Tips for Writers

Get motivated

I could lose all my worldly possessions and be sad for a while. Then I'd rebuild my life, buy new furniture and move on. What if I lost a dozen chapters from the new book I was writing? Shoot me on the spot, please! Outside family, friends and health, my intellectual property is most important to me. It's my creation; my baby. Don't think I'm crazy. I know you'd go nuts if someone took the only copy of your short story and torched it. So how do we prevent disaster? How do we save our electronic property from digital death? The answer is simple: back up your stuff.

The process is easy if you can remember this one tiny rule: back up your files on a regular basis. I suggest you do incremental backups once a day (i.e. only the stuff you change) and full backups once a week, a month at most.

Get organized

Before you start, make sure you're organized. I suggest placing all your data files under one folder on your hard drive and labeling it appropriately (e.g. "My Documents"). That way, you can copy the entire folder and its contents to a backup drive or burn it to CD. I have a single data folder with subfolders, one for each writing project, on my computer. In each subfolder, I store all the Microsoft® Word documents pertaining to that project. That's it. Keep things simple.



Get to it

Once you've organized your electronic goodies, you're ready to back them up. You can:

• Copy the files to another directory on your hard drive (but this won't help you if your drive crashes).


• Burn your files to CD/DVD (I suggest rewritable media).


• Copy the files to a USB jump (flash) drive, external hard drive or another computer on your network.


• Transfer the files via FTP to your own website or a server you have access to over the Internet.


• E-mail a copy to yourself using a web-based e-mail account like Yahoo Mail.

Remember:

• Organize your documents and folders under one location on your hard drive so you can easily back them up.


• Use a compression utility like WinZip to shrink your files for portability.


• Back up changed files on a daily basis and copy them to a jump drive or e-mail them to yourself using a Web-based mail account like Gmail.


• Back up your entire collection of files once a week (a month at the most) to a storage device like an external hard drive or DVD.

WESP - What is it?

Everywhere you look, there's an acronym for something: TAG (Technical Advisory Group), LOL (laugh out loud), GMAB (give me a break). They shorten up groups of words into easy-to-remember, easy-to-pronounce abbreviations. Why not add one more to help us remember the steps it takes to go from inception to publication on a writing project? For that, I use WESP (Writing, Editing, Selling, Promoting). Think of WESP as a 4-step process:

• Writing. Draft your manuscript.


• Editing. Edit/rewrite your work.


• Selling. Find an agent, then a publisher.


• Promoting. Market your work and yourself.

I've applied WESP to all phases of my new novel, Pardon the Mess. Here's how you can too.



Step 1. Writing.

If you've got an idea for a short story or novel, you need to write it to completion. Proper planning and execution will yield a better product. Here are some recommendations to help you reach the finish line.

• Research. If you're going to write about an astrophysicist and his search for the perfect anti-matter containment system, study the subject. Bestselling author Jodi Picoult actually visited inmates at a prison to research the characters for her book, Change of Heart. If you want realism in your story, do your homework. Then I'll believe your astrophysicist knows what he's doing.


• Outline. This is optional, but I prefer to map out where I'm headed in a story, at least at the 50,000-foot level. If nothing else, flesh out your characters, major plot points, central crisis and resolution to that crisis. You can storyboard your novel by starting with the big-story concepts and drill down to the scenes (e.g. John finds the bloodied knife in the alley. He gives it to a copy buddy over at Forensics. John is followed home, but he evades his pursuer). If you want to try an alternate approach, use a beat sheet that screenwriters employ to outline their movie scripts.


• Draft. In the end, you need to put your words down on paper (or into a word processing document). Try to write at least something every day, even if you are tired from work and have to make dinner for the kids. If possible, create a schedule to work on your story (in the mornings before the gym, at night after the kids are asleep, on the weekends at your favorite coffee shop, et al.). Keep going. Every step, like walking to a supermarket on the other side of town, leads you closer to the finish line. Don't worry about editing or making things perfect. Let the words flow. Eventually, you'll reach your destination.

Step 2. Editing.

If writing is like having a party, editing is cleaning up the next morning. Let's face it: we hate chores. We'd rather have a housekeeper take care of things. But the reality is, unless you're a millionaire or have a professional assistant, it's up to you to scrub the floors and wash the dishes. Luckily, there's an orderly way to spiffy things up.

• Self-edit. Once you've written your first draft, pat yourself on the back. Then get to work. Edit ruthlessly. Rewrite scenes, if needed. Trim the fat by cutting out any line, paragraph or scene that doesn't contribute to the plot. Tighten and naturalize your dialogue. Go over your draft repeatedly until you feel you've edited it to completion. Then put it away for a while and approach it again with fresh eyes.


• Hire a professional. I'm not talking about a hit man; I'm referral to a professional editor. Believe me: you don't want to give an agent your manuscript until a pro has edited the hell out of it. Find someone who edits with an eye toward marketability. Sure, it's great if your editor looks for misspellings and validates word connotation, but you also want someone who will help you make your product salable. You can find editors online or at the back of writing magazines, but the best way to find the right person is via word of mouth. Talk to people; ask for recommendations. Then you can decide if the price is right. If it costs a couple months' rent, so be it. A good professional is worth every penny.


• Use references to help you out. Want to know whether to capitalize the word heaven or put one or two spaces after a period? What about learning how to write better dialog? You need resources, my friend; and there are plenty out there. I have three essentials: an electronic dictionary/thesaurus installed onto my computer (Microsoft® Encarta); a comprehensive guide for editing (The Chicago Manual of Style from the University of Chicago Press); and a how-to book for fiction-writing techniques and mechanics (Self-Editing For Fiction Writers by Renni Browne and Dave King). If you're a screenwriter, get yourself Save the Cat! by Blake Synder. Even if you're not a screenwriter, this book can help you outline your story using the same principals applied to writing blockbusters for the big screen.


• Format your manuscript. If you want to be taken seriously, represent yourself and your work seriously. When it comes to your manuscript, use industry-standard formatting guidelines: 8 ½ x 11-inch white bond paper, 1-inch margins, double-spaced paragraphs, 12-point Times New Roman or Courier font, ragged-right paragraph justification, asterisks between scene breaks, double-dashes instead of em-dashes, underlines instead of italicized text, and a cover page with word count, title, name and contact information. If you want specifics, look it up online. There are tons of sites that explain the formatting in more detail and provide illustrations.

Step 3. Selling.

Now that the chores are done, it's time to become a salesperson. We'd love to live in a bubble as writers and wish for literary agents to bang down our doors to represent us. Unfortunately, agents are so overwhelmed with solicitations, they don't have time to seek out talent. That's where you come in. But it ain't over once you sign a contract with an agent. The bull's eye you're really aiming for is a publishing contract. How do you get there? Like everything else, there's a process.

• Identify your market. Before you knock on anyone's door, you better know two things: the genre of your work and your target audience. There's no "well, I really can't categorize my novel; it's too complicated." No such thing. If it's a character-driven story about a grocery man and how he overcomes the loss of his true love, it's literary fiction. If it's about an alien invasion, it's science fiction. Know which market your work belongs to. As for audience, are you targeting hip urbanites with your tech-noir thriller, or fifty-plus retirees with your guide to living life richly on a fixed income? You need to figure out who would buy your book. An agent sure as heck needs to when pitching to a publisher.


• Arm yourself with the right submission materials. Would you go to a job interview without a resume in hand? Probably not. Do the same when soliciting an agent. Always research what an agent is looking for in terms of submission materials before sending anything. Of course, you need to make sure the agent represents your genre. There are several excellent resources to consider: Writer's Market (by Writer's Digest Books), WritersMarket.com, and Jeff Herman's Guide to Book Publishers, Editors & Literary Agents (Three Dog Press). Are you ready to solicit an agent now? Not yet. You need the following submission materials at your disposal:
  
  
  
  • Biography. Prepare a paragraph or two about yourself that describes who you are as a writer. Even if you're unpublished, put down anything you've done at work or for your community that involves writing.
  
  
  • Writer's Resume. It's like a work resume, but slanted toward your craft. Put in any experience, publishing credits and education linked to your writing.
  
  
  • Book proposal (for non-fiction work). If you're writing non-fiction, an agent will want to see a book proposal before you pen a single word of your manuscript. Unlike fiction, where a complete manuscript is required before you solicit an agent, your primary selling tool as a non-fiction author is your book proposal. Think of it as a business plan. Pick up a how-to guide to learn how to put together a killer proposal and format it properly.
  
  
  • Synopsis (for fiction). You should arm yourself with two synopses: a short version that summarizes your novel so it fits on a single page, and a longer version that runs 3-5 pages. Make your synopsis salesy, as if you're trying to get moviegoers to see your movie. Always, always, always bring the conflict of your story to the fore, and always, always, always provide the resolution to that conflict. Never leave the agent hanging. She doesn't want to hear, "Well, the ending is a surprise." The agent will tell you take a hike if you hide the ending. So don't.
  
  
  • Query letter. Or should we call it the "dreaded" query letter? Make your letter one page. The first paragraph states the title, word count and genre. A comparison to two popular, similar works of fiction helps. If you can compare your book to something the agent has sold, you get brownie points. The second paragraph is your sales pitch. Pretend the head of Warner Brothers is listening in. Wow the agent. Don't forget to mention the central crisis of the story. After all, that's what we're interested in as readers. Unlike the synopsis, you don't have to thrown in the ending to your story. Hook the agent's interest by building up the conflict. The third paragraph is about you as a writer and any publishing credits you have. If you're unpublished, refrain from saying it. You don't want to hurt your chances at representation. The last paragraph thanks the agent for her consideration. Then state, "I look forward to your response," and leave it at that. My last tip is the salutation. You should write, "Dear Mr. Jones" or "Dear Robert," not "Dear Agent," "Dear Madam" or "Dear Mrs. Winterbourne" when you're not sure if she's single or married. When in doubt, use the first name. That's what I do.
  
  
  • Pitch cheat sheet. If you plan on attending a writers conference (which I highly recommend) where agents will be present to receive solicitations, prepare a verbalized form of the pitch from your query letter. The first part of your pitch is like your letter's first paragraph: title, genre and word count. Then do your elevator pitch. Super agent Donald Maas recommends a one-paragraph pitch. At the last conference I attended, I had three minutes to sell my book idea to an agent. Trust me on this: keep your pitch to under a hundred words. You want to whet the agent's appetite. Let him ask you for more information rather than stuff it down his throat. If he's interested, he'll ask you to contact him and/or submit materials (like the first chapter of your book).
  
  
  • Chapter excerpt(s). Some agents ask for a sample chapter (or chapters). Have one or more ready to go and properly formatted. Even if an agent doesn't ask for a chapter, it doesn't hurt to have 10 sample pages ready to accompany your query letter. The worst they can do is toss it. But if they read your excerpt and want more, you've scored big time.
  
  
  
  


• Develop a platform. What's a platform? It's your credibility, clout, reputation, readership, following, network and fan base. Basically, everything you've cultivated so far that will help sell your work. This is especially important for aspiring non-fiction authors. Are you an expert in your field, have 5,000 bloggers who follow your column regularly, or speak at events for a living? All of these things are part of your platform. For fiction authors, your platform is developed over time (unless you're already famous or widely popular). What's important to consider is that this is the business side of you as a writer, and you must work tirelessly to create a strong foundation to build upon. It takes time to have a successful platform (years and many novels for fledgling authors like myself). Better get started now.


• Attend a writers conference. Want a great way to learn something valuable about your craft and get face-to-face with a literary agent? Attend a writers conference! Research conferences within driving distance first. The larger ones, like Book Expo America, are definitely worth the road trip if you've got a game plan. By that, I mean you've finished your novel (if you're offering fiction) or book proposal (if you're offering non-fiction) and have an elevator pitch ready to go (see the bullet, "Pitch cheat sheet," above). If you're seeking representation, and the literary agents attending work with your genre or field, book the conference. (You can always use the registration fee as a tax write-off. ) An agent might give you 3-5 minutes. That's a heck of a lot longer than if she were to read your query letter and decide your fate as a client. An interested agent at a conference will most likely ask you to contact her. Then you can tailor your query letter to remind her about the conference. Your chances for a thumbs up are a lot higher than soliciting her outright.


• Select the right agent. You can reject an agent just the same as he rejects you. Do your research. Make sure an agent is the right fit for you. Consider the following factors: his enthusiasm; personality in the way he deals with you; attentiveness; commitment to your project. Then, if offered representation, decide whether to sign the contract or pass. It's up to you.


• Landing the deal. The same care given to selecting an agent should be given to a publishing house. Of course, being offered a book deal will most likely cause you to reach for the bubbly in celebration. But take pause. Study the offer. Work with your agent to negotiate the best deal for you as an author, such as your royalty advance and number of free copies of your book you will receive. The devil is in the details. Pay attention, and you will come out ahead.

Step 4. Promoting.

Are you exhausted climbing the mountain? Well don't think you've reached the peak yet. Publication is the first step in an important journey. Consider getting published as a train stop while taking the Amtrak from New York to L.A. Remember my point about developing your platform? It's a foundation upon which you build your writing career. Bestsellers are rarely born out the gate. Readership and fan base take time to amass, and book sales will most likely increase over time as you go station to station on your train. Fledgling writers must take off their rose-colored goggles and face the reality of modern times: if you want to succeed, you can't rely on the publishing house to propel you to stardom; you have to propel yourself. Here are some things to consider:

• Create a website. Unless you're living under a rock, you've surfed the web and visited the websites of one or more of your favorite authors. If they can have a site to represent their work, you need to have one too. A website is a necessary point of presence in today's global economy. If you don't have the skills to build your own, you have choices: hire a professional; get a friend or colleague to help you; sign up with a service that allows non-techies to put a webpage together (like Squidoo!). I constructed my own website using essential elements geared toward self-promotion. A website should contain at least a homepage that says what the site is about (and who it's about). Supporting pages are a plus. Here are the main subdivisions of a website that I believe are most important for a writer:
  
  
  
  • Homepage. This is the first page a surfer sees when visiting your website. She has a few seconds to decide whether to stay or go. Make her want to stay. How? Highlight your book; include pictures of you and your book cover; add links to other pages on your site; provide up-to-date news about what's going on with you. The best pages give the viewer everything she needs without the need to scroll (excluding this lens, of course!). Use an easy-to-read font and palatable background color or image. When in doubt, go with a white background and use black or gray text.
  
  
  • Biography. If your readers were to scan the back flap or cover of your book, what would they learn about you? Write a paragraph or two that says who you are and your history as a writer. Then throw in a mug shot to put a face to that famous name of yours.
  
  
  • Your writing. Add information about your books, poems, short stories, articles-basically anything noteworthy you've written and want to showcase. I have blurbs about my novels, a sample chapter from my new book and full-length short stories available for download. Heck, I even threw in some graphics for fun. Have a blast and put your creativity to work by highlighting your masterpieces.
  
  
  • Blog. Keep readers up to date on your fantastic doings and thoughts. A blog is essential. If I want to know what bestselling author Neil Gaiman is doing, I go to his blog on his website. If you use an external site for blogging, like Blogger.com, put a link to that page on your site. If you want to be real creative, add an RSS link for syndication so visitors can be alerted anytime you post something new. Most sites already include these links, so there isn't anything to do but watch the stat counter increment as your readership skyrockets.
  
  
  • Purchase information. Unless you're giving your stories away, you're in the business to make money. Put a link to Amazon.com or wherever so someone can buy your book online. You can even pretty up a page to provide the purchase info.
  
  
  • Contact information. Want fan mail? Post your e-mail or snail mail address. HOWEVER, don't give out any personal or contact information you wouldn't want a stranger to see or use. Remember, the Web is open to the world. Be careful!
  
  
  
  


• Market yourself. Don't sit idly and hope your publisher turns you into a bestselling author. You need to network, put your name out there, promote yourself. There are several ways to do this: work with booksellers and retail outlets to schedule book signings; blog and post to forums that correlate to your subject matter; get on the local news or radio station as a neighborhood author; hire a publicist to promote your book; write and distribute your own press release; link to other websites pertinent to your subject, and ask for them to link to yours in return; get fellow authors to provide testimonials you can post to your website to build up endorsements. Sites like PRWebDirect.com and PublicityHound.com can help on the publicity side.


• Cooperate with your publisher. You need to consider your publisher as your business partner. If you help your partner, your partner will do the same. Find out what is acceptable in terms of promoting yourself. Can you hire a publicist and engage in your own marketing campaign? Are you allowed to book your own signings? Don't overstep the bounds stipulated in your contract. Find out the dos and don'ts as you transform into a self-promoting machine.

WESP is the way to go!

Use WESP to create a roadmap for your writing career. Like any career path, writing requires structure for success and a devotion to your art. Work alongside your editor, agent and publisher, not against them. Stay on schedule. Meet or beat deadlines. Don't badger your agent, asking for the tenth time if she's working on selling your book. Be positive and develop a thick skin to handle rejections. And above all, never lose sight of your goals. If you want to become a bestselling author, you need to write great prose using proper techniques and form; you need to develop your platform to build up your fan base and traction in the market; and you need to set reasonable expectations of yourself and your progress. Bestsellers rarely rise to meteoric heights from a debut book. It takes time. If you're willing to put yourself to the test, you have what it takes to make it. I hope you do.

Write better fiction

Just because a book is in print, doesn't mean it was written properly. I've seen novels where the hero "barked" at a fellow character. Last I checked, the protagonist wasn't a dog. Good mechanics in dialog, like every other part of your story, are necessary to separate ourselves from the amateurs. Consider the following: "I'm doing great," he smiled. What's wrong with that sentence? The "he smiled" part! People "say" or "ask" when they speak, not "smile" or "cough." If the author would have used good form, he would have written the line in one of two ways: 1) "I'm doing great," he said, smiling; or 2) He smiled. "I'm doing great." See the difference? Let's delve into the most important techniques to help you improve the way you write fiction.

• Show, don't tell. There's a difference between narrative summary and action in a story. Narrative summary summarizes a scene; action brings it to life. Consider the following line: Joe explained to Mike that he was having a crappy day. That's fine and dandy, but I'd rather hear it from Joe himself: "Mike, you know what happened to me at the cleaners?" Joe asked. "They lost my shirt! Can you believe that?" See the difference? Use narrative summary sparingly, such as retelling a scene that would be repetitive if played out again, or providing back story to support a new chapter.


• Exposition. Don't over-explain to your audience. Consider the following line: Joe handed Mike the motherboard, which is the circuit board used to house the processing components of a computer. Do we need the explanation? No. It sticks out and slows the reader's pace. There are two choices in this case: let the reader figure out what a motherboard is or add supporting dialog that gives the reader a basic idea of what a motherboard is: Joe handed Mike the motherboard. "What do you want me to do with this?" Mike asked. "Could you install it in my computer for me? I'd really appreciate it."


• Point of view. Fiction can be written from one of three viewpoints: first person, third person or omniscient. In first person, we see the story through the eyes of the author, who plays the part of the main character. In third person, that point of view is made by the protagonist (and possibly other characters). Omniscient allows the thoughts of every character to be known to the reader. It's up to you which approach to take. But there is a golden rule: don't mix points of view in a scene when using first or third person. If you're using third-person perspective and you're telling the story from Joe's point of view, don't jump into Mike's head and tell the reader what Mike is thinking. If you want to do that, add a scene break and then continue the story from Mike's perspective. Demarcate viewpoints cleanly to keep the reader from becoming confused.


• Dialog and beats. Dialog in fiction should sound natural. It should be alternated with beats (bits of action) to pace a story properly. Some important considerations:
  
  
  
  • Tags. Tags are speaker attributes. "Said," "asked," "told," "replied" are valid tags (e.g "I'm waiting," Joe said). Avoid action-based tags, such as "smiled," "fumed," "barked" (e.g. "I'm waiting," Joe fumed.). Invalid tags interrupt a reader's momentum. If you want to indicate Joe's displeasure, you could do any of the following: 1) "I'm waiting," Joe said, fuming. 2) Joe fumed. "I'm waiting." 3) "I'm waiting!" Joe said. Another tip: add a tag at the first natural break in the dialog (e.g. "You know," Mark said, "I don't care for this sandwich." vs. "You know, I don't care for this sandwich," Mark said.). Last piece of advice: when adding a tag, put the person's name first, just as you would place the pronoun (e.g. "Let's go," Peter said. vs. "Let's go," said Peter.).
  
  
  • Avoid -ly adverbs. What's wrong with this line: "Stop it!" Kate said angrily. The "angrily" part! You can already tell Kate is angry by the context of the dialog without adding the adverb. Don't use modifiers for your tags unless they can't be conveyed through the dialog itself (e.g. "Please stop," Kate said softly.).
  
  
  • Use beats wisely. Pepper long stretches of dialog with snippets of action to remind the reader of the scene's setting. If your characters are conversing over dinner, having someone take a sip of wine before they speak, or mention what aromas are wafting throughout the dining room after a back-and-forth exchange between two guests. You can also use beats to slow the pace of a scene or heighten tension when the dialog is rapid. Don't provide too many details of a setting when adding beats. The reader can fill in the blanks if you say the coffee table is worn (rather than you explaining all the nicks and cracks).
  
  
  • Padding. What's wrong with this dialog exchange: "Joe, you see my cigarette lighter?" "What, the blue one?" "Yeah, the blue one." "Nope." You could have said the same thing in two lines: "Joe, you see my blue cigarette lighter?" "Nope." Don't pad your dialog. Keep it tight. If you add unnecessary chatter, you'll weaken your story.
  
  
  
  


• Active, not passive. Use active voice in your story. What's wrong with this line: The cat was chased by Adam. The author used passive voice! A better alternative is this: Adam chased the cat. Active voice makes the story flow smoother by making better use of word economy. Remember this rule of thumb: you need to say as much as you can with as few words as possible. If you use passive voice, you'll add extraneous wording and dilute your prose.


• Sentence structure and length. Use longer sentences to slow the pace of your story and shorter ones to speed it up. Avoid dangling participles: Sitting down on the couch, I grabbed my soda. This sentence is weak! A better way of putting it is: I sat down on the couch and grabbed my soda.


• Character introduction. When a new character comes onto the scene, refrain from telling the reader everything about her. We don't need to know she has a gambling addiction and a brother she resents right off the bat. We also don't need every bit of physical description to boot. Provide these details as the story unfolds. For example, if Joan has a mole on her cheek, you might wait until she's speaking to mention it: Joan picked at the mole on her cheek. "So, you think you could loan me a couple hundred? You know I'm good for it."


• Watch for repetition. If you've had a scene where your protagonist changed a flat tire, don't rehash the details when he tells another character about it. The character might not know what happened, but the reader does. Say something like this instead: Mark told John about changing his flat tire this morning. That one line of narrative probably replaced four lines of tedious dialogue. Another form of repetition is the use of the same word in close succession. If you have "vehicle" in one paragraph, don't put it in the next; use "car" instead. Repetition breaks the reader's momentum. The same goes for similar-sounding words (e.g. My car got carjacked).


• Keep your clichés. Consider this line: John realized his unemployment was putting him between a rock and a hard place. Oh really! Be creative. Don't tell us Mary is the "cream of the crop." Come up with a creative alternative.


• Trim the fat. Do you like it when the butcher hands you a steak with a big ole chunk of fat hanging off it? Probably not. Treat your readers like you want to be treated at the butcher shop. Don't give them bloated passages and wandering lines of dialog. Examine everything you write. Remember this rule: if it doesn't contribute to the plot, cut it out. I couldn't care less about the grass clippings in the neighbor's yard if it doesn't have anything to do with the story. The same goes with adding too much description. The reader is smarter than you think. They can picture the cobwebs in the corner when your protagonist enters the stale-smelling room with the dusty furniture. You don't have to describe everything to the nth degree, like the film covering the upholstery.


• Read your work aloud. The best way to evaluate your writing is to say it! I guarantee you'll pick up the funny-sounding sentences and dialog when you repeat what you've written out loud.

If you use the above techniques in your fiction, you'll create a story that reads like it was written by a professional. Now that you're aware of the mechanics, pick up a bestseller and see for yourself. Study the pros. Learn from them. Then practice. Your readers will appreciate it.