Conquer the Dreaded Synopsis

It’s back! The last couple of years I’ve been teaching a webinar through Writer’s Digest on how to kick your synopsis into shape, and I am happy to announce that I will be doing so once more.

The synopsis is one of those writerly tools that everyone knows they need, and everyone (seemingly) hates to write. I acknowledge that it can feel ridiculous to try and squeeze the gist of your long and detailed novel into a couple of pages, but that doesn’t mean it is an impossible task. In my 90 minute online class, I discuss the different types of synopses you might need to write, and break down the process to make it less daunting. In addition, anyone who registers for the live class receives a critique of their revised synopsis.

Class takes place Thursday, March 26th, 2015, at 1pm EDT, online. Everyone registered will receive access to the online replay of the event as well as the critique, so even if you can’t make the actual class time, consider registering in advance so you can take advantage of the critique feature.

For complete details, and to register, visit Writer’s Digest. I hope to see you in class!

Conference Bound

I’m off to San Antonio, Texas this week for the RWA National Conference, which means I’m writing this on the fly between loads of laundry and last minute tweaks to my meeting schedule. But I thought I’d leave you all with a few words of wisdom regarding conference attendance. Even if you’re not heading out to Texas, you might have some other conference on your radar, so here are a few quick, down-and-dirty tips to help you get the most of it.

Don’t over-schedule yourself. It’s tempting, when you see the array of offerings, to fill every time slot and set yourself running from room to room the entire length of the conference, but resist that temptation. Leave yourself a few small breaks to catch your breath, chat with a new acquaintance, or for an impromptu meeting with an agent or editor you might meet in a panel.

Do speak up and introduce yourself. Everyone at a conference is there to meet people and learn things, so get to know the person sitting next to you at lunch or in a workshop. And this includes agents and editors. Don’t interrupt them if they’re in the middle of speaking to someone, obviously, but do smile and chat and treat them like a fellow human being, whether or not you plan to pitch them something.

Pack layers. No matter what time of year you attend a conference, the chances are excellent that the weather outside and the temperature inside will differ, and indoor temperatures at conference facilities tend to vary greatly. Pack a sweater or light jacket to ward against aggressive air conditioning, and some lighter-weight shirts to combat excessive heating.

Watch your alcohol intake. Yes, writers spend time at the bar during conferences, but keep in mind you still want to maintain a somewhat professional demeanor. Plus, on the off chance the agent of your dreams asks you to pitch them, you’d hate to start slurring your words.

Have fun. It’s not all business, all the time. Conferences are a great opportunity to learn and network, but also to catch up with friends and make new ones. So enjoy!

Coming Soon: Conquer the Dreaded Synopsis

Last year I taught a webinar through Writer’s Digest on how to break down the sometimes daunting task of writing a synopsis, whether you need a short one to serve as a blurb for your query letter or something more substantial to send to an agent or editor on request. It went very well and I still have people query me or come up to me at conferences, mentioning that they took the course and found it helpful. So, I’m happy to say I’ll be teaching the class again, Conquer the Dreaded Synopsis: Construct Your Ultimate Sales Tool, on Thursday, August 21, 2014, at 1pm ET.

The class airs live online via a PowerPoint presentation, with me calling in to teach, and everyone attending able to type in questions as we go, which I then answer at the end of the session. The class gets recorded, so attendees receive the presentation with my narration and all the Q&A material afterwards. In addition, the course includes a synopsis critique. Attendees have a couple of weeks following the class to take everything they’ve learned and apply it to writing or revising their own synopsis, which they can then send to me for feedback.

Please note that while you can purchase the course materials after the fact, only writers who register for the live class on August 21st will be eligible for the critique. You don’t need to actually attend live if your schedule conflicts, but you should register ahead anyway if you want a chance to submit your synopsis for some comments. I’m looking forward to helping more people tackle the synopsis hurdle, and I hope a few of you will join me!

Wish List Update

Just a fly-by post to let you all know that I’ve updated my Wish List here on the blog. For anyone who hasn’t visited before, this is a short list of projects I’d love to see more of in my submissions box. It’s not an all-inclusive rundown of what I represent, but a look more specifically at some of the types of stories or characters I’m itching to read these days. It changes with my mood and also the market, so be sure to give it a peek if you’re thinking of querying me or are interested in what has me excited right now.

Diversity in Publishing: An Ongoing Battle

Last week was a bit busy, so I wasn’t online quite as much as I usually am. So imagine my surprise when I hit Twitter on Friday afternoon and discovered the latest diversity mess in the publishing world, namely the appalling lack of diversity in the lineup of authors scheduled to speak/sign/present at BookCon in May. For those of you unaware, BookCon is the new incarnation of the Power Readers Day portion of BookExpo America, the major industry rights fair held annually in New York. The last couple of years, Power Readers Day provided public access to what was previously an industry-only affair, allowing book enthusiasts to come in and get ARCs, attend panels, and meet their favorite authors. This year ReedPop, the organizer for the event, has rebranded the public portion as BookCon with the intention of broadening the scope and drawing more attendees. All of which was fine until they announced the authors participating in their Kid Lit panel last week, and they turned out to be four white men. A look at the BookCon website reveals that the list of guests so far consists of approximately 30 writers (and a cat), all of whom are white (though some women show up here).

Those are the basics. Anyone looking for a more detailed rundown of the details should check out BookRiot, where they’ve been tracking the situation and BookCon’s lack of responses to their queries all week, as well as an analysis of the statement ReedPop finally issued yesterday. It’s pretty comprehensive, and includes additional links to further discussion of the situation.

I, however, am more interested in looking at the bigger picture right now. Am I astonished by BookCon’s lineup? Of course. Do I think they purposefully set out to white-wash their guest list? No. However, I do believe they are guilty of planning without an active awareness of the issues facing the industry (and society) today, and that is short sighted and irresponsible. Diversity in publishing is a hot topic these days, and rightly so, and I’m hard pressed to imagine how anyone organizing a publishing event, in the middle of New York City no less, can be blind to that ongoing discussion. This is not a small town event with limited access to speakers, but an enormous convention based in the publishing capital of the nation if not the world. The existing panel of guests consists of a wonderful array of talented writers — no one is arguing their worth as speakers. Certainly the people inviting authors to participate had a wealth of diverse options to choose from; they simply focused on a very narrow portion of that broad array of talent. It never crossed their minds to reach out and make the effort to include people of color in the lineup, because if it had, we would be seeing the evidence on their website.

That’s the bigger picture that’s so troubling. This lack of thought. We all know that there are racists in the world, and while that’s certainly troubling as well, it’s at least more clear cut. What feels more insidious is the other group — the people who believe themselves to be fair minded, rational, and certainly not racist, but who never stop to think about how their actions come across or affect those around them. These are the people who gravitate toward “their own” unconsciously, because they don’t make a conscious effort to be inclusive in their thought processes. They would never utter a racial slur or think negatively about people of color, but that’s pretty much because they don’t think about them at all unless someone else brings up the subject. They insist that they are choosing “the best of what’s available” when selecting submissions for their magazine or panelists for their conference, and think that justifies an outcome lacking in diversity, when in reality it merely underscores their closed-minded views of the world.

At the end of the day, it isn’t enough to say you have nothing against a certain group, whether it consists of women or people of color or individuals whose sexual preferences or identities differ from your own. If you’re not making an effort to help things get better, you’re still contributing to the overall problem. We’re all human, and no one expects everyone to get it right one hundred percent of the time. But the key is to try, and if you muck it up, to acknowledge your errors and try to fix the problem. BookCon is just one more hurdle in the ongoing battle to diversify the publishing industry, and it likely won’t be the last.

 

 

 

The Art of Boosting the Signal

Some days it feels like you sign onto Twitter and everyone you follow is selling something. You know what it’s like: daily deals, freebies, new releases, tie-ins, giveaways. They want you to check out the sequel to the book you haven’t read yet, download their new widget counting down to their pub date, or spread the word regarding their starred review. And that’s all well and good. Everyone does it, and chances are excellent that you will, too, if you haven’t done so already. People expect a certain amount of sales in with their socializing when they frequent various forms of social media, and in many cases that very type of word-of-mouth is what lets us discover our next great read or app or website.

The key to marketing yourself and others using social media is to keep things minimal and meaty. By that I mean, only Tweet about your book a very small percentage of the time and also limit how often you’re being sales-y on behalf of your friends or people you support/admire, and when you do go into marketing mode, make sure you include something of substance. You want to get mileage for those 140 characters, so do your best to include something of genuine interest and don’t confuse your followers.

How often have you seen a Tweet go by that’s nothing more than a link? No information, no context. Why would you click on that? Perhaps if the person Tweeting the link is someone close to you and you know they’re directing it at you specifically, you’ll click without a second thought. But in most cases, that link is going to just scroll on by. Likewise, how often has someone sent out a Tweet with a meaningless title, link, and a “via” followed by a Twitter handle? Chances are that Tweet was generated from a website where the person Tweeting wanted to share the post and used their on-page Tweet button. If the post’s title is vague and the Tweeter didn’t add their own description, it’s almost as bad as sending out a link on its own.

It’s tempting to send a Tweet out quickly and move on, but if you’re genuinely trying to share a post or convey your enthusiasm for someone’s new release, take the time to work in a few words that give your followers the proper message. If you’re reTweeting something that’s vague, take a moment to modify the original Tweet for clarity. Did you read the work you’re Tweeting about? Did you love it? Say so. Maybe it kept you up reading all night. Or you read slowly to savor every word. Are you talking up a friend’s webinar or book signing? What makes them knowledgable or entertaining? Share that information to make the Tweet stand out.

When it comes to marketing your own project, make sure you stress your own enthusiasm that it’s going out into the world more than you beg people to buy it. You love your book and hope others will as well. Encourage anyone who gives it a try to let you know what they think. Engage your followers. Start a conversation. Also, remember that Twitter doesn’t need to be a final destination. Use Tweets to link to blog posts or free chapters or tie-in short stories on your website. Limit your announcements regarding these items to a couple of Tweets a day, spacing them out to allow people in different time zones to get the information, and make sure you Tweet about plenty of non-promotional things in between.

Twitter can provide a great platform for marketing your work and helping the spread the word about other people’s projects you’ve enjoyed, but it’s up to everyone to make the experience is painless as possible. Take the time to craft your Tweets, be considerate of your followers and avoid flooding their feeds with endless promotions, and you can help keep the Twitter conversation entertaining and enjoyable for all. Happy Tweeting!

 

Goal Check: Assessing Your Year-in-Progress

Farewell to March! It’s the last day of the month, and also of the first quarter of the year, which makes today an excellent time to assess your writing progress and see where you want to go next. Remember those goals and/or resolutions you made around January 1st? How are those working out for you? Never mind your visits to the gym or your promise to eat more fiber; I’m interested in your writing goals, and how you’re working toward building your career.

Perhaps you’ve had a great few months, and you’re right on target for the goals you set. If so, congratulations! Toast yourself, or grab a cupcake — whatever little reward makes you smile — and then face forward and continue to charge ahead. What goals have you set for yourself for the second quarter? What needs to happen in April to keep you on track? Are there any adjustments you would like to make based on what you’ve accomplished so far? Have any new opportunities come up that change your game plan? Goals and resolutions should be fluid, altering as your writing progresses, new ideas come to mind, and you master both your craft and the business.

On the other hand, you might be feeling a little behind right now. Maybe you didn’t get as much writing time in as you’d hoped, or you’re not completely pleased with your latest project. That’s fine. Just take a deep breath and an honest look at what you’ve been doing. Have you been procrastinating or simply busy with things outside your control? Are you being too hard on your WIP? Any draft is better than a blank page, after all. Get it all down, and then go back and revise. Books are made during the editing process; no one should expect a first draft to be golden. Then decide where to go next. What would you like to accomplish going forward? How can you carve out more writing time? Maybe take a writing class for inspiration, or see if you can join a new writing group to get some fresh feedback. Assess your goals for the year, and see what you need to do in the next three months to point yourself back in the right direction.

If you swore to write 1,000 words a day starting January 1st, and kept to that resolution, you could be finishing off the first draft of a 90,000 word novel today. Maybe it would be a shitty first draft, but that’s okay, because we all know that draft is just the kicking-off point — something to work with, beyond the scary blank page. If you start April 1st and write 1,000 words a day, you can have a first draft by the end of June. Don’t beat yourself up for something you failed to do in the past. Just recommit to your writing and do the best you can each day. And don’t forget that, depending where you are in your career development, you can also make goals pertaining to getting published, improving your self-marketing skills, and more.

Some potential goals for April through June:

  • Commit to writing every day (either a set word goal or a specific amount of time)
  • Finish a work-in-progress
  • Revise a first draft
  • Write and polish three short stories
  • Research agents and make a list of potential representation for your nearly finished project
  • Send out ten query letters a month
  • Brainstorm 50 ideas for potential projects; write the first sentence for each of them
  • Set up a blog tour for an upcoming release
  • Redesign your author site
  • Learn one new form of social media and engage through it regularly (frequency to be determined by the platform)
  • Start a quarterly newsletter for your readers and include a sign-up on your author site home page

The Taxman Cometh

We’re counting down to tax day — April 15th here in the U.S. — which means some folks are scrambling to find their receipts and their statements and all of their various forms to take off to their accountants, while others are playing with tax software or reading through the intimidating tax brochures meant to walk you through filling out the forms yourself.

Writers and taxes have a contentious relationship at best. Writers understand that several aspects of their chosen careers are the very things that raise red flags with the IRS, such as taking a deduction for a home office space, research trips, and other costs of doing business. But that’s no reason to panic.

Whether you’re a new writer who has yet to make any money or a seasoned pro, it’s important to be diligent in your record keeping throughout the year, and to consult with a tax advisor in order to be certain of the tax laws, which tend to change pretty frequently.

A few tips:

Save everything. All those receipts from your trip to a writers’ conference, your books, cabs taken, office supplies, everything. Make sure you jot down a quick note on the back of the receipt regarding what the item was, and its purpose. If it’s a cab or restaurant receipt, indicate if you left a tip, and the amount.

Keep records of bills. If you work from home, you can deduct a portion of your heat, electricity, etc., so be sure to have copies of those household bills in with your work receipts. Likewise, if you pay for your own health insurance as a self-employed writer (as opposed to receiving coverage from a day job or through a spouse’s plan), those bills are also deductible.

Take pictures of your home office space, including any furnishings you’ve designated for work use, such as your desk, computer, bookcase, etc. This documents the existence of your dedicated office so that if you move and are later audited you have proof of that office’s features.

Don’t assume everything you do or purchase that seems “writerly” is automatically deductible. If you spend a thousand dollars every year on novels for your own reading pleasure, you can’t necessarily consider them all “research” materials. Talk to your tax advisor about the sorts of items that you can legitimately call work expenses, and under what circumstances they count.

Organize as you go. Set up a system that’s easy for you to remember and then take a little time once a week or so to keep it going. A simple accordion file with A-Z labels can be an easy way to track receipts. Designate categories that make sense to you and that will simplify the tax process when you sit down to actually do your taxes — whether on your own or with an accountant. For instance, you might separate your receipts out by Technology (computer, printer), Travel (accommodations, food, transportation), Conference fees, Office supplies, Insurance, Books and magazines, Utilities, and so on.

Plan for quarterly taxes. Self-employed individuals, for whom there is no company withholding a portion of their paychecks to send to the IRS, are required to pay their taxes on an installment plan, sending in a partial payment four times over the course of the year. The first year you file as a writer, you won’t need to worry about this, but as you wrap up that first tax return, you will be given the option to calculate your quarterly tax payments for the following year, with the first payment due April 15th, and subsequent payments to be sent on the 15th of June, September, and January. You will pay next year’s taxes based on whatever you earned this year, and must pay at least that amount. If you make more money than anticipated, you will make up the difference the following April. If you end up making less, you’ll get a refund. However, if you pay less than you did the previous year, and also end up owing more, you’ll owe a small penalty on top of the difference.

The safest bet is to plan to pay each quarter, and that means setting aside a portion of every check you receive as a writer to cover those tax bills. It can be difficult, especially in early days when the money might seem like small potatoes, or even later, because writers’ paychecks tend to come in waves — money when you sign a contract and then nothing until you turn in a manuscript, or royalty checks only a few times each year. But the better you become at remembering those tax bills on the horizon, the more likely you’ll be to set aside the money necessary to cover Uncle Sam’s demands. With a little planning and some good deductions, you’ll end up with some money left over at the end of the day.

 

Obligatory disclaimer: I’m not a licensed tax professional, so please do speak with your own tax advisor regarding how to best handle your own tax return.

On Diversity in Publishing

Discrimination — or unequal representation — in publishing has been a hot topic for the past few years. The discussion has centered, in part, around the Vida Count, a report provided by the US-based group for women in the arts, which has determined what percentage of contributions came from women or centered on women’s writing in a number of major literary periodicals over the course of the previous year. In turn, The Rumpus‘s Roxane Gay began a similar look at how writers of color were being represented. The results — sad but unsurprising — have shown that women writers and writers of color make up a minority of the contributions to the major literary magazines and reviews. They provide fewer works of fiction and nonfiction, write fewer reviews, and their books in turn are reviewed less frequently. Writers of color fare no better, and often worse.

Reactions to these reports have been mixed. Some editors blinked at the results, genuinely surprised to see the figures in black and white, and apologized for not make a more concerted effort to be fair and balanced. Others argued that they weren’t purposefully discriminating; rather they had a commitment to quality and were taking the best of what was submitted, or, in the case of choosing books to review, a cross section of the types of titles that merited attention, and if more of those happened to come from men or white writers, well, it wasn’t their doing. But one thing has been clear: Even among editors willing to change, not a lot has been done to improve the situation.

Enter a few determined souls who are anxious to do their part. Daniel Pritchard, the editor of Critical Flame, has declared that he will focus solely on women and writers of color this year. A growing number of readers have declared they will read only women and writers of color in 2014, buoyed by writer and artist Joanna Walsh, whose hashtag #readwomen2014 has been spreading across Twitter. Alison Flood, writing for The Guardian, gives a more complete rundown, and Cassandra Neace at BookRiot talks about reading writers of color. The idea behind the reading campaign is that the market will follow the money; if more people purchase books by women writers and writers of color, reviewers will be forced to take more notice.

This is, of course, a much more widespread problem than these articles indicate, focusing as they do on literary publications and ignoring genre writing. The SFF community has spent years analyzing the lack of characters within the genre that break out of the Anglo-European mold. Women writers dominate the romance genre and comprise the majority of its audience, but the romance world is still polarizing in its treatment of race. The reality is that books and publishing are a microcosm of the larger world around us, and humanity still has a long way to go in its fair and equitable treatment of all its members. Throw in a perception of “what sells,” and things get even more complicated. Ultimately, companies are motivated by profits.

So what do we do? Shedding light on the problem and spreading the word is a great first step. But so is adopting a personal philosophy. I was curious about my own reading habits. For work, I read a lot of things written by women; it’s the nature of the sorts of books I represent. Whatever else is going on in the publishing world, there are a lot of women writing romance, women’s fiction, young adult fiction… But in my personal reading, my interests run a much broader spectrum. I read all the genres I rep, plus classics, mysteries, memoir, and other nonfiction. However, it turns out I still read predominantly women writers. Not by conscious choice; that’s just how it seems to have turned out. Over the last ten years, approximately 80% of the titles I read were written by women. It varies a little, but that’s where it shakes out. When it comes to writers of color, my percentage is much more all over the place, but at the end of the day, allowing for overlap, I read more works by authors of color than by men.

There are many, many books by men on my shelves, and I certainly studied plenty of male-centric literature in school and university. But working in a female-centric area of the industry, I suspect I’ve simply heard more about women’s books than men’s in recent years. The mainstream publications might be touting primarily books by men, but my friends and colleagues have other recommendations for me. Goes to show you the power of word of mouth.

Unfortunately, there are no easy fixes. Not everyone cares about the problem. But I believe that those who do care are the vast majority, and that raising awareness can go a long way toward making people pay just a bit more attention to their choices. I’ve heard from a number of people that they plan to read only books by women or books by people of color over the next year, and I think that’s admirable. But even making a conscious effort to read more within a certain demographic is a step in the right direction. No one is discounting the works written by white men. Rather, we are saying that people should open their eyes and welcome all points of view and different worlds and cultures. Reading should be an adventure in addition to a comfort. For every book that’s cozy and familiar, try something new and walk a mile in a different pair of shoes.

I plan to look at different aspects of this effort to increase awareness and broaden people’s reading choices as the year progresses. I’m curious to see if this is one of the new year’s resolutions that gets forgotten or the sort that becomes a wonderful new habit. So be on the lookout for more posts on the topic, including what I hope will be interactive discussions where you bring me your thoughts and book recommendations to share with everyone reading this blog.

And on that note, go read a good book.

Quick Query Advice

Today I bring you a few quick tips on writing and sending out queries. This isn’t meant to be an all-encompassing how-to post. Rather, this is me looking at some of the things sitting in my inbox, shaking my head, and plopping down in front of my keyboard to throw out some key points.

  • Follow submission guidelines. I’ve said it before and I will no doubt have to say it again. Go to the website of the agency you’re interested in submitting to and READ THE GUIDELINES. Then follow them. Do not follow guidelines on some aggregator site that is “helpfully” providing information for multiple agencies. Chances are they have at least some of them wrong.
  • Make the bulk of your query about your book. If you’re writing fiction, this means your very short story synopsis/blurb about the story should take up the most real estate in your query letter. Probably one or two paragraphs. Yes, feel free to include something about you — any publishing history or whatever. But remember that the purpose of the query is to get someone to ask to read the manuscript. So talk about the story. I see more query letters with two paragraphs about how the author has self-published the book and had twelve sales, while only including two sentences about the story…. Don’t do that. Sell me on the story. Everything else is icing.
  • Query more than one person at a time. Be clear that you are doing so. Then let agents with your query/material know if someone has offered you representation. In other words, don’t waste anyone’s time — yours or the agent’s. Nothing makes me sadder than an email checking on the status of a submission that’s been in my box for two months, which casually informs me that I (unbeknownst to me) have it exclusively. Except perhaps reading a project and getting excited about it, only to learn the author signed with another agent three weeks prior and never let me know the project was no longer available. Please communicate. It’s far better than the alternative.

Now, go forth and submit your little hearts out. Happy writing!