be flexible. For instance, on any given week, I might have a huge amount of freelance work to do. If that’s the case, then I might take the day I would normally reserve for Marketing and Promotion and devote it freelance work instead. Similarly, doctors’ appointments, school issues, and the like don’t always fall on my designated day for household and personal errands. Therefore, I have to be willing to go with the flow sometimes and modify the rest of the week accordingly. But it helps me immensely to know that, all things being equal, when I get up on Monday, I’m going to spend the majority of my day scouring social media, promoting my book, calling on bookstores, etc. or, if it’s Thursday, I’m going to spend the day locked in my office, watching my latest novel unfold on the computer screen. As I've mentioned, it doesn’t always work out according to plan, but it works out a lot better than if I had no plan at all.
I’m sure there are other time management theories out there and experts who can show you other ways to effectively budget your time. But these are the methods that I find work for me. Not always, but at least I don’t get quite as overwhelmed quite as often and am a lot more productive…although my Zuma Blitz skills have suffered in the process.
Happy Writing!
Stay tuned for Part III in the series: "Show Me the Money!" a/k/a How to Find Work as a Freelancer.
WHY SO SERIOUS? Writing is No Joke
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NOTE: This post is the first in a series covering tips to help you succeed as an author/freelance writer. Granted, I’m not living in a mansion or sipping boat drinks on my private yacht, but I do okay as a writer/freelancer. During the series I’ll offer some suggestions based on what works for me. I intend to cover the following topics:
Taking the Job Seriously (Current Post)
Time Management
Finding Work as a Freelancer
Marketing Yourself
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I was talking to a friend on the phone a short time ago and we were discussing jobs. She is presently out of work and is looking for something—anything—to tide her over until she could land that “dream job.” I asked her what her definition of the dream job was, and she replied, “something like yours, where I can stay at home, make my own hours, sleep in, watch some of the soaps and keep up with the house in the meantime.”
I had to chuckle through gritted teeth. Sleep in. Do stuff around the house. Watch TV. Wow. It does sound like a great job—too bad that’s not the job description for an author/freelance writer!
Let’s face it, if you work from home, and especially if you are a writer, many people don’t take your job seriously (unless, of course, you are on the NY Times Best Seller list). Too many people have the misconception that since I work from home, I have the luxury of sleeping until noon, then watching The Price is Right while I tidy up the house. Nothing could be farther from the truth. Writing is a job. It is often a strenuous, all-consuming job. Not strenuous in the physical sense, like someone who hauls sacks of concrete for a living (is there really such a job?). In fact, most days, I worry about throwing a clot because I have to sit on my butt for so many hours. But it is mentally strenuous. The creative process can be exhausting. If you don’t believe me, try it for eight hours one day, and let me know how fried your brain is afterwards. And for anyone who wants to succeed as a writer, especially if they work from home, they have to take their job seriously, treat it with respect. That means no late morning naps. No mid-day television shows. No afternoon laundry-folding sessions. And no late day wanderings on the internet to find that perfect vacation spot. Instead, it means discipline; finding a routine and sticking to it. It means sitting at your desk and doing your work while ignoring the distractions of everyday life.
So how, exactly, does one do that? It’s not easy, and everybody sees it a little differently. But I can tell you what works for me.
When I first embarked upon this journey of full-time writing from home, I struggled with the temptations hiding at every turn. It was hard to focus on my work and not notice that the dogs needed grooming or that the ceiling fan had a stack of dust on it an inch thick. It was a battle not to check my e-mail “just one more time,” or see who was on Facebook. But I soon learned that if I gave into temptation, at the end of the day, I'd have nothing to show for my efforts except a matt-free dog and a shiny ceiling fan. That wasn’t paying the bills. So I came up with a few tricks to keep me on track. Are they foolproof? No. Do I still get sidetracked? Oh yeah. But they have helped to make me more efficient and more productive. Maybe they’ll work for you.
Have a designated working space
This is key. If you have an extra room and can set up an office, that’s perfect. But if you’re short on space, perhaps you’ll have to carve out a little corner of your dining room, or your bedroom, or even your garage. Wherever it is, make sure it is fairly quiet, comfortable, and set up like a work station in an average office would be: desk, comfy chair (with back support), computer, keyboard, printer, paper, pens, pencils, paper clips, reference books, etc. Then, once it’s set up, dub it as your work space. Not your computer gaming station, not your social media station, not your read-a-book-and-relax station. As far as practical, whenever you are sitting at that work station, you should be doing work. If at all possible, leisure activities, even during non-working hours, should occur elsewhere. This will help set your brain into the routine that, when you’re sitting at the work station, you’re there to work and nothing else.
Whatever tools you use as a writer should be right there at your fingertips so that you don’t need to go searching through the house to find that yellow highlighter, red pen or toner cartridge. Same deal if you’re a snacker. Keep some snacks at your desk so that you don’t get up and go routing through the kitchen cabinets looking for goodies. Why? Not only is it a waste of valuable writing time, but if you need to search the house for stuff, inevitably you will get distracted and find something else to do while you are looking.
Set your hours
You need to have designated working hours. Set a time when you will “arrive” at your work station and a time when you will “leave.” This, of course will depend on your schedule and preferences, but if you are doing this full time, make sure you schedule yourself for at least an eight hour workday. The hours your work don't necessarily have to be in a row. For instance, I start work at 8:00 a.m. and go until 3:00 (that’s when the kids are home and I have to start considering dinner options). Then, in the evening, I’ll return to the office around 8:00 p.m. and work until about 10:00 p.m. Whatever hours you set, make sure you respect them and abide by them.
In addition, set certain break times during the day, including a lunch break. If you’re anything like me, sometimes when you’re writing you lose track of time. I suggest you invest in a timer and set it so that you’ll have an audible reminder to take your breaks when you’re supposed to. Avoid switching things around and skipping breaks unless you absolutely have to (i.e. doctor’s appointments, post-office runs, or the muse just won’t let you stop writing the best chapter of your life). When you take your breaks, get up and walk around—it’s good for both your physical and mental health. Like I said earlier, writing can be strenuous brain-work and sitting too long can be downright dangerous when you reach my age. Eat lunch in the kitchen, outside, or somewhere away from your desk so as to give your eyes and head a break from the computer. Avoid the temptation to stretch your break time or lunch time. Pretend you have a foot-tapping boss waiting back at your desk, just looking for an excuse to dock your pay.
Don’t forget to take days off. Writing can be a 24/7 occupation if you let it. I don’t recommend it. You’ll burn out pretty quickly, even if you love it as much as I do. Take weekends off; or if you schedule doesn’t permit both days, make sure at least one day on the weekend is writing-free. Even the harshest of bosses give their employees vacation time, so don’t forget to take a day off every so often—and when you do, resist the temptation to sit at your work station and do “just a little bit” of work. A true day off should be “writing-free.” Your muse (and your family) will thank you.
Minimize Distractions
Don’t surround yourself with distractions. For instance, unless you absolutely need it, I suggest either keeping your phone away from your desk or turning the ringer off. Even if you don’t pick it up, the sound of the phone ringing will wreak havoc with your focus and concentration. If you were in an office setting outside of your home, you wouldn’t be getting calls on your home line, would you? And you’d probably have your cell phone turned off. Generally, you are not allowed to take personal calls in an office setting, so treat your job with the same respect—don’t pick up personal calls while you’re working! At the very least, if you absolutely must have a phone next to you, make sure you have caller ID. This way, you won’t waste your valuable time talking to telemarketers.
Aside from the phone, consider other distractions. For instance, if you have a disruptive pet (i.e. a pup who keeps placing his favorite toy on your lap, wanting to play, or a cat who insists on sleeping on your keyboard) you need to keep them away while you work, preferably in another room or part of the house. Yes, I know it sounds mean, but it’s also necessary if you’re going to take your job seriously.
Don’t keep un-work related items on your desk. For instance if you have your bills and checkbook sitting on your desk, while your dreaming up a hook for your article, they will inevitably catch your eye and you will consider logging into your online bank account, or maybe take a minute to write that check to the doctor that you keep forgetting about. Similarly, if your favorite book or iPad is lying there, you’ll be tempted to read a quick chapter or perhaps play a short game of Temple Run. It’s best not to even have such enticements so nearby.
Set Ground Rules for Others
Inevitably, when I have the most pressing deadlines, that’s when my kids have a day off from school, or my husband decides to call in “sick.” Regardless, unless necessary (i.e. your kid is off from school because he's ill and need some TLC) you don’t necessarily have the day off. Make sure your kids or significant other knows this and set boundaries for your work time. You may have to readjust your break times to make lunch for the young ‘uns or chauffeur your son or daughter to their friend’s house, but make sure they don’t monopolize your time. Let them know you are working and when you are at your desk, aside from emergencies, interruptions are not advised. Oh, and make sure you define the term “emergency” (i.e. the inability to find a lost sock does not constitute an emergency). These “day off” rules apply to my summer schedule, too. The kids are both home and are feeling fine because they are on summer vacation. I, however, don't get summers off, and in order to afford those excursions to the shore, I must work. It was harder when they were younger but it's a little easier now that they’re in their teens. Generally, I simply get up a little earlier than during the school year and get nearly a full day in before the teenage zombies arise from their tombs.
Give yourself some leeway
I’m a tough boss; always have been. But sometimes you just have to cut yourself some
slack. Occasionally, when working on a
novel, I need to get up and chase the muse a little—take an hour or so and go for
a walk or putter around the garden. The
fresh air clears my head and allows the creative juices to flow more
freely. There are also those days when,
having not slept well the night before, an extra bit of shut eye is needed to
function correctly, so that power-nap becomes a necessary addition to my
agenda. And some days, when no deadlines
are pending, I find that the extra load of laundry just can’t wait. The point is this: yes, have your schedule, but don’t beat
yourself up if once in a while you stray.
Just don’t make a habit of it. Because
you take a catnap on Monday doesn’t mean you have the right to take one on
Tuesday, Wednesday and Thursday. Be
forgiving but firm because exceptions and excuses can quickly form a slippery
slope, messing with even the most well-established routine.
No one is perfect and interruptions, variations and
unexpected snafus are inevitable. Still, these
guidelines can help validate your job, and allow you to take it more seriously. If you do, so will others, including freelance
clients, agents and publishers. STAY TUNED FOR PART II:
Juggling Balls and Spinning Plates:
The Time Management Trick.
The Publishing Landscape: Desert or Oasis
I was recently asked to give a keynote speech at the Write it Right conference, sponsored by the Black Diamond Writers’ Network. They requested that I talk about the changing landscape of the publishing industry and what it means for writers.
I spent a good deal of time thinking about the subject before my presentation. It’s not as simple as it sounds. Why? Because it's largely subjective.
There are a lot of negative comments bouncing around about that very topic. The prophets of doom have circled their wagons around the subject, announcing what a terrible time it is to be a writer, predicting the end of traditional publishing, and forecasting how the evil e-book will force the paperback to go the same way as the vinyl record. There has been much wailing and gnashing of teeth by industry professionals as they gaze upon a bleak and barren landscape, laid to ruin by the plagues of self publishing, digital publishing and micro-presses. The new author shall surely starve and pass into oblivion in this harsh and sterile wasteland.
Or not.
You see, in my humble opinion, it really depends on what you’re looking for. What one might see as a scorched desert another might see as an oasis blooming with opportunity. And which one you see probably depends on how you define “opportunity.”
If, for you, opportunity means fame and fortune, your name on billboards, appearances on talk shows, royalty checks and movie deals flooding your mailbox, well, break out the sunscreen because you’re in for a long trek in the desert. On the other hand, if your definition of opportunity means a chance to tell your story, get your book “on the shelves” and reach out to readers, regardless of whether you ever make a dime, then enjoy your oasis!
Let’s take a closer look at the landscape.
Everyone knows that self publishing is in its heyday. Back in “olden times” self-publishing was an unknown concept. The big publishing houses called the shots and no one got a legitimate book into print except through them. But now, self-publishing is all the rage. It doesn’t have a stigma or stink attached to it anymore, and a bunch of sites have sprung up all over the internet determined to help the “indie author” (a/k/a authors who are self-published or published through a micro-press) find their readers. Google turned up 38,700 results on a search for self publishing houses. There are tons of them out there, ready and willing to help you turn your manuscript into a real, honest-to-goodness book. Pretty much all of them will offer you, the writer, a host of publishing packages, ranging from bare-bones printing to full packages that include a stack of author’s copies and some degree of promotion. Here’s the rub: they all cost money. Every one of them. You, the writer, have to pay the costs upfront, before you ever see your book. There are also a fair share of scammers out there, too—companies that will include hidden costs, won’t give you good quality, or will coerce you into buying something that you never intended and probably don’t need. Authors have to be proactive, do their homework, and make sure the companies they are dealing with are legitimate. A little scary, isn’t it? The bottom line is simple. Whatever self-publishing house you choose (and they vary as to the details), you are paying someone to publish your book. You are starting out “in the hole” money-wise, and will have to work hard—very HARD—to make back what you will spend on self-publishing.
For those authors who don’t have the money to invest upfront into self-publishing, e-books and micro-presses offer alternatives. Micro-presses are very small publishers that probably won’t pay you an advance but will help you get your book on the shelf and even help to promote it. Most have a selective submissions policy, don’t ask for money, and will ask for your rights.
Then there are e-books. As most of you, e-books offer writers a chance to present their books to the reading public in digital format for download onto computer or e-reader. Unless you pay for a formatting service, they don’t usually cost money to produce. They are easily accessible to the general public but they do sell for less than traditional paperbacks. The e-book industry has blossomed lately and is going through some growing pains. I won’t even get into the current legal sparring over e-book price fixing. That could constitute a whole other blog post.
But wait! What about traditional publishing? After all, it was the way all the “great authors” rose to fame and fortune in the past. Should we totally discount it?
It’s no secret that, while the uprising of self publishing, digital publishing and micro-presses have not caused the “Big Six,” to roll over and die, they have caused them to adapt. The doors to those houses which were notoriously narrow to begin with, have become even more constricted, especially for the debut author. True, the big-name publishing houses are still taking on new authors, but they have become increasingly more selective. But even if you are one of the select few who gets a book published by one of the big houses, fame and fortune don't necessarily follow and, in fact, are not even visible in the rear-view mirror. You will have an agent (most big named publishers won’t look at un-agented work), who will take at least 15% percent of whatever you make on your book right off the top. You will get an Advance against royalties (don’t forget that latter part; it’s not “free money”) but it probably won’t be as big as you had envisioned. You won’t get the rock star treatment of days gone by, and you will be responsible for the lion’s share of marketing and promotion. You will get the prestige of having a big name imprint on your book and will have greater access to reviewers and bookstores, but not much else. In fact, if your book doesn’t sell up to expectations, you may get that disheartening notification that it is being placed “out of print” by the publishing house a lot sooner than you would like. Sure, you might find a copy or two on ebay, but you won’t get any royalties off of that. Consequently, even placing with a big house does not guarantee a big paycheck.
So, what’s the point of all this?
All in all, the avenues by which an author can get published abound like never before. Writers have more options than they have ever had at any time in history. But will you get rich by pursuing any of these options? Nope. Of course, you might be one of those very rare exceptions, the kind of person who buys one ticket for the Mega Millions and winds up hitting the jackpot. If you are, more power to you, and I hope you’ll buy my book when you're rolling in the dough. However, if you’re like the rest of us, if you’re lucky, you might come out a few bucks ahead. Typically, though, you’ll lose some money in the process. Even if you don't spend a dime for self-publication, the process of promotion and marketing (if you’re serious about it) costs money. Therefore, if you define “opportunity” as a shot at making mucho dinero ….
Welcome to the desert.
On the other hand, if your goal is to get your book out there, get it in the hands of readers and tell your story, the landscape looks much different to your eyes. As a writer, I can’t imagine any greater kick than having your story reach someone, get into their head, incite emotion and leave an indelible impression. We, as authors, are gatekeepers. We have the power to invite readers into a world that would otherwise be inaccessible to them, except through your book. It’s like magic—genuine magic—to be able to create entire worlds that spring to life and become real not only for you, but for those who read your book. Numbers don’t matter. If you reach one person and somehow impact that person’s life by what you have written, you have changed the world. For me, that privilege is worth more than gold; and for many writers, it is all the payment needed. So, if you define “opportunity” as a chance to publish your book and reach readers, no matter how many, for the sake of art and expression itself . . .
Welcome to your oasis!
Like so many things in this life, though, which one you see depends upon your perspective. That choice is, and always has been, yours.
REBLOG: THE SECRET TO SUCCESS--QUITTING
The Secret to Success–Quitting
Want to know the secret to success? Quitting. Yes, you heard me correctly. And, if you’re a creative professional, it is in your interest to learn to get really good at quitting. Maybe you’ve felt like a loser or a failure, that your dream to make a living with your art was a fool’s errand.
Maybe, if you are anything like me, just maybe you had friends and family and people around you telling you that you were a dreamer, that you needed to get your head out of the clouds and to let go of your “magic beans” and learn to be something practical that made a good paycheck and came with dental benefits. Maybe, in an effort to counteract all this negativity, you found yourself wandering the inspiration books in Half Price Bookstore (namely because you were too broke to buy books full-price). And maybe, just maybe, you clung to the little dog-eared quote books full of really bad advice.
For more visit Kristen Lamb's Blog
WHAT’S THE TRICK?
So you wanna write a book, eh? Want to know the secret to getting it done? Read on!
When I tell people that I'm a writer, I get a variety of different reactions, many of them not so nice, ranging from boredom to disdain to doubt, and everything in between. But when people find out that I have finished a novel and that it has actually been published, I get a much different response. For some odd reason, it seems to give me more credibility and inevitably, many of them divulge that they, too, have aspirations of being a writer, but don’t quite know where to begin. The most common comments I get are as follows:
“How’d you do it?”
“I've always wanted to write a book; I just wish I knew how.”
“I have so many great ideas for stories, but I don’t know where to start.”
“I started writing a book, too, but I can’t seem to finish it.”
“I wish I knew the secret to writing a book.”
I have to smile when I hear comments like these because, at one time or another, I’ve probably made those same remarks. But the truth is, when it comes to sitting down and writing a book, there is no trick. There is no special secret. There is not even a magic formula. It just takes two normal, everyday “D” words: Desire and Dedication. Sounds trite, I know, but sometimes the truth is trite. Without real desire, there will be no dedication. Without real dedication, there will be no book with you listed as the author. Enjoying writing isn’t enough. Jotting down a few words every so often when you are in the mood, is not enough. You’ve got to really, really want to do it, and you have to be willing to sacrifice time and effort to get it done. Otherwise, you are doomed from the get-go. There’s a big difference between wishing for something and really wanting something. Take for example the big Bike Race to be held in my neck of the woods in July. I love to ride my bike. I especially love to ride on a cool day, when the is sun shining and a nice gentle breeze is blowing, and I don’t have to sweat my butt off or fight the weather. Double especially if the place where I’m riding doesn't have too many hills, and is not too challenging. Triple especially if the scenery is pleasant, and there is no traffic (the Boardwalk, for instance). On the day of the Big Bike Race, I will probably go and watch At one point, I might be inspired enough to say something like, “Gee, I wish I could compete in a Bike Race too,” or “Wow, I wish I had all that cool gear and could handle a bike like those people.” But the fact of the matter is, while it’s a nice idea, it’s just a wish. In reality, when I consider all the preparation and hard work that is necessary to compete in and finish a grueling bike race, it’s a deal buster. Could I do it? Sure—physically, I have the potential. Will I do it? No, because it’s not that much of a priority in my life. I don’t want it that badly. I don’t have a strong enough desire to drive the dedication necessary to commit myself to the grueling hours of hard work necessary to get in good enough condition to compete in such an event.
It’s that way with writing. If you really want to finish writing the book you've had tucked away under your bed since you wore bell bottoms, then you will do it—so long as you have the big Double D: Desire and Dedication. That’s something you have to decide first. Quite honestly, writing a book can be hard work, and it takes time a lot of time. Sometimes, it can be tedious and not all that much fun. Ultimately, though, for me, there is no bigger kick that watching a story in my mind come to life on paper. It’s an astounding, amazing, and nearly miraculous experience, second only to childbirth (and sometimes, just as painful). When I stare at a blank page on a computer screen, I see sheer, unadulterated potential—it’s exciting, it drives me, and when I’m in the middle of writing a book, it comes pretty darn close to being an addiction. In fact, do you know why I haven’t Blogged in 95 days (or at least that's what my GoDaddy meter tells me)? I’m deep into the sequel to TURN OF THE SENTRY, and it’s all I really want to do. My kids have to remind me they are still here and haven't gone off to college just yet. My husband is getting darn sick of take-out. The hamster’s cage has gotten so dirty, she’s hired a cleaning lady. The dogs have started taking themselves for walks on the treadmill. I have to be reminded to shower, eat, get up and move so I don’t throw a blood clot…well, I exaggerate a little; no one ever has to remind me to eat. But you get the picture. It’s what I want to be doing—it’s my Desire, and the Dedication follows naturally.
Now, after reading all that, if you still think you want to write a book—if you’re pretty darn sure that you’ve got the Double D—then keep reading, because even with Desire and Dedication, it’s easy to get stuck. And while I have no secret recipe for writing a best-selling novel (and if any of you do have that particular recipe, don’t be a hog—pass it along!) I do have a few tips to help you move forward and finally get those words on paper. These four strategies have helped me stay on track:
Know Your Points Some writers draft meticulous outlines for their novels, some just have a sketchy idea of what’s going to happen. Despite what others may tell you, I propose that there is no right or wrong way—it depends upon your own taste and style. For me personally, outlines don’t work. It saps most of the fun out of writing. I like to be surprised with what happens in my story. Still, I do strongly suggest that you at least know your Plot Points. You need to have an idea of where the story starts, where it will end, and some of the major milestones that happen in between. It gives you something of a general road map to work with, and then it’s up to you to fill in the lines in between. I’m not saying you need turn by turn directions, like some sort of literary GPS (unless writing that way suits your style), but you do need some dots to connect along your route. Otherwise, you could wind up wandering aimlessly, never getting anywhere with the story, and that will make you give up. Of course, unless your Moses, nothing is written in stone, and the plot points can change or develop (or even disappear entirely) along the way, but that’s okay—despite what my first grade teacher tried to drum into my head, there’s always more than one way to connect the dots. But having them there will give you progressive handholds to reach for when climbing onward with your story.
Know Your Characters Always remember that you don’t tell the story—your characters do. Regardless of what point of view or perspective you choose for your book, never forget that your main characters are the ones who drive your story. You may be the navigator on this road trip, but they are behind the wheel, and they direct the lines which connect your plot points. In order to give your characters that kind of control, you have to know them and trust them. For that, you first have to be interested in them. Unless you are genuinely interested in your characters—what they are like, what they do in their spare time, what motivates them, what moves them, what’s their favorite flavor of ice cream, and so on, your story will likely become one-dimensional and tedious and eventually stall out. Chances are, you will be spending a lot of time with your characters along this journey, so get to know them first—take them to lunch, buy them a drink, ask them their opinions on politics. I know, I know; some of you may feel silly talking to characters that exist only in your head, but it’s okay—just don’t talk out loud (unless you have a Blue Tooth hooked over your ear—then go for it). When you develop a relationship with your characters, you are invested in them, and it will really help to fire up that all-important second “D” of Dedication.
Dance Like Nobody’s Watching And write like nobody will ever read it. Sometimes when I write my first draft, I find my mind wandering into the “what will they think” bog. I start wondering if I have a sharp enough hook, or whether I’m painting the right picture for the readers, or if I'm burdening them with too many adjectives, or whether I'm giving them the right information at the right times, and so forth. That’s a great way to get stuck in the muck. Free yourself from the worry of what other people will think by playing the “it’s just for me” game. In other words, write the story that you want to read, and write it as if you are the only person on Earth who will ever read it. Ultimately, this may or may not be true, but pretending that it is can be your gateway to freedom! There will be plenty of time to worry about the details later, and there will be many revisions to come where you can polish the writing and hone the story. But your first draft should be your time to explore and have fun.
Stick to Your Limits This point, although last, is oh so desperately important. You MUST set a word limit for yourself—a minimum amount that you will write on a daily or weekly basis. Personally, I prefer a daily limit—weekends excluded—it keeps me honest. But everyone is different and you have to find a limit that suits your schedule and you need to keep it realistic. Don’t expect to sit down and do 10,000 words a day. Granted, I know some amazing writers who can do that in a blink, but not many. Start with something like 500 words a day (or 2,500 words a week, if you do it five out of seven days). Or maybe 300 words every other day. How about 600 words on Mondays, Wednesdays and Fridays? The idea is, find something that will work for you and that you know you can live with. Then STICK TO IT. It’s like going to the gym—when you first start, it will be easy, and you will be pumped up and motivated. But then you will reach a point when you get a little tired of the routine, and you're tempted to find reasons not meet your limit. That's where the Dedication part comes in. Car broke down? I don’t care. Stomach bug? So what? Relatives are visiting? Not an excuse (actually, for me, it's an excuse to write more). Poison Ivy all over your hands? Type with your toes! Okay, I am exaggerating again, but the point is, don’t give in to excuses. Do all in your power to stick to your commitment. Some days the words will flow like gravy on roast beef, and you will write above and beyond your limit. But there will also be those days when the words will flow like frozen molasses, and you'll want to give it a rest, knowing tomorrow will be a better day for writing. Don't succumb to that lie. Write anyway. Even if it’s gibberish, put something on paper. Your Muse is like a spoiled child—the more you let it play hide and seek, the more it will elude you when you need it most. Force yourself to write even when uninspired and eventually, your Muse will get jealous and come out of hiding. And, if you stick with your limit, you are guaranteed an end in sight. For instance, if you write 500 words a day, five days a week, in 36 weeks (that’s about nine months, people) you’ll have a 90,000 word first draft novel completed. Sounds good, doesn’t it? Well, I can tell you, it feels even better.
Of course, the first draft of a novel is only the beginning and there are many revisions on the road to publication. But don’t let that scare you. A first draft is a great accomplishment in and of itself. At the very least, if you stick with it, relying on your Double D’s, pretty soon people will look at you and say, “Wow, I always wanted to write a book—what’s the trick?”
As always, that's just my opinion.
A. M. Boyle
House of Mirrors--When Champions Become “Chump-ions”
WARNING! RANT IN PROGRESS—PROCEED WITH CAUTION!
Naivety strikes again. When will I learn?
Writers groups. Why do they exist? The most logical of reasons comes to mind: to help writers. It has always been my belief that writers' groups were there to offer a leg up to writers, especially newbie writers and debut authors, by providing a forum in which to ask questions and network with other writers. I always pictured them as safe havens of sorts—places where advice could be found, network opportunities abound, and anew writer could find support and encouragement along the way.
So why is it that so many writers’ groups (especially the “big,prestigious ones”) actually put up barriers and hurdles for the newly published author—do they think we haven’t encountered enough roadblocks already?
I am especially peeved about the elitist attitude several of these “big groups” maintain (who shall remain nameless—but I’m pretty sure they know who they are). Among their membership there is a nearly constant cry of “foul” against the large publishing houses and overly-bloated literary agents because of their exclusionary attitudes and reluctance to give new talent a chance to flourish. Yet, these same writers’ groups erect unanticipated and unwarranted barriers themselves against new authors who are just trying to get themselves and their work “out there.”
Recently, I tried to join a couple of these writers’ groups,feeling relieved and ecstatic that, at long last, as a “published author” I had finally earned my stripes. However, I was quickly chastised when I applied “for the wrong type of membership.” Apparently, although I am technically a “debut author” published by a traditional publisher, my publisher was not one of “their”recognized publishers. I was not entitled to have my book posted or promoted on their website as a debut novel,nor was I entitled to membership as a “published author” because my publisher was not recognized as legitimate.
Give me a freakin' break.
Not recognized as legitimate?
Why? Simply because they don’t meet the groups exclusionary and arbitrary criteria.
My publisher, Wild Wolf Publishing is based out of the
Yet, upon application, they were turned down—twice—since they did not meet the criteria established by the particular writers’ group to become an “accepted publisher." And so, the author suffers. The author becomes a second-class member, paying higher fees for a second-rate membership and, by association with an “unrecognized publisher,” is not considered worthy of any kind of honor, recognition or promotion.
What a certified load of crap.
Another big-named and “prestigious” writers’ group insisted I was not entitled to a membership status that recognized the fact I was a published author because I didn’t make enough money on my book. Apparently, since I did not get paid an advance and my book did not earn enough in sales (by their standards), I was not entitled to be placed in the ranks of a legitimate and recognized “published author.” Again, I would have to settle for a second-class (and more expensive) membership because, in their eyes, the fact that I had published a book (even one that's gotten some excellent reviews) wasn’t worth diddly-squat.
Makes me want to puke.
Don't get me wrong—not all writers' groups are created equal, and there are many out there (especially the smaller, local ones) that are extremely supportive of new writers and the debut authors. Kudos to them for all the good work that they do, the encouragement and advice they deliver by the truck-loads! But this post refers instead to those "other" groups out there (and, as I said, I refer to mainly the larger ones who may have grown too big for their own good), whose supportive endeavors are being increasingly overshadowed by their elitist attitudes.
These self-proclaimed beacons of the industry, these champions of the author, these bastions of quality literature in a literary world that favors cookie-cutter paperbacks and name recognition over new talent, have sold out to the same elitist mentality which has drained the life out of so many aspiring writers. They have turned into Chumps.
And as I slam my nose into yet another closed door, I have to wonder what the future holds for the new author. I was inspired by the growing “grass roots” emergence of micro-presses and small publishers, believing them to be the eventual salvation of an industry riddled with pigeonholes and seemingly blinded to new talent. But if these small presses must wear the scarlet letter of illegitimacy since, by their very nature, they are not big money-makers, that small wellspring of hope will quickly run dry. When a new author who has sufficient talent to actually get published in this difficult environment, is quickly rebuffed for failing to earn sufficient royalties, it pisses me off. It’s a classic “Catch 22”—the writers’ organizations that hold the key to fast-track promotion, recognition, awards nomination, and overall validation are penalizing the new author who is struggling to find bona-fide avenues of promotion, recognition, awards nomination and overall validation.
I’m sure the members and powers that be who run these groups can cite reasons upon reasons to justify their right to exclusion, and some of them may even make sense. But that doesn’t make it right—not by a long shot. It’s like being trapped in a house of mirrors, where each mirror claims to be different, but offers only a reflection of the others.
FOR FREE OR NOT FOR FREE, THAT IS THE QUESTION
Okay, I know I promised this blog post last week, but sometimes life gets in the way. Better late than never, though—right?
Anyway, the idea for this topic came to me after a post that I put on one of the Writer’s Boards earned me an embittered “tongue lashing” by a few fellow writers. Writer's Boards can be brutal at times, even though (I thought) their primary purpose is to offer mutual support, encouragment and amicable networking opportunities. Just me being naive again, I guess.
Here's the gist of what happened: My editor and friend, Catherine Rudy, runs a very small independent publishing house called “Wolf Pirate Publishing.” Catherine is one of the most gracious, philanthropic, and munificent people I’ve ever met. She shares her time and considerable talent generously with others and has a genuine love of literature. She has a quick wit and a somewhat sardonic perspective on life, and her skills as an editor are, in my opinion, unmatched. Like many small publishers, her business has floundered amid the crashing waves of economic turmoil. Still, her passion for literature and her desire to promote talented writers and their work, has not waned. Although her publishing endeavors have fallen a tad short (or perhaps because of that fact), she has decided to defy the odds and undertake a very unique venture called “The Wolf Pirate Project.”
In brief, the Wolf Pirate Project offers authors of contemporary literature a real opportunity to sharpen their skills, polish their work and perfect their craft while providing writers and readers a unique forum by which to connect and interact. The idea for the Project (a non-profit endeavor) arose from Catherine's genuine desire to encourage literacy and bring readers and writers together in an appreciation of literature as a worthy form of art. The Project hopes to accomplish this goal in part through creative writing courses and through its writer’s workshop (the latter designed to take talented writers through the entire pre-publication editing process—this is the workshop that shaped TURN OF THE SENTRY into a publishable novel). The Project seeks to encourage reading skills and help to promote reading as a viable form of entertainment in a society that has largely lost touch with the simple pleasure of a good novel. A love of reading develops early in life, and consequently, the Project seeks to focus on young (middle grade) readers, helping to foster a genuine passion for reading by providing material that will inspire and engage them, rather than bore them to tears. Towards that end, the Project is developing a reading text book which will (hopefully) be used by middle grade students and young adults.
Which (finally) brings me to the point of this blog post. Catherine is seeking submissions for inclusion in the textbook. She is looking well-written short stories of all genres. The catch, however, is this: since this Project is a nonprofit (charitable) endeavor that is just now being launched, there is no money available to contributing authors. In fact, Catherine is operating at a loss in order to get this project up and running, shelling out a good deal of money from her own pocket to see it through. Many people find this incredibly hard to believe (i.e that someone would care enough about a charitable project that they’d be willing to lose money on the deal) and when I posted a request for submissions, explaining that this is a non-paying project (although the author would get full credit for the story, retain all rights, and hopefully receive some positive exposure), Catherine (and yours truly by association) got blatantly accused of “taking advantage” of talented writers by refusing to pay them for the work that they do. Some of the comments got downright nasty.
Hmmmm….interesting. Apparently some writers don’t feel that they should contribute their writing—the sweat of their brow, their product, their primary source of bread-and-butter—for “free,” nor did they believe Catherine and The Wolf Pirate Project are on the up and up, suggesting that perhaps they are hiding buckets of money in the back room, looking only for slave labor that they can later cash in on.
It’s natural that people, writers included, want to get paid for the work that they do. Hell, I do. Writing is often hard and tedious work. It's my craft, my trade, my vocaton—of course I hope to earn money doing it. But aren’t there times when a writer should consider contributing their talent towards a worthy cause without the expectation of monetary compensation? Isn’t it, to some degree, our responsibility to do so?
I was a lawyer for 17 very long years before retiring to pursue my more peaceful existence as a writer. For two of the states in which I was licensed, it was a requirement for every attorney to log in a certain number of “pro bono” hours—that is free legal representation purportedly for the good of society. In the state where it wasn't a requirement, it was a very strong suggestion. In
Alas, I’m afraid that many in our society have a bit of selfish streak that prevents them from engaging in this kind of overt "sharing and caring." At the risk of sounding like my mother, I see a lot of the "what's in it for me" mentality reflected in our younger generation. I’m not even talking about our teens and preteens so much as I talking about the 20-30 something crowd. And I've seen it among my colleagues to an alarming degree. Maybe I’m not looking in the right places or meeting the right people, but as a "for instance," 9 times out of 10, when I talk about the mission work that I do with my church (i.e. spending my own time and money to fly to Louisiana to help strangers rebuild their houses, or spending a Friday afternoon serving lunch to homeless people in my area), I get the most puzzled looks along with some version of the question, “what do you get out of it?” Not everybody, mind you—some people get it. But many do not. And it is this same attitude that causes some writers to go ape-shit on me when I suggest that they actually submit one of their stories for use by a nonprofit project without getting paid.
Maybe I’m totally wrong. Maybe every author should demand top-dollar payment for each and every quality piece of writing they produce. Maybe, as some of my critics have pointed out, it is attitudes like mine that keep writers trapped in the cycle of slave labor, where they routinely don’t get paid nearly enough for the work they produce. Maybe I’m just too naive and altruistic for my own good, and it is people like me that are perpetuating the problems so prevalent in the literary industry and perhaps even society as a whole.
Or maybe not.
I don’t know.
But I do know that I have never woken up at 3 a.m. unable to sleep worried that I’d given too much away “for free;” to the contrary, I wake up wondering if I've done enough. Money, in my view, offers only a fleeting illusion of security and while it may be a necessary commodity to live in this world, there is oh, so much more to this life than the “almighty dollar.” And if I resign to only give of myself—my time, my talents, my writing—only in exchange for a few pieces of green paper….well, that’s what I really consider “slave labor.”
That's my story, and I'm sticking to it.
A.M. Boyle
P.S. I apologize if this Blog post is “too long” for your taste (yes, I have been criticized for that as well), but writing is my most comfortable mode of communication, and I wasn’t aware of any regulations limiting the number of words I choose to use to express my opinions. Thank you for sticking with me, though—I hope it was worth the extra cup of coffee.
PSS: If you want to read more about The Wolf Pirate Project, and explore the workshops and creative writing offerings that are available, visit their website at http://wolf-pirate.com/
Insanity--The Character(s) of a Writer
Let me start this post with a disclaimer. Everything in here is just opinion. More specifically, it is my opinion as it pertains to writers of fiction, such as myself. None of this is based on science, statistics or medical evidence of any kind. Nor is any of this meant to apply to that rare and admirable breed of writer who takes on the challenge of non-fiction. So, all that being said, feel free to read on.
The other day, I posted a quote on my Facebook status that read, “
The Literary Agent: Who is that Person Behind the Curtain?
But exactly who is this person anyway? What lies beneath the perceived mystique of the Literary Agent?
Most people know the story of the Wizard of Oz.. If you've ever seen the movie, you're sure to remember the moment when "the great and powerful Oz," all fire and flash, was unmasked by little Toto, who tugged on the curtain and eventually exposed a feeble, uninspiring old man who was anything but powerful, and certainly not all that great.
Do you see where I'm going here?
Okay, at the risk of incurring the wrath of any literary agents who happen to stumble upon my blog, let me clarify. I'm not saying that all agents are feeble old men with little power or influence. To the contrary, some of them carry a great deal of weight within the literary community and are masters at finding and placing good novels. But many of them are not nearly the semi-supernatural entities writers often believe them to be. In fact, some of them probably border on incompetent, and more than a few are thinly-veiled scam artists. In my humble opinion, this disturbing state of affairs is due in large part to the lack of rules or regulations governing who can or can't be a literary agent.
Many moons ago, when I decided to become an attorney, I had to go through 4 years of college, 3 years of law school and pass several rigorous exams in order to obtain a license for any state where I wanted to practice. I had to partake in continuing legal education, and had to adhere to the rigid standards of each state's bar association. All this was for the protection of potential clients. When my brother decided to become a research doctor, he had to go through countless years of post-graduate education and training and had to prove himself to the appropriate boards in order to qualify for various research positions. When my friend decided to become a real estate agent, she had to take a designated number of courses and pass a challenging exam in order to obtain her license. When I decided to become a literary agent several years ago, I had to...well...I had to basically do nothing. There were no tests, or classes, or licensing procedures. There was no minimum required education. Basically all I had to do was proclaim myself a literary agent. Was I qualified? Maybe. I could read; I could write; I carried a bachelor's degree and a post-graduate degree (in law); I knew the basics of grammar, structure, spelling, punctuation, etc. (although my editor may beg to differ); I could distinguish a good story from a bad one; I trained with a practicing agent for a year or so, through which I made some connections with editors in the NY publishing houses...but as far as industry qualifications and required licensing? Well, there are none.
Shocked? I was.
When I finished my manuscript for TURN OF THE SENTRY, and began my quest to find a literary agent, I just assumed that if a literary agent was listed in a manual or included on a website, then they must have passed through some rigorous training to get there. After all, that's true for nearly every other profession, right? A dentist isn't listed on the American Dental Association's site unless he has a degree in dentistry; a plumber isn't included on the list for the Professional Plumber's Association unless he is appropriately licensed; a teacher can't get a job teaching my kids unless she has the relevant education and certifications. So it made sense to assume that, in order to hold oneself out as literary agent, there must be some sort of licensing, training, or other standards which must be met. Ah, but in the immortal words of Felix Unger in one of my favorite "Odd Couple" episodes, "...don't ever assume, because when you assume you make an "ass" out of "u" and "me."
It is a sad and scary reality that there are no education requirements, no licensing requirements, no training requirements, no internship requirements, no clearly defined standards whatsoever, for someone wishing to become a literary agent. Basically, anybody can proclaim to the world that they are a literary agent, and *poof* they are a literary agent. Why is this? How is it that the person so revered bywriters as the gatekeeper of the industry doesn't have to show they arequalified to serve as gatekeeper? True, there are watchdog groupsout there who try to keep an eye on unscrupulous agents and try to warn thegeneral writing population that just because someone claims to be aliterary agent doesn't mean they are any good at it. Some writers heedthose warnings, but so many others, through desperation, often fall prey to deception.
Granted, the industry, by necessity, has it's own inherent checks and balances—for instance, if I say I am a literary agent, but have no inroads to publishing houses or connections with editors, I will be hard-pressed to sell anything. And if I don't sell anything, I won't make money. But that doesn't stop many agent wannabe's from trying and, in fact, many publishing houses are more than willing to give a "new" agent a shot by at least taking a look at a manuscript or two. This may give the anxious writer the illusion that the agent is "well-established" in the industry. Still, many so-called agents will solve the dilemma of money by charging up-front fees (i.e. reading fees, editing fees, etc.), and although the watchdogs out there warn writers off any agent who charges fees for any reason, many writers, out of desperation, ignore those warnings and, unfortunately, pay a great deal of money for false hope. There are civil claims a writer can make against the more unscrupulous agents, if and when they get caught. Still, not every inexperienced or newbie agent is necessarily out to screw the unsuspecting writer. To the contrary, many have very good intentions. But, good intentions aside, their lack of experience and practical training may cause more harm than good and may result in nothing but disillusionment and disappointment for both writer and agent. I can say this because I was admittedly in that boat.
I worked for a small literary agency for a year or so. I came to the agency as a client, but one thing led to another and I became an assistant, helping them wade through the river of query letters, and "learning the business" along the way. At first, I just reviewed query letters, picking the good from the bad. If the concept of the story sounded intriguing, chapters were requested. After a while, I began reviewing those, too. During my "training," I would review the chapter(s) already decided upon by those more knowledgable than I, and my mentor would then instruct me as to what I got right, and what I missed. This is how I learned what to look for and what to avoid. After a while of this, I started to get the hang of it, and began reviewing chapters on my own, deciding if they merited further consideration or not. But this "training" was based on the assumption (there's that word again!) that my mentor actually knew what he was doing to begin with. After all, if you do not know math, and someone repeatedly tells you 2 plus 2 equals 5, you will believe it, but it will still be wrong. I'm not saying my mentor was necessarily wrong in what he taught me to look for, but tastes in literature are very subjective. While there are certain elements of writing that are objective (grammatical rules, sentence structure, point of view, etc.), what a particular person finds intriguing or appealing is often more of a subjective matter of style and taste than an objective application of the rules. Nonetheless, on the basis of this brief and limited "training" I was elevated to the status of Assistant Literary Agent.
After a while, my mentor and I had a bit of a falling out, and I struck out on my own. I told a very limited number of writers (mostly personal acquaintances) that I was going to try my hand at Agenting and that I was willing to accept a limited number of clients on a trial basis. Well, this quiet message to a few select people somehow got whisked away on an audible breeze, because in a matter of months, I had over 100 query letters and at least 50 manuscripts (unsolicited)! These writers didn't know me from Adam. I had not advertised on the internet, nor was I listed on "AgentQuery.com," or any other site. Yet they were trusting me with their manuscripts, and letters and packages magically appeared on my doorstep. I quickly realized that I was in way over my head; after all, my connections in the publishing world were very limited at best, and I felt like I was only giving these anxious writers false hope. I shut down my "practice" as a literary agent and retained only one client (who is also a good friend). And yes, I was successful in placing his book with a publisher—more dumb luck than skill, I'm afraid.
So what is my point in all this? I guess it's really an extrapolation of the old phrase, "Buyer Beware." I was not aware until I became an agent myself that there are no licensing requirements or other qualifications which must be met in order to call yourself a literary agent. I would guess that many writers out there aren't aware of that either. In truth, writers will often cling desperately to the first agent who shows an interest in their manuscript without giving much thought as to whether that agent is qualified to represent their work. Not to say that my agent was not qualified, but his expertise was not in the science fiction, horror or fantasy field. My book went out to a short list of potential editors, after which I was told that it was not salable and I should shelf it and begin working on my next one. It was a frustrating experience for both of us. Turns out that TURN OF THE SENTRY was salable—it just took more time than he was willing to give, and different connections then he had. I learned the hard way that agents have no mystical powers; just because an agent accepts your manuscript doesn't necessarily mean he or she is a good match for your book or that it will even come close to selling. When I was serving my time as a literary agent, I wasalways upfront with potential clients about my lack of experience andmy newness to the profession. Other wannabe agents may not be so honest
For those of you who care, my advice is simple. On that glorious day when an agent actually offers representation, don't break out the champagne right away. Check out the agents credentials. Any agent who is worth your time should not take offense to an inquiry as to his/her experience, previous sales, and track record. Find out how many years they have been an agent, and what, if anything, they did before that. Was it related to literature, or was there no connection whatsoever. If the agent is "fresh out of college," ask about his/her course of study—i.e. did they major in mathematics or English literature? After all, would you send your child to a daycare without first checking the credentials and experience of that daycare? In effect, for many writers, their manuscripts are their babies—why would you want to put your baby in the hands of someone not qualified to handle it? Take a hard look at the agent's past sales, and see what types of books they have been representing—see if they match the style/genre of your manuscript. Check out the publishing houses/editors whom they've been selling to. Are they houses you are interested in? Are they houses that publish the kind of book you have written?
If any literary agent balks at these simple requests, red flags should be flying all over the place.
Finally, be very, very wary of any agent who charges fees for anything,especially any kind of reading or editing fees. Be extremely cautiousof any agent who refers you to an outside source for editing,especially if that outside source is going to charge you money.
I know first hand how tempting it is to disregard these "minor" details and grab hold of an agent with both hands, grateful to have one, regardless of their experience or specialization. This will do you no good, and will probably result in bitter disappointment.
Just remember, there are no regulations and licensing requirements in place to protect your interests when looking for a literary agent. You have to protect your own interests. Don't depend on Toto to come tugging on the curtain—do it yourself.
