Sunday Funnies: Career in a Nutshell

I feel like this cartoon may have targeted my entire writing career.

(Thanks for hipping me to it, Cap'n Ron.)

Harper Lee on Surviving Being a Writer

From: http://wordpreneur.com/17271/harper-lee-on-writing-careers/

[Link] 5 Sites to Promote Your Book on a Shoestring Budget

by Elise Abram

When it comes to promoting your book, you have to spend money to make money.

How many of you have been told that?

The first time I heard it, my heart filled with desolation. I live in the real world where disposable income is as rare as the unicorn–in other words, it doesn’t exist. What chance do I have of being successful with my marketing endeavours without the coin to back it?

The answer is: I don’t know. My book is relatively new (just over a month old at the time of my writing this) and it’s really too soon to tell. Nevertheless, I thought I’d share some of the places I’ve found online that allow me to advertise my book for free. Here are the 5 sites that top my list so far.

Continue reading: http://indiewritersupport.com/profiles/blogs/5-sites-to-promote-your-book-on-a-shoestring-budget

[Link] The New World of Writing: Pulp Speed

by Dean Wesley Smith

I’ve mentioned this concept a number of times on my nightly blog and in the Topic of the Night little sections. But since Pulp Speed was almost impossible in the new traditional world, it belongs as a post in this series.

Not at all sure why this idea sort of hits me right. I think because it flies in the face of all the myths. A writer has to have all myths under control to even attempt this. So this post might just make you angry because it hits at belief systems I’m afraid.

The second reason I can’t shake this idea is because for all of my life I have idolized pulp writers. I used to study them and their lives. (And yet, even with all that knowledge, I still spent seven years in the rewriting to death trap. Go figure.)

Many, many of the great writers of the past that we still read and enjoy were pulp writers. And there are many pulp writers working today. More than you might imagine, even through the rough times of the last twenty years in traditional publishing.

Now, right here, before I get started, I’m going to repeat what I always say. No writer is the same as any other writer.

And most writers could never do what I am about to talk about.

Pulp Speed writing is a mind-set for writers who have cleared out damn never every myth and belief taught to them about writing by English teachers. A Pulp Speed writer loves to just tell stories, one right after another. So remember, no writer is the same as another writer. And if this hits you wrong, it might not be for you to even think about in any fashion.

But for others, this might just be the ticket to a bright new future, just to learn this is possible and happening.

Continue reading: http://www.deanwesleysmith.com/the-new-world-of-writing-pulp-speed/

Nugget #32 -- Professional Writing

One can write part time or full time professionally. 

One can write as a sole income or as a supplementary 

income. To call either merely "writing for fun" or "writing 
as a hobby" demeans the effort put into writing sellable 

product and the effort put into trying to sell it.

Nuggets #16 -- Coaxing Stories

Writing takes as long as it takes. Sometimes, stories spew out like a waterfall and I just hang on by my fingertips for the ride. Other times, they need to be coaxed and coddled and all but bribed or beaten out.

The Writer Will Take Your Questions Now #292 -- What is a writer?

What is a writer? What isn't?

(from a post on The Greenwich Set group)

Someone posed on a writers' group posed the question: What constitutes a writer? What are the qualifications?

Several people had commented, and some of the responses really smacked to me of the elitism that is so often prevalent among the writing set, so, of course, I simply HAD to comment.

I had this to say:

"The word 'writer' is a generic word, like dog. Within that word, one can be a boxer, a poodle or a terrier. Within the word "writer" one can be a journalist, a novelist, blogger, a nonfiction writer, etc.

"And even a scholar (there was a reference in one of the responses that a scholar who wrote about his subject matter wasn't a writer per se, but a scholar who used the tool of writing to get his points across) must learn to be a writer in order to communicate effective with the written (or typed) word.

"To be a writer is simply to be a communicator who uses the tool of the written or typed word. To apply any qualifiers to it that start taking that simple concept into snobbery or division is only revealing something about the person saying it, not about the act of being a writer in the first place.

"To say that someone who writes cereal box copy, fortune cookies, greeting cards, short stories, how-to books, etc. is not a writer is simply snobbery on the part of the one who holds that view. All of them work equally hard on the craft, learning different sets of tools for different outcomes and publishing options, and all must learn to be clear and concise and communicative.

In short, all must write.

"For me, I always use a clarification word before the word 'writer.' For example, by day I used to be a marcom and copy writer. On the side, I'm was also (and still am) a comic book and graphic novel writer, and a short story writer. But all of them are writers.

"What I do take issue with, however, are the people who hire ghostwriters for their books (most commonly done for so-called 'autobiographies' and business books and books by religious leaders, it seems) and them still have the audacity to refer to themselves as the writer. They are compilers, at best, instigating catalysts most typically."

Nugget #10 -- A Hard Break From Reality

Sometimes the thing we don't want to hear as creators is

that chasing our dreams can require a hard break from

what other people consider reality. It can mean stepping

out into the unknown to chase something that can't be

easily grasped, or something that can't provide

a regular paycheck or can't provide the kind

of security our parents sent us

to college to achieve.

[Link] The Difference Between Good Writers and Bad Writers

by Jeff Goins

The difference between good writers and bad writers has little to do with skill. It has to do with perseverance. Bad writers quit. Good writers keep going. That’s all there is to it.

Continue reading: http://goinswriter.com/the-difference-between-good-writers-and-bad-writers/

Nugget #9 -- Two Perspectives

As I see it, there are primarily two perspectives on writing – the practical perspective and the spiritual perspective. Most of us 
fall somewhere on the number line between them, 
but we tend to favor one over the other.

Nuggets #4 -- Time Changes

I looked back over some of my early stories and found that they 

were the work of  different writer than the one I had become in 

the years between writing them and  re-discovering them.

[Link] 40 Inspiring Workspaces Of The Famously Creative

From tiny writing desks to giant painting studios, the only thing all of these creative studios have in common is that they inspired their successful inhabitants to create greatness

See the gallery: http://www.buzzfeed.com/summeranne/40-inspiring-workspaces-of-the-famously-creative

E.B. White and his workspace

[Link] Who pays ‘unpaid’ writers’ bills?

Wasserman

by  Edward Wasserman

People who make their living by writing for publication had good reason to follow the recent hoo-hah over publishers who think paying writers for their work is optional.

What happened was that The Atlantic Magazine, a marquee name in the world of words, approached a well-established freelancer named Nate Thayer and asked him about “repurposing” work he’d done for an online site, NKNews.org. The Atlantic was interested in a 1,200-word rendering of a longer article of Thayer’s pegged to ex-basketball star Dennis Rodman’s bizarre visit to North Korea.

When Thayer asked about terms, the magazine indicated it wasn’t proposing to actually pay him, at least not in cash money, but noted that its website reached 13 million readers per month, suggesting that exposure on that scale is worth a lot.

Thayer wasn’t persuaded. He replied: “I am a professional journalist who has made my living by writing for 25 years and am not in the habit of giving my services for free to for-profit media outlets so they can make money by using my work and efforts by removing my ability to pay my bills and feed my children.”

Word of the affair zipped around the Internet, triggering a flood of comment.

Continue reading: http://www.miamiherald.com/2013/03/24/3301364/who-pays-unpaid-writers-bills.html?goback=.gde_62163_member_226182495#storylink=cpy

Competent Editors and Empowered Writers

Don't get angry. Get edited. Then maybe get angry.

by Janet Harriett

A competent editor is a liaison between the writer and the reader, making sure that what the author meant to convey is what is actually on the page. We are there to make you look as good as possible. A competent editor does not make changes unless they serve the interest of the story, and should be able to justify every change. If an editor makes a change you consider ruinous to the story, STET THAT MOTHER.

An editor's changes are not decrees carved in stone. Authors can contest them, and the editorial process should not be over until the author and editor agree on all points. I've had authors contest edits I've suggested; it's all part of the process. Sometimes, with explanation, the author realizes that what I've suggested makes the story stronger. Sometimes, the author's explanation makes me agree that their original version was fine.

If you've got a contract that doesn't require the publisher to get your approval on substantive changes like removing a whole section, that's a bad contract no matter who is editing the book.  As far as cover art, the publisher is wrapping the book in something that it thinks will make people buy the book. Ideally, that will accurately reflect the content of the book, but that's not always the case, and where the two interests diverge, marketing takes precedent over accuracy. There are persistent, problematic biases with cover art, not the least of which is whitewashing characters or sexualizing female characters regardless of their actual role in the book. That needs to change, but it's not the editor's doing, and in the end it is all about getting your story into the hands of more readers.

So, for the tips:

1. If you're engaging a freelance editor, either for a self-published work or pre-submission, shop around for one whose style matches yours. If your editor firmly doesn't believe in prologues and you write lots of prologues, you two are not a good match. Keep interviewing until you find one who is.

2. If you're working with a small press publisher, you  may be able to suggest they engage your preferred editor for the work. The small presses I know of have a stable of editors they go to, but they essentially contract the work out, and may be amenable to contracting to an editor you suggest if they can be assured that the editor meets their quality standards.

3. Engage a competent editor. Competent editors don't make changes for the sake of making changes, or to pee in the corner of your manuscript so everyone knows what a terrific editor they are.

4. Realize that the editor is working for the good of the story, and the reader. Editors would just as soon not incur the wrath of an author, because cheesed-off authors are difficult to work with and we have limited time in a day. Edits are not personal. Related: 99.2% of writers do not crap gold on either first draft. Or third.

5. STET. STET. STET. You do not have to accept the edits. If you are contractually obligated to accept the edits, get a better contract next time.

[Link] Urban Myth vs. the Truth

by Nancy Kress

Publishing, no less than any other field, is full of stories presented as truth—call them urban myths. Like the alligators in the New York City sewage system, these myths are often sworn to by people who have not actually experienced them. The danger for aspiring writers is that you may believe publishing myths that are not true—or discount those that are not myths, but fact.

So which is which? Let’s drain some water pipes and see what alligators we find.

Myth #1:
The odds and evens

This “truth” is, for some reason, often presented by writing instructors with minor sadistic tendencies masquerading as helpfulness. It goes like this: Every month a major magazine or publishing house may receive about 800 manuscripts. Therefore, the odds of acceptance are very low, about 800 to 1, and you shouldn’t get your hopes up too high.

As the maxim says, “There are lies, damn lies and statistics.” This is a good example. Yes, the 800 figure is correct. But publishing is not a lottery. The editor does not put all 800 manuscripts in a giant drum, rotate it wildly and choose one at random. The 800-to-1 odds, however much they may apply to lotteries, do not apply to fiction.

Instead, the editor (or his assistants) will read those manuscripts. No, not all of them all the way through. Some will be eliminated after a page or two, others because they clearly do not fit publishing requirements. Some will be read all the way through but simply don’t impress the editor because the ending doesn’t work, the idea is old, the characters are unbelievable … you know the list.

However, this means that a story suitable for the place you’ve sent it, with decent prose that’s plausible and interesting, enjoys considerably better odds than 800 to 1. The odds may shrink to, say, 20 to 1, which means the editor has seen 20 stories he could conceivably publish.

The point here is that talent outweighs numbers. If your manuscript is truly good, it doesn’t matter whether the editor has received 10,000 other manuscripts. Yours will stand out. Forget the odds and concentrate on the quality.

Continue reading: http://www.writersdigest.com/qp7-migration-all-articles/qp7-migration-career-advice/urban_myth_vs_the_truth

[Link] Building Your Author Platform in 10 Hours a Week (Including Writing Time!)

by Chris Robley

What is an author platform?

The “author platform” is a fancy buzzword folks in the book business use to talk about an author’s fan engagement, their social media and web presence, the size and dedication of their readership, and their connectedness to other authors, bloggers, critics, agents, publicists, publishers, etc.

By building your author platform BEFORE your next book launch, you’ll be able to harness the power of all those potential buyers, all those industry contacts, and your entire web community to increase your chances of success. After all, the only thing worse than not publishing your book is to publish it and get ignored entirely.

So how do you build your author platform?

One day at a time, of course. Just like writing, building an author platform is hard work; it takes daily dedication and organization. But the benefit of that labor is your writing will actually have an audience!

For the purposes of this article, I’m going to assume a few things about you (if any of these assumptions are incorrect, adjust accordingly):

• You are not a full-time author yet, but you’re building towards it (i.e. you still have a day job)
• You have other personal or family commitments that prevent you from spending every waking hour on your writing goal
• You are able to set aside 2 hours a day (M-F) for your writing and platform-building work

Only Monday to Friday? Well, at times the drudgery of this platform-building is gonna feel like a “real” job — so you deserve a weekend. If you can sneak in a few extra hours to write on Saturday or Sunday, that’s great, but leave the author platform stuff for the workweek.

Your weekly writing and platform-building schedule

A few notes before you start building your author platform...

Continue reading: http://blog.bookbaby.com/2013/01/building-your-author-platform-in-10-hours-a-week/

[Link] “What if nobody likes it?”: On Writing and Self-Doubt

by Brian Keene

Last week on Twitter, Steve Melnick asked me if I had any advice regarding writer’s block based on a lack of confidence. His concern that people might not like his writing was preventing him from writing. I told him I did have advice, but it wasn’t something that would fit into a Tweet, so I’d write a Blog entry instead. So I have.

I should start by recapping my assertion that there is no such thing as writer’s block. Writer’s block is a convenient term we use simply because “I don’t feel like writing” sounds less palatable.

I used to work in a foundry, back when dinosaurs roamed the Earth and books were still sold in bookstores. I held many positions at that foundry, one of which was operating a mold making machine. During my daily eight-hour shift, I was expected to make a certain number of molds. If I completed this task, I got a paycheck at the end of the week. If I didn’t complete this task, then I got fired and had to find another job.

I’ve always approached writing the same way. Whether I’ve got an hour to write each day or eight hours each day, I’ve always envisioned my words as part of the assembly line. I have to produce X amount of them each day, or I’ll get fired and have to find another job. And since I haven’t had another job in over 15 years, I’m pretty sure I’d have trouble getting hired somewhere else, so it’s doubly important I keep this writing gig.

Continue reading: http://www.briankeene.com/?p=12788

The Writer Will Take Your Questions Now (#259) -- The Writing Career

Do you see writing as a career?

Yes. I see writing as a career. However, it doesn't always agree with me on that point.

To be honest, as much as I'd love to see writing as a self-sustaining career, more often than not, it's a career interwoven with other jobs when the pickin' gets slim (particularly between royalty checks). The goal is to continue to build my network and make contacts so that I can attain that level of self-sustaining career that so many others have.

But I'm convinced that in the world of pulp and comics writing, that's becoming more the exception than the rule.

Is it my career? Heck yeah. Is it a bumpy career filled with terrifying moments? Sadly, equally so.

The Writer Will Take Your Questions Now (#239) -- Most Important Advice

What's the most important writing advice you received that you failed to keep?

Sadly, it's the most important writing advice ANY writer can receive -- DON'T MISS A DEADLINE!

Seriously. As much as I harp on this in sessions and panels, I'm not above reproach. I've missed a few in my time, but the important to remember when it happens is to be upfront and honest with your publisher and bust your hump to get that story in as soon as possible. As long as your reasons are valid and you're diligently churning out the story, most publishers are more than willing to share a little bit of their wiggle room with you to get your best work. They've all been there. They know that stuff can happen to intrude. Just don't make it a habit.

Because "habitually late on work" is not a quality you want passed around from one editor to another in this small pond of people willing to hire you.

[Link] Writers are full of shit (and where ideas really come from)

By Jasper Bark

Writers, gentle reader, are SO full of shit it beggars belief!

Considering I’m a writer myself, and knowing the silo loads of shit with which I’m stuffed, it shouldn’t really beggar my belief. But let’s just say, for the benefit of this column, that it does. Let me give you an example of this outrageous and completely unqualified claim.

If, like me, you’re in contact with a lot of writers through twitter and facebook (and if you’re reading this I’m presuming you are, unless you’ve just stopped by because you heard this column contains celebrity fisting anecdotes) then I’m sure you’ve read a tweet or status update like this one:

Just written 4,000 words of my latest novel before breakfast and done 50 laps of my Olympic size swimming pool. Now I’m off to make love to my super model partner – WOOT!

What the writer might not realise, as they type those words, is that the word ‘CUNT’ springs involuntarily to the lips of every other writer who reads them. Not because we’re eaten up with bitterness and jealousy (which we are), but because the claim they make is so intrinsically opposed to the actual experience of writing professionally. A more honest post would read something like:

Just stared desperately at my laptop screen until I wept tears of pure blood, then beat my forehead against my desk for over an hour. Now I’m off to inject smack into my eyeball and lie on the piles of unpaid bills that clog my hallway.

Maybe it’s because this is so much the norm for our careers that, on those rare days when we do manage to be positively productive, we want to share the joy with our writer brothers and sisters. Or maybe it’s because, as stated previously, writers are FULL of shit.

Continue reading: http://www.thisishorror.co.uk/columns/injured-eyeballs/writers-are-full-of-shit-and-where-ideas-really-come-from/