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To: scriptforsale@yahoogroups.com
From: "Hal Croasmun" Add to Address Book
Date: Fri, 11 Jun 2004 10:51:22 -0800
Subject: [ScriptForSale] Questions Issue #2 - June 11, 2004


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~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ SCRIPT FOR SALE NEWSLETTER http://www.ScriptForSale.com June 11, 2004 Questions Issue #2~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ "A great screenplay is the most powerful bait in Hollywood." Sissy Spacek~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~To subscribe, send a blank email to:mailto:ScriptForSale-subscribe@yahoogroups.com**********MISSION of ScriptForSale.com:************* To bridge the gap between what screenwriters write and what producers buy.****************************************************Hi everyone,Here's a few questions that came in since the last issue. 1. Looking for actors who support the environment. 2. How do I pitch you? 3. How do I find a Producer's Rep? 4. Too many pages? 5. How do I find a good entertainment attorney? 6. Dates for Upcoming ClassesIf you have screenwriting questions or questions about thebusiness of screenwriting, email them to: mailto:question@scriptforsale.comBTW, if you didn't receive the June 4th regular issue of thenewsletter, send a blank email to each of these two addresses: Part One: mailto:current@scriptforsale.com Part Two: mailto:current2@scriptforsale.comHope things are going well for you.Hal=================================================1. Looking for actors who support the environment.=================================================Hi Hal,My movie deals with protection of the environment andendangered species. How can I find out which actors orcompanies would be drawn to these issues? DianaDiana,I'm sure there's some place that tracks all of this, but until someonefinds it, here's a few solutions, starting with the easiest. BTW, ifanyone here knows of a site that tracks stars and what organizationsthey're connected to, let me know.I did a quick Internet search under the words "celebrities forthe environment" and came up with 453,000 hits. Many of themwere off-topic, but I found at least 70 celebs in the first two pagesof links.Then, I went to http://www.eonline.com and did a search on someenvironmental words -- Greenpeace gave me 25 celebs, Earth Dayprovided another 20 in one article. Just pick your organizationand start searching the online entertainment sites.Here's a few other ideas: - Read or search the Reporter and Variety - Attend fund raisers in L.A. for those organizations - Check with each organization and ask what stars support their cause - Volunteer with the organizations to get inside knowledgeBTW, I have a friend who used this exact strategy to startrelationships with some of the top stars in Hollywood. He wouldvolunteer with organizations who were doing fundraising events andwork his way to the top of the organization. Since he was a veryoutgoing guy, he would take the most high-profile jobs like Emceeor celebrity escort. It took a few years, but he now knows almosteveryone in Hollywood who is anybody.The information is out there. Just do the legwork and you'll findstars who support your cause.=================================================2. How do I pitch you?=================================================Hey Hal,I thought I read in one of your e-mails that you area production company? If I read right, is there anyway I can pitch to you? JacksonJackson,Absolutely. Go to http://www.Class3Entertainment.com . There,you'll be asked to agree to our standard release form. Once you'vedone that, you'll get to tell us your bio, logline and a half pagesynopsis.Those go to Cheryl. If she likes a project, she'll call you or emailand request the script. If she doesn't contact you, it means yourproject didn't fit her needs right now.But if she reads the script and likes it, then I read it. If both ofus agree, we contact you and take next steps.What we look for are High Concept screenplays, unique truestories, and published novels that will make good movies.BTW, please wait about three weeks. We're in the middle of amove right now and I don't want your project to get lost in theconfusion.=================================================3. How do I find a Producer's Rep?=================================================Hal,I have a bankable actress and 2 name actors attached (notto mention some reputable and Oscar-winning crew).You advised someone else who seems to be in a similarsituation to find a Producer's Reps. I'd love to do the samemyself -- but how??? Where can I possibly find a Producer'sReps??? AnthonyHi Anthony,Go to http://www.HCDonline.com and pay to use their database. Ifyou can't afford the monthly or yearly fee, click on the words "Takea test drive." You'll be able to pay $19.95 to use it for a week,which should be plenty of time.Do a search for "producer's rep" in all of the possible versions --producer rep, producers rep, producer's rep, producer representative,etc. You'll find them.Best of luck on your project.=================================================4. Too many pages?=================================================Hi,I have a problem with my screenplay. I know the industryaverage length is 110-120 pages. Currently I'm on page 84.But there's still alot of story left to tell! If the story is a goodin depth drama, could the length hurt me? MartinHi Martin,Let me give you the short answer -- Yes.Like any industry, there are things that are considered standard.90 to 110 pages is one of those things. If you are over 120 pages,you're instantly suspect.As an unproduced writer, you want to make sure your script isn'timmediately discarded over minor things like this. If your scriptcomes in at 136 pages, it may still get read (if the concept isgood enough), but you already have one strike against you.Here's my advice: Until you are an A-list writer, stick with theindustry standards. Make sure your script is extremely wellwritten. No typos. Properly formatted. No colored paper orother gimmicks. Just an amazing concept and a great storytold in 90 to 110 pages.And if you're not sure how to trim it down to 110, give your scriptto another screenwriter with a big red marker and say "any placeyou see excess, mark it out." My guess is you'll see 20 pagesor more disappear. It might be shocking, but it will be a valuablelearning experience.And BTW, keep writing. The more you write, the better you get.The better you get, the less words you need to communicate thesame story. The less words you use, the more you'll be seenas a pro in Hollywood. Brevity equals brilliance!=================================================5. How do I find a good entertainment attorney?=================================================Hal,Great newsletter tonight.I am signing with a manager and I know this means anagent or lawyer will be needed to finalize a deal in the offing.Can you -- with your omniscient knowledge of Who's Whoin the biz -- recommend a lawyer who is the one guy youwould want negotiating your contract, if you were in my shoes? EmilioHi Emilio,You're going about it the right way. The best ways to find a goodentertainment attorney is by recommendation. Start polling thepeople in the Biz you trust and find out who they recommend.As for me, I don't give out names unless I've worked with youdirectly. I've already lost one major Hollywood relationship bymaking that mistake. But I can help you in other ways.I'll tell you how we found our first and second entertainment attorney.BTW, before I go any farther, let's clarify one thing. Don't ever useanything but an entertainment attorney on an entertainment deal.Specifically, I'm saying "Don't use your real estate attorney or yourprobate attorney or your corporate attorney or your general practiceattorney, etc." I've had to negotiate with "regular" attorneys manytimes and they just don't understand this business. Without evenknowing it, they make recommendations that kill deals and/orleave you totally unprotected.Here's how we found our attorneys. On the first one, we had adeal proposed by a major production company. We went to theRepresentation Directory from HCD and found about 250 lawfirms listed. We called them up, told them our situation andspoke with the ones who would talk with us. BTW, some wouldn't.Of the ones who said they'd work with us, I interviewed them andwe chose the one we felt was best. For that deal, we paid him$350 an hour.The second attorney, we found through a referral from anotherproducer who had passed on three of our projects. By that time,he felt comfortable enough with us to recommend his attorney.Some film industry organizations have a referral service. Youmay want to check with any that you belong to. And if you areoutside L.A., come to town for an industry event. Often, you'llfind that entertainment attorneys will speak at these events.I'm sure there's going to be at least one attorney at this year'sScreenwriting Expo in November.One last comment: Remember, you don't have to stick with thefirst attorney you choose. If you don't like the way he or shenegotiated your deal or are unsatisfied for any reason, you simplychoose another attorney for your next deal.=================================================6. Dates for Upcoming Classes=================================================About five times a week, I get emails requesting the dates of classes.So I'll put them in every Questions Issue and newsletter I send out.Here they are...June 16 - 25, 2004 -- COMEDY WRITING FOR SCREENPLAYShttp://www.scriptforsale.com/comedy.shtmlJuly 20 - 29, 2004 High Concept Sells -- Creating Marketable Conceptshttp://www.Scriptforsale.com/highconceptclass.shtmlAug. 6 - Sept. 16 -- GREAT SCREENWRITING SERIEShttp://www.ScriptForSale.com/greatwriting.shtml August 6 - 15 -- Create Characters for A-list Actors. August 22 - 31 -- Dramatic Devices: Writing Fascinating Scenes September 7 - 16 -- Writing With Boldness: Creating Anticipation, Expectation and Compelling DescriptionNext PRO SERIES -- September 1, 2004 to January 31st, 2005TEN classes in 5 months that take you from

THE TOP TEN PLOTTING PROBLEMS:

copyright 1998 by Alicia Rasley



10. Backstory Blunders: The past is prologue, for sure, but you can tell too much too soon, if everything about the characters' past is explained right upfront in Chapter One. (Click here for more discussion of this topic.)
9. Boring Beginnings: If you have to rely on your readers' patience while you get the story set up, you're likely to lose most of them. Start where the protagonist's problem starts, or just before that, and feed in the backstory later. This is the MTV era-- people don't like to wait. Be especially wary of books that start with the protagonist on a journey, thinking about what awaits her at the destination. Editors frequently mention that as an example of a boring opening. It helps to decide what your major story questions are and make sure those are posed in the first few chapters-- at least one should be posed in Chapter One.
8. Limping to a Conclusion: You don't want the reader to think you ended the book just because you ran out of paper. Make the ending a conclusive one, reinforcing the themes of the book and the progress of the protagonist. (Click here for more discussion of this topic.)
7. Sagging Middle: The middle has to do more than just fill up the space between beginning and end. It should be a time of "rising conflict" where the protagonist is tested up to (and perhaps beyond) the limits of his ability-- a time to develop the internal and external conflicts and show how they influence the protagonist's actions. It should set up the great crisis/climax/resolution that will bring the novel to a close. So when you're starting the middle, think of how the protagonist can be challenged. What external plot events can make his internal conflict impossible to ignore any longer? How can that internal conflict impede his/her progress towards the goal? If there's an antagonist, how does the antagonist's reaction affect the protagonist's progress?
6. Tumors and Parasites-- The cast of thousands: Secondary characters are distinguished from major characters-- the protagonist(s) and the antagonist usually-- by their lack of a story journey. That is, they exist to make things happen in the plot, but their own conflicts and issues shouldn't be part of the story. (If they're that interesting, let them star in the sequel.) Every person with a story journey (described progress towards a significant change in their life) dilutes the impact of the major characters' journey. In some books (family sagas, for example), this can work. But in most protagonist-centered popular fiction, tracking the secondary characters' lives and loves is going to waste time and confuse the reader. Watch out for long passages in a secondary character's viewpoint which dwell on his problems and not on the protagonist. And keep count of how many subplots you've got-- make sure each one supports the main plot in some way.
5. Plodding Pacing: Pacing is primarily a function of how many cause-effect related events happen in the book. But that doesn't mean that effective pacing depends on shoving a lot of events into the story. Selection is key. What events are essential? What supporting events are needed to set up those essential events (aka "turning points")? Are all the events of the plot related causally-- that is, does the discovery of the letter in chapter 2 set up the release of the imprisoned protagonist in Chapter 4, and eventually the capture of the villain in the climax? Make sure every scene has at least one event that affects the main plot-- that way the readers can't skip without missing something important.
4. What a Coincidence!: Coincidence is fun in real life. But it's death to good fiction. Fiction is about cause and effect, and there's no cause and effect when the central elements of your plot happen by coincidence. It's often hard, however, to identify coincidence in your own story, so be ruthless. Look at the chain of events. Which would be unlikely to happen unless you the author made it happen? How likely is it that in a city of 7 million, your judge protagonist would just happen to get the embezzling case of the man she thinks was responsible for the hit-and-run killing of her mother? Not very. To fix coincidence without losing the event, make it happen because of character decision and action, and watch your characters grow into strength and purpose. That judge doesn't just happen to get the case; she seeks it, determined to avenge her mother's death. Now that's a lot more fun than coincidence, because the conflict is now not just an accident, but the result of this character's need for vengeance over justice.
3. Conflicts about Conflict: Conflict is the fuel that powers the plot and forces the characters into action. Without it you might have a nice slice of life portrait, or a great character sketch... but you don't really have a story. Problem is, conflict is volatile, and many of us avoid it in our plotting as we avoid it in our lives. But just as children need discipline to grow, characters need adversity to change. And fiction is, at base, about change. Popular fiction is usually about change in the protagonist. No one changes without a good reason to change-- that's where conflict comes in. Quite simply, you have an authorial duty to provide conflict for your characters so that they will learn to change-- and that means determining how they need to change. Linking conflict to character change will revitalize your story, and avoid the problems of serial conflict (where what looks like the book conflict wraps up in Chapter 3, to be replaced by another conflict) and incoherent conflict (where the conflict has nothing to do with who this character is or what she needs).
2. Structural Weaknesses: Many a good story is sunk by a weak structure: a hidden protagonist (the readers can't tell early whose story this is), meandering setups, mispresented conflict, rushed climaxes, incoherence between the protagonist and the plot (the main character doesn't have much to do with the main plot, or this person would never do what the plot requires him to do). Much of this derives from a misunderstanding of the purpose of structure. It's not a prison, chaining you to a "formula", it's a map to help you and your readers explore the issues you're developing with this story. Learning structure can teach you when to modify it and when to branch out on your own. The key to structure, in my opinion, is understanding the concept of the story questions-- the question or problem your opening poses, and the events which combine to create the answer. (Click here for more discussion of this topic.)
1. Whose Story Is This, Anyway? The Plight of the Protagonist: The biggest single plot problem I see in my judging, editing, and critiquing is actually a character problem: the passive or undermotivated protagonist-- that is, a protagonist who is not truly involved in causing the plot to unfold. Beware of the victim-protagonist (bad things happen to him, and he suffers a lot), the passive protagonist (he witnesses the plot events, but he doesn't participate), the bumbling protagonist (he acts, but stupidly, without learning from his mistakes). The central character doesn't have to be likeable (though it helps) or (god forbid) without faults, but he does have to be motivated enough to act and encounter obstacles and change in response to plot events. Ideally, the protagonist should be involved in nearly every event, and his decisions and actions should drive the plot. You might make a list of all the major plot events, and beside each note the protagonist's contribution. Is each action or decision or choice motivated? (The motivation doesn't have to be laudable, but should derive from who he is and what he wants.) Does each action have some effect on the plot? And finally, does each action-event dynamic contribute to an ultimate change in the protagonist?
Here's a final thought that might help you plot: One primary purpose of the plot is to force the protagonist to change, usually by recognizing and overcoming some internal conflict. Know your character, and you'll figure out your plot. Conversely, know your plot, and you'll find the character who needs that sequence of events for internal growth.

PLOTTING PROBLEMS...

Don't let someone drive you crazy when it's within walking distance.

Don't spend major time on minor issues.

Don't spend major time with minor people.
THE TOP TEN PLOTTING PROBLEMS:
copyright 1998 by Alicia Rasley



10. Backstory Blunders: The past is prologue, for sure, but you can tell too much too soon, if everything about the characters' past is explained right upfront in Chapter One. (Click here for more discussion of this topic.)
9. Boring Beginnings: If you have to rely on your readers' patience while you get the story set up, you're likely to lose most of them. Start where the protagonist's problem starts, or just before that, and feed in the backstory later. This is the MTV era-- people don't like to wait. Be especially wary of books that start with the protagonist on a journey, thinking about what awaits her at the destination. Editors frequently mention that as an example of a boring opening. It helps to decide what your major story questions are and make sure those are posed in the first few chapters-- at least one should be posed in Chapter One.
8. Limping to a Conclusion: You don't want the reader to think you ended the book just because you ran out of paper. Make the ending a conclusive one, reinforcing the themes of the book and the progress of the protagonist. (Click here for more discussion of this topic.)
7. Sagging Middle: The middle has to do more than just fill up the space between beginning and end. It should be a time of "rising conflict" where the protagonist is tested up to (and perhaps beyond) the limits of his ability-- a time to develop the internal and external conflicts and show how they influence the protagonist's actions. It should set up the great crisis/climax/resolution that will bring the novel to a close. So when you're starting the middle, think of how the protagonist can be challenged. What external plot events can make his internal conflict impossible to ignore any longer? How can that internal conflict impede his/her progress towards the goal? If there's an antagonist, how does the antagonist's reaction affect the protagonist's progress?
6. Tumors and Parasites-- The cast of thousands: Secondary characters are distinguished from major characters-- the protagonist(s) and the antagonist usually-- by their lack of a story journey. That is, they exist to make things happen in the plot, but their own conflicts and issues shouldn't be part of the story. (If they're that interesting, let them star in the sequel.) Every person with a story journey (described progress towards a significant change in their life) dilutes the impact of the major characters' journey. In some books (family sagas, for example), this can work. But in most protagonist-centered popular fiction, tracking the secondary characters' lives and loves is going to waste time and confuse the reader. Watch out for long passages in a secondary character's viewpoint which dwell on his problems and not on the protagonist. And keep count of how many subplots you've got-- make sure each one supports the main plot in some way.
5. Plodding Pacing: Pacing is primarily a function of how many cause-effect related events happen in the book. But that doesn't mean that effective pacing depends on shoving a lot of events into the story. Selection is key. What events are essential? What supporting events are needed to set up those essential events (aka "turning points")? Are all the events of the plot related causally-- that is, does the discovery of the letter in chapter 2 set up the release of the imprisoned protagonist in Chapter 4, and eventually the capture of the villain in the climax? Make sure every scene has at least one event that affects the main plot-- that way the readers can't skip without missing something important.
4. What a Coincidence!: Coincidence is fun in real life. But it's death to good fiction. Fiction is about cause and effect, and there's no cause and effect when the central elements of your plot happen by coincidence. It's often hard, however, to identify coincidence in your own story, so be ruthless. Look at the chain of events. Which would be unlikely to happen unless you the author made it happen? How likely is it that in a city of 7 million, your judge protagonist would just happen to get the embezzling case of the man she thinks was responsible for the hit-and-run killing of her mother? Not very. To fix coincidence without losing the event, make it happen because of character decision and action, and watch your characters grow into strength and purpose. That judge doesn't just happen to get the case; she seeks it, determined to avenge her mother's death. Now that's a lot more fun than coincidence, because the conflict is now not just an accident, but the result of this character's need for vengeance over justice.
3. Conflicts about Conflict: Conflict is the fuel that powers the plot and forces the characters into action. Without it you might have a nice slice of life portrait, or a great character sketch... but you don't really have a story. Problem is, conflict is volatile, and many of us avoid it in our plotting as we avoid it in our lives. But just as children need discipline to grow, characters need adversity to change. And fiction is, at base, about change. Popular fiction is usually about change in the protagonist. No one changes without a good reason to change-- that's where conflict comes in. Quite simply, you have an authorial duty to provide conflict for your characters so that they will learn to change-- and that means determining how they need to change. Linking conflict to character change will revitalize your story, and avoid the problems of serial conflict (where what looks like the book conflict wraps up in Chapter 3, to be replaced by another conflict) and incoherent conflict (where the conflict has nothing to do with who this character is or what she needs).
2. Structural Weaknesses: Many a good story is sunk by a weak structure: a hidden protagonist (the readers can't tell early whose story this is), meandering setups, mispresented conflict, rushed climaxes, incoherence between the protagonist and the plot (the main character doesn't have much to do with the main plot, or this person would never do what the plot requires him to do). Much of this derives from a misunderstanding of the purpose of structure. It's not a prison, chaining you to a "formula", it's a map to help you and your readers explore the issues you're developing with this story. Learning structure can teach you when to modify it and when to branch out on your own. The key to structure, in my opinion, is understanding the concept of the story questions-- the question or problem your opening poses, and the events which combine to create the answer. (Click here for more discussion of this topic.)
1. Whose Story Is This, Anyway? The Plight of the Protagonist: The biggest single plot problem I see in my judging, editing, and critiquing is actually a character problem: the passive or undermotivated protagonist-- that is, a protagonist who is not truly involved in causing the plot to unfold. Beware of the victim-protagonist (bad things happen to him, and he suffers a lot), the passive protagonist (he witnesses the plot events, but he doesn't participate), the bumbling protagonist (he acts, but stupidly, without learning from his mistakes). The central character doesn't have to be likeable (though it helps) or (god forbid) without faults, but he does have to be motivated enough to act and encounter obstacles and change in response to plot events. Ideally, the protagonist should be involved in nearly every event, and his decisions and actions should drive the plot. You might make a list of all the major plot events, and beside each note the protagonist's contribution. Is each action or decision or choice motivated? (The motivation doesn't have to be laudable, but should derive from who he is and what he wants.) Does each action have some effect on the plot? And finally, does each action-event dynamic contribute to an ultimate change in the protagonist?
Here's a final thought that might help you plot: One primary purpose of the plot is to force the protagonist to change, usually by recognizing and overcoming some internal conflict. Know your character, and you'll figure out your plot. Conversely, know your plot, and you'll find the character who needs that sequence of events for internal growth.

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ESSENTIAL DOS AND DON'TS OF MANUSCRIPT SUBMISSION

Preparing E-mail Queries
by Moira Allen
A few years ago, only a handful of periodical publishers listed in The Writer's Market provided e-mail addresses. Now, nearly every publisher in that directory does so. While some editors still prefer paper queries sent by surface mail, an increasing number prefer e-mail queries. Among electronic publications, such as e-zines and e-mail newsletters, that preference is almost universal. Many electronic publications will not even consider paper queries.

E-mail queries save postage and time. Your query will reach the editor in seconds rather than days. You may also receive a response within days (or even hours).
E-mail queries also have disadvantages, however. A common complaint of editors is that many writers don't bother to prepare e-mail queries carefully. Many seem to be written in haste, with little consideration for style or presentation, and no proofreading. E-mail queries are often casual, chatty, even "cute" -- qualities editors rarely find endearing.
Another problem editors frequently encounter is impatience. Just because your query may arrive within seconds, that doesn't mean the editor is going to read it immediately, let alone respond within minutes. Nothing annoys an editor so much as a writer who starts nagging for a response within days (or hours) of sending an e-mail query.
While e-mail queries contain many of the same elements as traditional "paper" queries, they also contain elements that need special attention. These include:
The Header
With e-mail, you can't impress an editor with nice paper or a snappy letterhead. Instead, you must rely on your header to provide vital information about yourself and your query. Be sure to put the right information in these sections:

To: Address your query to the right person at the right address. Try to locate the exact e-mail address of the editor you wish to contact.


From: You probably wouldn't sign a traditional query with a tagline like "Crystal Windsinger" or "Rafe Moondragon." If you use such an nickname to communicate online, however, it may slip into your query by mistake. Be sure to set up an alternate, professional "personality" in your e-mail program that includes your real name and a professional-sounding e-mail address.


Subject: Include the word "Query" in your subject line, along with a brief (two to three word) description of your proposal -- e.g., "Query: Cancer in Cats" or "Query: Writing for Pet Magazines." Never leave this line blank. Avoid cuteness or excessive informality; a subject line like "May I have a moment of your time?" looks too much like "spam" and could cause your query to be deleted.


The Text
The easiest way to handle the text of an e-mail query is to treat it just like a traditional query. (See How to Write a Successful Query Letter for details on what to include in a query.) However, many editors find that they actually prefer shorter queries by e-mail. This is partly a display issue: The less the editor has to "scroll" to read your query, the better.
Thus, more writers are turning to brief, one- to three-paragraph e-mail queries. The hook is often eliminated entirely, allowing the writer to get straight to the pitch, followed by a single paragraph of description, and closing with the writer's credentials. Here's an example of a query I received from a regular contributor to Inkspot:
Hello! I promised you a query, so here you go.
"Flash What?" is an exploration of the (at-first-glance) strange medium of flash fiction. The article does not attempt to define the form, as flash is virtually undefinable, but it does identify the many styles of flash, and its many names. I cite such writers as Lila Guzman and Pamelyn Casto and their thoughts on the form. Following this, I segue into a general how-to segment on writing flash, listing three essential questions every flash writer must ask. Once that's finished, I close out with market listings and other resources.
With flash fiction becoming more and more prevalent in the literary community, especially the online publishing world (whole zines are devoted to the medium), I think that this piece is very useful to Inkspot's many readers who double as fiction writers.
"Flash What?" is about 1220 words long. I'll be happy to send along the full piece if you are interested.
Thanks! Looking forward to your reply.
J. Gurley


When crafting an e-mail query, therefore, give serious thought to ways that you can "condense" your information into a compact summary that the editor can view on a single screen. Just be sure that your summary actually covers all the salient points that you wish to make!

Credentials and Clips
It's perfectly acceptable to list your credentials in an e-mail query just as you would in a traditional query. Many writers, also use this opportunity to provide a link to a Web site where editors can learn more about the writer's qualifications, or perhaps view writing samples. Here's an example:
I have been chosen as a Poet of the Year 2000 for the poetry that I submitted to Poetry.com and have been invited to Reno Nevada to receive a trophy and a medallion for my poetry from the actor and poet, Ed Asner. My poetry can be seen at http://www.poetry.com.


Some editors will check the sites you list; some won't. It's wise, therefore, to state your credentials explicitly, and offer Web sites only as a backup. Never send "clips" in an attachment.

The Address Block
In a traditional query, your name and address and other contact information would go at the top of the page (or be incorporated into your letterhead). In an e-mail query, it should go at the bottom, below your typed signature:

Jane Smith
1042 Gloriana Lane
Whippet, IL 60606
(555)123-4567
(555) 123-4568 (fax)
janesmith@isp.com


You may wish to use a standard "signature block" to include your Web site and any special credentials you'd like to list. You can also include your surface-mail address and contact information in a signature block, but be sure you only use this block for queries and professional correspondence; you don't want to broadcast that information on the Web. Avoid overly cute signature blocks, or blocks that involve graphic elements. Save the cats, dancing weasels, and emoticons for more personal correspondence.
Removing the Gibberish
Sending a query or manuscript electronically isn't simply a matter of copying your material from a wordprocessing file (such as MS Word) and pasting it into an e-mail. All too often, a straight cut-and-paste results in a message that looks something like this:

%Please don,t reject my manuscript,@ the author cried, pleading ? but to no avail, as the editor wasn&t in the mood for such %gibberish@!



Even a single line of this can be annoying; having to wade through an entire query -- or worse, a manuscript -- of this nature is beyond the patience of most editors. Kind-hearted editors will send such a submission back and ask you to fix it; less-understanding editors will simply send a rejection.

Gibberish and "nonsense symbols" are the result of transferring a word-processed document directly to e-mail without "undoing" many of the special characters and commands that such a program (like Word) automatically embeds in your file. Unless instructed otherwise, for example, Microsoft Word will automatically convert dashes (--) into a special dash-symbol, turn all apostrophes and quotes into "smart quotes," transform ellipses (...) into yet another special character, and superscript the ending of words like "1st" or "7th".
These special characters look nice on the printed page, but are the result of hidden codes in your electronic file that do not "translate" when copied into an e-mail document. Instead, those codes are converted into various symbols and odd characters. Any formatting codes in your document (e.g., bold, underline, italic) will be similarly transformed. Converting your document to "RTF" format, or even "text," does not always remove all embedded codes. (While it usually removes formatting codes, it may not remove "special character" codes, such as dashes or smart quotes.)
To prevent these and other e-mail problems in your submissions, be sure to take the following steps before submitting a query or manuscript electronically:

Turn off all special-character commands. In MS Word, you can do this by going into the "AutoCorrect" menu under "Tools." In the "Autoformat as you type" and "Autoformat" menus, uncheck everything under "Replace as you type." In the "Autocorrect" submenu, look at the list of automatic corrections, and delete the correction that replaces an ellipses with a special character.


Replace special-character commands in existing documents. If you're submitting a document that you prepared BEFORE turning off these "replace" commands, you'll need to do a search-and-replace on the problem characters. For smart quotes, simply enter a single quote in the "find" and "replace" box and do a "replace all"; this will correct all apostrophes and single quotes. Do the same for double quotes. To replace a dash, use the keyboard combination [option hyphen] to enter the dash in the "find" box; replace it with [ -- ]. To replace ellipses, use the keyboard combination [option ;] in the "find" box, and replace with [...].


Double-space between paragraphs. E-mail wipes out tabs, which means that a manuscript that relies on tabs to indicate new paragraphs will end up as a nearly solid block of text. If you don't want to double-space manually, simply do a search-and-replace on the "paragraph" character. (In Word, click on "More" in the find-and-replace menu. The paragraph command is the first item under "Special" -- hit this option once for the "find" box and twice for the "replace" box.


More Do's and Don'ts
Editors will be even happier with your electronic submissions if you follow these guidelines:
DO use a large, readable font. Sometimes I feel the urge to send a query back simply because it seems to be written in electronic micro-print. Make sure your font size is set to "normal" -- or to a minimum of 12 points. If you're not sure how "large" your type looks (it may look fine on your own screen), ask someone else how your e-mails look.

DO include an appropriate subject header. A header such as "QUERY: (article title/subject)" or "ARTICLE SUBMISSION: Title" always works well.

DO keep e-mail queries as short as possible. While paper queries should be kept to a single page (if possible) because that's easiest for an editor to read, keep in mind that an e-mail "page" often translates to the size of an editor's screen. Try to present your query succinctly enough to minimize (or eliminate) the need to scroll through your message.

DON'T use HTML formatting in your e-mail. Turn off any commands that automatically convert your e-mail to an HTML document.

DON'T use colors. Just as you wouldn't type a query in yellow ink, don't send an e-mail query in any font color other than black.


DON'T use emoticons. These are more appropriate for personal correspondence.

DON'T send any "involuntary" attachments. If your e-mail program is set up to send a "vcard" attachment, turn off that option. Editors have been worried about electronic viruses long before they began to worry about surface-mail viruses, and many will delete a message that is flagged with an attachment without even reading the e-mail itself.

DON'T send "clips" as attachments. It's always difficult to send clips with electronic queries.

One option is to state the availability of clips, to be sent by e-mail or surface mail on request; another is to provide links to online clips. (It's perfectly acceptable to set up a website of your own where you can place scanned or HTML'd copies of your previously published articles, to use as a "clip portfolio" -- even if you don't make the material "publicly available.")

DON'T send a submission as an attachment unless a publication's guidelines specifically state that this is acceptable, or unless you have authorization from the editor.

DON'T expect an editor to respond to an e-mail submission "instantly." Although some editors do respond more quickly to e-mail submissions than to surface mail, assume that a publication's published response time still applies, no matter how you submit material. Nothing irritates an editor like a writer who asks after a submission only days after sending it in.

DO keep a copy of all correspondence with editors. This will make it much easier for you to send a copy of your original query if you need to follow up. One way to handle this is to create a folder in your e-mail directory for "queries and submissions" that are still awaiting response, and another for queries and submissions that have received a reply. By checking your "awaiting response" file, you can easily determine, by the dates of your e-mails, when a submission should be followed up.

The ability to contact editors electronically has made life much easier for writers around the world. To retain this ability, however, we must make sure that we make life as easy as possible for our editors as well!

Comics

incorporate everything that I love to do, drawing and painting (I'm a compulsive napkin sketch doodler) camera, editing , creating dynamic characters and costumes, crisp dialogue. Lots of ordinary people doing extraordinary things; saving their world, getting radioactive, learning to fly. The only thing the comics are missing is dee motion and dee music (got to have an epic soundtrack.) Which is why I'd like to make movies that feel like comics, and that engage the imagination. That or leave it all behind and follow my true passion, mini putt.
Email: monkeyman@maverickfilms.com

Creative Ways To Sell More Books

Article submitted by fellow writer in Black Writers United club:

27 Effective, Innovative, Creative, Fun (& Cheap) Ways to Sell More
Books!
by Cathy Stucker

"If you print it, they will come."
Sorry. It doesn't work that way. You may have written or published the
greatest book ever, but if people don't know about it, they can't buy
it. Whether you are the author or publisher (or maybe you're both), it
is your job to create excitement about and interest in your book.
Use the ideas in this article to create a buzz about your book without
breaking your budget. While some of them won't be right for you, many
ideas will be a good fit. The more ideas you use, the better. People
often take their time before making a decision to buy, and the more often
they hear about your book, the more likely they are to buy it. Keep
coming at them in different ways with the message about your book and what
it can do for them.
Don't be too quick to discard an idea, thinking that you can't do it or
it won't work for you. Just because you've never done something before,
don't assume that you can't do it, whether it's making a speech, doing
a TV or radio interview, or staging an outrageous stunt.
These ideas are also good brain food: think about them, and see what
else you can grow. Can you put a twist on one of them or combine two of
them in an interesting way?
Pick a few ideas that appeal to you and put them to work right away.
Time to see results will vary. Choose a good mix of ideas to start
generating book sales and to keep selling for a long time to come!
Declare a holiday
A holiday does not have to be declared by Congress to get attention for
your book. If you wrote a book about finding your prince and living
happily ever after, why not create "Kiss a Frog"? Get your holiday listed
in Chase's Annual Events (you'll find it at your library), and the
media will call you. Even if it's not listed in Chase's, you can still send
out press releases announcing the holiday and any related events you
schedule. How do I know this works? Take a look in the Chase's index for
Solo-preneuring Week, and note that the contact is . . . yours truly.
Create a booklet
Excerpt a portion of your book into a booklet. (This article originated
as a booklet/handout for a speech I gave.) Give it away as a promotion
or sell it. Paulette Ensign has sold more than 500,000 copies of her
small booklets about organizing. Not only do the booklets promote her
organizing business, they have become a profit center themselves.
Teach a class
Colleges, community centers and continuing education programs are
always looking for interesting classes. If you were to become an instructor,
information about you and your book would be printed in every catalog.
Plus, you could offer your book as a required or optional text. I've
sold hundreds of copies of The Mystery Shopper's Manual and other titles
this way.
Make friends with the "competition"
Are there other publishers with the same audience? If your books are
not in direct competition, you might make a deal to promote each other's
books. For example, they might include your flyer or catalog in their
mail outs, and you do the same for them.
Throw a party
Hold a book signing party. It may be at a bookstore, but why not try
someplace different? If your book is about animals, hold it at a pet
store or the gift shop at the zoo. For a beauty book, why not try a salon?
Invite everyone you know, get the shop owner to help promote it, send
press releases, etc., to get lots of people there.
Exercise your right of free speech
And give free speeches all over. Lots of organizations are meeting in
your town every day, and most of them need speakers. Check the newspaper
for meeting notices, and ask your friends about their groups. Then call
and offer your services. You won't get paid, but they usually feed you
and you'll get to sell books after your talk.
Write articles about your topic
Offer the articles to newspapers, magazines and newsletters read by the
people who would be interested in your book. You may get paid for the
articles, but even if you don't, make sure information about your book
(and how readers can get their own copies) is included. Even easier,
excerpt portions of your book and offer them as articles.
Film at 11
Are you and your book newsworthy enough to make the nightly news? Sure.
I've done it lots of times, and so can you. Local news shows run a lot
of features about local people and events. Let them know about your
book signing, seminar, outrageous stunt, whatever. While there is no
guarantee of media coverage, when you get it, it can sell lots of books.
Put your book in unusual outlets
Don't just think bookstores. Where will you find the people who should
read your book? Don't overlook doctors' or veterinarians' offices,
truck stops, souvenir stands, restaurants and coffee shops, etc.
Help yourself by helping others
Offer your book as a fundraiser to schools, charities or other
organizations. Sell them to the organization in quantity at a discount. Members
sell the books at the retail price, and the organization pockets the
difference.
Offer your book as a premium
Does your book have a natural relationship to a product? The
manufacturer of that product may buy thousands of your books to give away or sell
to their customers. Contact the brand manager to see if they are
interested (and be prepared for any decision to take a while). Also approach
local merchants to see if they would like to buy premiums. Would the
local car dealer give everyone who buys a car a copy of your book on car
care? Come up with a good connection, then sell some books!
Centers of influence
Are there people who could influence others to buy your book? Might
doctors recommend your book on stress relief? Would teachers suggest
parents read your book on helping children excel at school? Get copies into
the hands of those who can reach your audience.
Get listed in catalogs
Most of us receive hundreds of catalogs with all kinds of things in
them. When you find one that seems to fit your book, contact the catalog
company and ask about submitting your book.
"Is the caller there?"
Do radio interviews, locally and across the country. By sending out
short press releases, I've gotten interviews for my clients and myself on
stations all over. A radio show may need three or more guests per day,
five days a week, 52 weeks a year. They want to hear from you.
News/talk stations run lots of interviews, but don't overlook the drive time
and public affairs shows on music stations. And the best thing about
radio is that you can do many of your interviews over the phone from the
comfort of your own home.
Talk it up
In marketing classes, I teach a technique called The 10-Second Brag.
The Brag is a quick way of introducing yourself in a way that is
interesting to your audience. If you tell someone that you are a consultant,
there reaction may be "So what?" (Although they may not ask that to your
face!) Instead, tell them about the problems you solve, and they will
be interested. The same applies to your book. No one (other than your
mother) cares that you wrote a book. But if your book contains secrets
that will help me make my dreams come true, then I care! The secret of
the Brag is remembering that people care about the world as it relates to
them and their needs. Remember that, and they will care about you and
your book.
Hold a contest
If you wrote a book about organizing closets, give a prize for the
messiest closet in town. Have entrants send in photos of their messy
closets, and/or write a short essay about how disorganized they are.
And the survey says . . .
Do a survey related to your book topic, then announce the results. If
you wrote a book about managed health care, survey people for their
opinions on managed care and what they like/dislike about it.
Weave a Web
Put a site on the World Wide Web where people can get more information
about you and your book. If they can't order it online at your site,
tell them where they can get it.
Exchange links
At your web site, offer links to other sites of interest to your
audience. Contact the webmasters of those sites and ask if they would
consider offering visitors to their sites a link to yours.
Be active online
Show your expertise by getting involved in discussion groups on your
topic. While sending purely commercial messages about your book is
generally not acceptable, you can answer questions and offer information and
include a sig file with more information about your book and how to get
it.
It's for a good cause
Announce that you will give a portion of the proceeds from book sales
to a particular charity or advocacy group. Then, let interested groups
know about it so they can help publicize your book.
Make a value-added package
Package your book with other items to make it more attractive as a gift
or easier to use. If your book is about a craft, could you package it
with craft materials? Bundle a cookbook with utensils, spices, etc.
Get others to sell books for you
Many speakers make money selling books in the "back of the room" (BOR).
Speakers who don't have books of their own, or who wish to expand their
product lines, may be interested in selling your books. Structure a
discount schedule which allows both of you to make money.
Get a business card for your book
Business cards are cheap. Get one made up especially for your book,
then put it around wherever you can leave business cards. I had some made
up for The Mystery Shopper's Manual. When I return a library book, I
stick one in the book as a bookmark. Know what? I've gotten calls as a
result!
Take a flyer
Make up a simple flyer about your book, and get it copied onto colored
paper. The flyer may be one side of one page, or just a portion of a
page. Put it out when you speak, leave it on literature tables at
meetings and conferences, etc.
Alert the media
Whatever you do, send press releases to make television, radio,
newspapers, magazines, etc. aware of you. Make it newsworthy. They don't care
that you wrote a book, but they will care that you can give their
audiences information they want or need.
Be outrageous!
Don't be afraid to try something new or unusual, even odd. Ask
yourself, "Will this attract/appeal to the people I want to reach?" and "What
will it cost me in time and money to try it?" If the first answer is
"yes," and the second is "not more than I can afford," then go for it!
Think about what you can do beyond these ideas. Do you want to be on
Oprah? Would a celebrity be willing to endorse your book? Would your book
be perfect for a home shopping network? Or an infomercial? Could you
develop a whole line of products related to your book? Sometimes it is
easier to sell several related books/tapes/etc. than just one title.
What is your wildest dream of success? Imagine it, and then take steps
to make it come true. Don't be afraid to think big and aim for the
stars! That's what they're there for.
Copyright © 2001 Cathy Stucker.

HOW TO WRITE FOR TV

FYI: Ever wanna write a TV show script?

Definitions

Spec script In Hollywood, you're already at a disadvantage if you
don't know the lingo. You'll hear the words below all the time, so
you better get familiar with them.

Usually called a "spec," this what the script that you write for a
show is called. If you want to become a writer for a show, you have
to prove that you're a good writer, so you have to write a sample
script of a show that already exists and that people are familiar
with . . . a spec script.

When you write a spec, it's supposed to look exactly like a normal TV
script looks, complete with language, conventions, and stage
directions. It should look as close to professional as possible, as
if it were an actual script for that show ready to go to production.
So in order to write a proper spec, you have to know exactly what a
script should look like. We'll help you with that later.

Set up This is the unfunny part of a joke meant to set up the
upcoming funny part. Often, one character delivers the set up and
another character gets the punch.
Punch This is the funny part of the joke.

Example:
LAVERNE: It's Thursday, we should take the trash out.
LENNY and SQIGGY enter: Hello!

Laverne's line is the set up, and Lenny and Squiggy's entrance is the
punch.

Act Just like a play, a sitcom is usually broken into three acts. The
break between the acts occur at the commercials.

Scene Again, just like a play, there are scenes within the acts.
There could be one long scene or several short scenes.
Cold open This is that part of the show at the very very beginning,
before the credits begin. Sometimes it sets up part of the overall
story, and sometimes it's an unrelated funny scene. A cold open is
also called a "teaser."
A & B stories Each show has more than one story going on, there's
always the main plot, but sometimes there are subplots. The main plot
is called the A story, and the subplot is called the B story. If
there are more subplots, there can be C or D stories too. The A story
is the biggest and most important one, and usually involves the main
character, while a B story might be a spinoff of the main plot and
involve secondary characters.

Here's an example. For The Drew Carey Show, an A story might be that
Drew won the lottery. A possible B story would be that Oswald and
Lewis like the same girl. A C story might be that Kate has a new
date. They are labeled A, B, or C according to how much of the show
they're given.

Climax This is the problem that is established. In other words, at
the climax, the audience should be asking, "How are they going to get
out of this one?" In a sitcom, there are two climaxes. The first is
at the end of Act 1, right before the first commercial (ya gotta
keep 'em watching!). Act 2 shows the character trying to get out of
that predicament and making things worse. At the end of Act 2, is the
second climax, which is like, "I would so never want to be in that
situation."

Using the example above, a climax after Act 1 might be that Drew
can't find his ticket. A the climax after Act 2 might be that he
finds the ticket, gets to the lottery office, and they arrest Drew
for impersonating Drew Carey (because Mimi stole his wallet and
replaced his pictures with somebody else).

Resolution This is Act 3. In one final scene (or couple of scenes),
everything gets worked out for our stars.

Keeping with our Drew Carey example, it might be that Kate's date is
the new guy in Drew's pictures, so the lottery is awarded to him.
Then the girl that Oswald and Lewis liked decide to go with Kate's
now lottery-rich date, and Drew, Lewis, Oswald and Kate are back to
the normal living situation.


Choose a show

Now it's time for you to pick a show and write a spec of your own.
First of all, write for a show that's been on TV for 3 and 5 seasons.
This is because the people that are reading your script will be
familiar with the show and its characters, but not completely sick of
them. This means that you should not write a spec for Friends or
Frasier. Also be sure that the show you write is still on the air. No
agents or producers would read a Married . . . with Children or I
Love Lucy.

Currently (at least, as of May, 2000), there are a lot of King of the
Hill, Everybody Loves Raymond, Will and Grace, Dharma and Greg, Just
Shoot Me, The Drew Carey Show, and Sex and the City scripts that
people are writing as specs.

Why not write for a brand new show? Two reasons:


Who knows if it will be a hit? If it doesn't come back in the fall,
you've got a spec that no one will read, and that doesn't do you much
good.


It's so new, the people reading your spec won't know if you captured
the voice because the show is unfamiliar. However, Everybody Loves
Raymond is a show with which people are generally more familiar, so
the reader will get a good sense of your ability.
Write for the show that you like the most and feel you'd write the
best script for. Your enthusiasm will really shine through. But keep
in mind that you won't get hired to write for the show that your spec
is about. In other words, don't send your Sex and the City script to
the producers of that show. There are three reasons: 1- the producers
aren't allowed to read it for legal reasons (you might claim that
they stole the idea from you, when they really thought of it on their
own), 2- that show already has enough writers, and 3- they know their
own show so well that you could never live up to their expectations.
So if you want to write for a particular show, make sure that your
spec is NOT of that show.

Watch the show

So you've chosen your show, eh? Before you start writing for it, you
should absorb every detail you can get about it. If you want to write
Just Shoot Me, tape every episode you can and watch them all several
times. Learn the backstories. To learn about the history of shows and
characters, it's a great idea to do some web searching and look at
some Internet fan pages. Also see if you can find synopses of shows
that series has already filmed. You'd be quite embarrassed if the
show you write had already been written two years ago.

Get your hands on a script

And get a copy of the show's written script if you can. It helps to
see it in print, and you're going to have to match their style
EXACTLY. Scripts are available from Script City in Hollywood (323)
871-0707, but you can also find tons of scripts at Script-o-rama.com
and Sitcom Format 101.

Read the scripts. Read them again. And again. You need to know how
many scenes and acts the show has, how long it should be, and what
the format is. Is it double spaced or single? Is it written like a
film script (like Sex and the City) or a traditional sitcom (like
Drew Carey)? You need your spec to look and sound as if were written
by a writer on staff

courtesy of:
Mike Jukes

A Dozen Unique Ways To Make More Money Writing By Patricia L. Fry

Not every writer dreams of making his fortune from a best selling
book or earning a living through her craft. But there are plenty
of us who do. How else can we justify spending so much time pursuing our art?

Are you a working writer? Do you have strong time-management and
marketing skills? Can you find enough work to support your writing
habit? Would you like to make even more money writing? Of course
you would. And you can! All you need is an awareness of the vast
opportunities out there for writers and the willingness to stretch and grow.

Let's say that you write articles for magazines. You send out 40
queries and write three to eight articles each month. Additionally,
you recycle your articles as reprints. You get paid to write a church
bulletin and an occasional book review. What more could you do? Plenty. Here are some ideas:

1: Write political campaign material. Elections can be lucrative
for writers. Whether the campaign is citywide or at the national
level, candidates rely on accomplished writers to sway voters. I've
earned some good money writing campaign material for school board
candidates and local union election contenders. It's easy to get
involved. Simply choose your candidate or cause and apply for a
writing job. Be prepared with a resume and a sample press release
or campaign blurb. I charge $25-$35 an hour for this work, but the
bigger the election, the higher the pay rate.

2: Produce radio copy. Before it's spoken, it has to be written—at
least that's true of ad copy for radio. If you can write concise,
interesting copy for products, this might be an enjoyable and lucrative
sideline for you. The fee for radio ad commercials is around $40 – $75 an hour.

3: Start a newsletter business. I know someone who writes newsletters
for a half dozen businesses and organizations. Potential earnings
per newsletter are in the $2000 to $6000 range per year. What does
this work entail? You write articles, conduct interviews and provide
data related to the business or organization and arrange to have
the newsletter typeset and printed or copied.

4: Become a teacher. It took me years to figure out that my writing/publishing
experiences were a valuable commodity. Perhaps yours are, too. Give
seminars for fledgling writers. Teach classes through a local art
center, a community college or online. Not only will you get paid
anywhere from $100 to $1000 per course or seminar, some of your
students might hire you to help them publish their works.

5: You be the judge. If you have impressive writing credentials,
why not apply as a judge for some of the many writing contests operating
throughout the U.S. each year? I've judged poetry contests and a
nonfiction story-writing contest. Apply for a judging job by contacting
the directors of contests that appeal to you. Find contests listed
in Writer's Market and online, for example. The pay isn't usually
that great, but take it from me, it's fun, it's a definite learning
experience and it's another credit for your resume.

6: Write speeches. Did you know that people will pay for speeches
of all types? Write a eulogy, a motivational speech for a CEO or
a roast for a 50th birthday party. You can charge anywhere from
$25 to $100 for a five- to seven-minute speech.

7: Produce fundraising material for businesses and organizations.
Fundraising takes a special knack which is why business leaders
and organization directors usually hire someone to write their fundraising
materials. If you can write convincing, straightforward copy designed
to touch people's hearts and their pocketbooks, you can probably
get work in this field. Fees vary according to the scope of the project.

8: Do technical writing. The term "technical writer" used to intimidate
me. I know very little about computer technology, but I can write
simple instructions. And this is all that is necessary in some forms
of technical writing. If you can explain in writing how to use a
toaster, maybe there's a place for you as a technical writer. To
learn more about this field and to find jobs in this market, read
Susan Bilheimer's book, How to Become a Technical Writer.

9: Translate foreign documents and books. If you speak more than
one language, you could earn thousands of dollars each year as a
translator. Start by registering with the American Translators Association
(ATA) and, perhaps, send your resume to publishers who typically
reproduce books in other languages. Find out more about ATA at:
http://www.atanet.org

10: Work with other writers. Many writers earn extra money ghostwriting
books or doing editing, proofreading, typesetting or indexing. Help
a writer develop his/her book proposal, write a query letter or
design promotional material for his/her books. I'm working with
a man on his memoirs. Last year, I did the legwork for a fellow
writer who was looking for a publisher. You can earn anywhere from $300 to $15,000 per project.

11: Expand your writing services. Article writing or client work
might be your forte. But don't limit yourself. There are a wide
variety of companies and organizations out there looking for good
writers. Have you ever visited a website that was disorganized and
littered with misspelled words? Contact the webmaster and offer
to rewrite the text. Do you sometimes find mistakes on brochures
you receive in the mail? Go to the heads of these companies/organizations,
point out the mistakes and offer your services.

Perhaps a local business, your county seat or a historical church
is nearing a hallmark anniversary. Propose a commemorative piece
to celebrate the event. I just finished a booklet featuring the
history of our largest local water district and earned $3000 for my efforts.

12: Ask for writing work. When you experience a slow time (and we
all have them), contact some of your favorite editors and ask for
an assignment. Maybe one of their writers can't make a deadline
and they need a fast turnaround on an article. Perhaps they have
an idea, but haven't yet settled on a writer to initiate it. It
often pays to make yourself available.

And it pays to do good work. This should go without saying, but
I experienced the full impact of this statement a few years ago.
I was a regular contributor for an association magazine. When this
organization needed someone to rewrite their manuals, my editor
recommended me. This was a major project. In fact, I was paid more
for this one job than I earned all year writing articles for their magazine.

Patricia Fry is the author of 16 books including her new print book,
The Successful Writer's Handbook, a practical, useful guide for
freelance writers, authors and publishers. http://www.matilijapress.com

Yolanda Barnes
Visit My Blog at: Jus' Writin' Life

Submission Checklist

Finishing a manuscript is a wonderful feeling. A first step toward the ultimate goal of publication. But that's what it is. A FIRST step. The next step (after revisions, of course) is to send your "baby" out into the world. Here is a checklist for those of you who are preparing to send your work out for the first time:

1. What should I send?

PART ONE: Well, that depends on who you want to send to! First, you need to determine what kind of book you've written. What is your target audience? Here are some hints:


There are several categories of romance and many sub-categories. Here are the main ones:

Historical -- Any romance with a setting before the turn of the century. If you are setting your novel after the turn of the century, but before modern times (like WWII), you're probably going to have trouble. You might try a smaller house or maybe an epublisher for your story. Otherwise there are Victorian stories, Regency, Americana, Civil War, Medieval... etc.


Contemporary -- Anything set in modern times. This can be a humorous story, a suspenseful novel, a serious issues romance, etc.


Time Travel -- A story where one of the main characters (hero or heroine) is thrown forward to modern times or back to historical times and falls in love with a character from that time period.


Paranormal -- Werewolves and Vampires and Shapeshifters, oh my!


Category -- Mostly set in modern times, the category romance is generally shorter, and each book fits a very specific set of guidelines. Often there isn't as much space for secondary plot lines or characters



OK, so now you know what kind of book you've written. Harlequin/Silhouette are the main producers of category, so if you've written a book like that, check out the Harlequin pages (link from my publishing resources page). If you've written a book that doesn't fit the category romance genre, then you'll probably want to go with a big publisher or a well-known smaller pub. Either way read the guidelines they lay out and follow them. You're on your way!


PART TWO: What's with all these terms in the guidelines? HELP! This is another common question. Let me give you a layman's dictionary.


query letter -- A letter (generally one page) that introduces your story to the editor or agent in the most basic way. You don't want to give any details, just a bit of flavor. Here you want to tell the following:

The word length of your story (100,000; 75,000; etc)


The genre your story falls in to (Romantic Suspense, Historical, Romantic Comedy)


A little about the hero and the heroine. Example: Lanie is an independent and strong woman, who only wants to prove to herself, and to her father, that she’s worthy of love and respect. Colin is an intriguing and sensual man who wants to protect Lanie from his lifestyle, and his past. At the same time he feels drawn to her in ways so powerful he can’t deny them.


A bit about the storyline itself.


Any information about yourself that the editor/agent might find useful. This means publishing credits, not that your Mom loves your novel.



synopsis -- A detailed account of what happens in your novel. OK, that's vague, right. The synopsis is always told in present tense, it NEVER contains dialogue or character point of view, and it shouldn't go chapter by chapter. Think of it this way. If someone asked you to tell them what your story was about, that would be your synopsis. Not too much detail, but enough that they understand where you're coming from. The length varies. Double check the guidelines for the publisher you are targeting. If there are none, then about a page for every 10,000 words is a good guideline.


proposal -- "Send a proposal", what does that mean? It means a query letter, a synopsis, and the first three chapters. ALWAYS.


partial -- Different from a proposal. Often it's what an editor/agent asks for after they've read your query letter, but haven't gotten any other material. They will generally specify what they want, whether it be a chapter, three chapters, 50 pages, 100 pages, whatever. If they don't specify, just do three chapters. And toss in a synopsis for good measure.


slush pile -- the place you don't want to be. The graveyard of unwanted manuscripts. Editors will read them, but it takes time.


Heard a term you don't understand? Contact me, maybe I can help (maybe not, but I can try)!

2. To whom do I send it?


Here's the tricky part. Send it to a person. Don't send it to "The Bob Smith Agency, Romance Agent" or to "Acquiring Romance Editor, XYZ Publishers". That's like marking it "slush pile". You want to find out who acquires for the publisher you are querying. If you are a member of RWA, check out your January RWR or May RWR, the editors are generally listed there. If you aren't, read the submissions guidelines pages carefully, sometimes the editors names are listed. If you can't find them, you can contact me. I can't promise to know, but I can look around. I can't stress this more: WRITE TO A PERSON!!!


3. How do I send it?


Make sure you include a SASE (Self Addressed Stamped Envelope) with enough postage. At least send one for a return letter, and if you want your manuscript back make sure its big enough to hold it. If you don't, just let the editorial staff shred it.


Priority Mail is best, and try to get a Tyvek envelope. Tyvek is some kind of secret material that can't rip or burn or soak through. It's sent from the writing gods themselves. Priority mail envelopes are Tyvek and you can get them free when you mail priority. Otherwise, they are very inexpensive and can be found at drug stores and mailing stations everywhere.


Also, if you have had material requested, write REQUESTED MATERIAL on the envelope in indelible marker. You will stay out of the slush pile. If it has not been requested... NEVER write REQUESTED MATERIAL on it. You will get caught, and I'd bet you will be rejected, even if you ARE the next Nora Roberts.

Neshee Publication Website

From: "Aalim & Heather Elitou"
Subject: Neshee Publication Website
Peace All:This message is to let you know that Neshee Publication's website is up and running at: www.nesheepublication.com, but we are still under construction.
We will be adding new information, packages and services very soon so stay tuned…

In adding, we would like to thank you all for your inquiries and your continuous support. For those who were trying to download the Submission Forms, the Anthology Contest Forms, and the Free Review Forms, you can definitely do that NOW.Again, we thank you all for your support and your inquiries.

If you have any questions, please feel free to email or call us at: 215.439.0167 or 215.439.0170.Authoritatively yours,

Neshee Publication

SYNOPSIS WRITING METHOD

Karen Harbaugh's Index Card Method
of Writing Synopses
Copyright Karen Harbaugh, November 28, 2000

Anyone like writing synopses?

You do? Getouttahere! Nobody likes writing synopses except Deb Stover, but I will forgive her because she is one of the people who prevented me from doing a Very Stupid Thing in my writing career.

However, if you aren't Deb Stover and still like writing synopses, you probably don't need this method, you probably clean the top of you refrigerator every week, and I bet you have a subscription to Martha Stewart magazine, too.

But for those poor souls like myself who find writing synopses a chore, I am willing to share a method that has worked for me. I developed it back in 1995 after thinking deeply about story structure, and seeing how my critique group member and fantastic Regency author Teresa DesJardien (and I would link to her web page, but she doesn't have one, the naughty creature) plotted and arranged her scenes--by using index cards. She'll jot down scenes on these cards in the way she thinks they should go, and if she gets stuck or loses her way, she'll look at these cards and re-arrange them if need be.

I have to say that Teresa is one of the most conscientious authors regarding technique that I know. She once wrote a whole book in a single point of view, just so that she could master that technique. In fact, she'll take a particular technique she wants to learn, and apply it throughout a book she is writing, just to learn it. Her discipline and dedication to improving her art struck me like a two-by-four upside the head, I kid you not, and I saw the light (the kind of sparkly light you get when you are whacked over the head--never mind. I've gone too far with that simile). I've tried to do the same ever since about practicing technique.

So a large part of the credit goes to her, plus various writing workshop leaders from whom I've learned, but alas cannot remember their names.

Anyway, this is how you do it:

Get seven 3x5 or larger lined index cards (depending on how large you write longhand). What you write on the cards must be concise and brief, and you are not allowed to write on more than one side of the card when going through steps 1 through 7 below.

The first card has the character description of the heroine.

The second card has the character description of the hero.

The third card describes the opening scene, the set-up for the book.

The fourth one describes the most important scene before the midpoint of the book.

The fifth describes the crisis/climax/transition of the book--the midpoint.

The sixth describes the most important scene between the midpoint and the ending--usually the "dark moment."

The seventh describes the ending scene.


After you've done that, look over the cards. Have you omitted any crucial point? If so, add it to the back of the card. Do this for each of the cards if you need to.

Now, put them in order. This is where you actually start writing your synopsis.

Take the 3rd card (the one with the opening scene) and flesh it out a little, TELLING the scene instead of showing it. When you first mention the characters, describe them briefly (using the 1st and 2nd cards).

After you are done, get the fourth card (the most important scene before midpoint). Write only one paragraph (at most, two) to connect those scenes.

IMPORTANT NOTE: These "connecting" paragraphs should tell what the motivations and emotions are that make the scene in the next card necessary.

Take out the fifth card (midpoint) and do the same--one or two paragraphs to connect the scenes.

Do the rest of the cards in the same way until you finish with the 7th card.

About Secondary Characters: Do not describe secondary characters or mention them unless they are crucial to the plot. For instance, if you have a heroine who is escaping a stalker and that stalker is her cousin, mention him, since he is the villain and is crucial to the plot. However, if she has a cousin with whom she stays for a month while she looks for an apartment, and this cousin doesn't do anything but allow her to stay with her or makes some commentary on her life, don't bother to describe this cousin. It's enough to say that she's staying at her cousin's house while she's looking for her own apartment.

Using this method, I found I was able to keep my synopsis short, generally under 10 pages (although 15 is not unreasonable). I have even shaved them down to 5 pages on occasion. If you're writing a longer book, however, it's fine to write longer synopses than that--you'll want to if you're writing a long book. I've heard the general rule is 1 page of synopsis to 20-25 pages of book.

Of course, the question is, will this synopsis method sell your book?

No, of course not. Only a danged fine story and good writing can do that. However, it might help. I had the very nice experience of having a complete stranger look at my name badge at a conference one time, gasp, and say, "YOU'RE Karen Harbaugh?" When I said yes (hoping that her apparent joy was because my books were her favorites), she immediately enveloped me in an enthusiastic hug and told me that she had never been able to get an editor to ask for her manuscript, but after using this method, an editor immediately requested her previously rejected proposal. Of course, it had to have taken a marvelous story to attract an editor's eye, but hey, it's gratifying to think something I wrote might have helped someone follow her bliss.

MANUSCRIPT PREP

From: Gevell

Subject: RSW: Formatting Manuscripts

RSW:
Formatting Manuscripts
How to Achieve 250 Words / 25 Lines Per Page
By Deanna Carper-Lilly

FONTS AND MARGINS

In order to achieve the ideal format for novel submission, your must
strive for 250 words per page, with margins at one inch all around
(some editors want a left margin of one and one-half inch) using
either Courier 12pt or Times New Roman 12pt fonts. Several editors
have told me that Courier 12pt is easier to read. And, the last thing
we want to do is give an editor a headache from eyestrain as he/she
reads our manuscript. I am sure some of the following
"tricks" can benefit even the seasoned writer.

You sit down at your computer, set your margins and begin counting
lines. The tips of your fingers smudge your nice clean screen with
the oozing chocolate you've just eaten as a source of inspiration.
Unbelieving, you go to another page and count again only to discover
a variance of 23 to 28 lines per page depending on the word
processing program you use (MSWord or WordPerfect). Don't
panic--there's an easy solution to achieving exactly 25 lines per
page.

LINE SPACING

SOLUTION - MSWord: Click on FORMAT in the menu bar, trace down and
select PARAGRAPH, make sure you are on the INDENTS AND SPACING tab
and go to the center section of the dialog box that says SPACING.
Find the little box that says LINE SPACING and click on the down
arrow. Then, click on EXACTLY and in the little box to the right
change the 12pt to 24pt (you can double click on the number or drag
select it or simply delete the number part. If you remove part of the
"pt"--remove all of it), then type in the number 24. When
you press enter or click on OK the "pt" will return. (Note:
this number could vary depending on your printer's internal setups.)

SOLUTION - WordPerfect: Click on FORMAT in the menu bar, trace over
and down to LINE then click on SPACING and change the 1.0 to 1.86 and
that will guarantee you exactly 25 lines per page.

COUNTING LINES

For a quick and easy solution to the problem of counting lines, turn
your line numbering on until you are ready to do the final print of
the manuscript to send to the editor. (Turning off line
numbering--you follow the same steps and remove the check mark, or
deselect the option.)

SOLUTION - MSWord: Click FILE in the menu bar, trace down and click
PAGE SETUP. In the dialog box, click on the LAYOUT TAB then click on
the LINE NUMBER button in the lower left corner. In the next dialog
box place a check, or click, in the ADD LINE NUMBER box. The default
is to number the lines on each page from 1-25 (or more if your setups
are off). You can change that option to sequentially number every
line but it makes tracking on the page a little harder.

SOLUTION - WordPerfect: Click FORMAT in the menu bar, trace to and
select LINE, then trace over and select LINE NUMBERING. In the dialog
box select TURN LINE NUMBERING ON. You may want to adjust the
position of the line number so that it is closer to the paragraph
margin--the options is located in the center of the dialog box
(POSITION FROM LEFT EDGE OF PAGE). Use the up arrow to reduce the
distance from the margin edge.

WIDOWS AND ORPHANS

There is one more trick you want to make sure and do to insure you
get 25 lines per page. You MUST turn off the widows and orphans
lines. Widows and Orphans cause the paragraph to automatically move
at least two lines to the next page to prevent a single line ending a
paragraph on a page. Editors are not concerned about the single line;
they want the 25 lines per page regardless of an orphan line.

SOLUTION - MSWord: Click FORMAT in the menu bar, trace down and click
on PARAGRAPH. This time in the dialog box you want to click on the
LINE AND PAGE BREAK tab. Deselect (remove) every check so that all
boxes are empty. The Widow and Orphan option is the top box, but you
do not want any of the options active for this type of manuscript
typing.

SOLUTION - WordPerfect: Click FORMAT in the menu bar. Trace down and
select KEEP TEXT TOGETHER then deselect (uncheck) every option in the
following dialog box.

Now your lines will end up exactly at 25 lines per page and your word
count will average 250. Some pages will have fewer words, some a few
more but that is acceptable. Good luck and good writing.

* * *

Special Instructions for Harlequin/Silhouette submissions: The
standard 1" margin/250 wpp doesn't work with the way H/S
calculates words per page. To them, a page with one-inch margins all
around averages to 12 words per line, times 25 lines per page, is 300
wpp (no matter how much of the page is dialogue instead of
narrative). If you are submitting to H/S, go with their word count
formula and set both of your side margins to 1.25" to get 10
words per line and thus, 250 wpp. [Contributed by Shirley Kawa-Jump]

WRITING FICTION

Message: 2
Date: Tue, 27 Jan 2004 07:03:32 -0800 (PST)
From: YOLANDA
Subject: ARTICLE: Becoming a Fiction Writer - A 10 Step Guide


Becoming a Fiction Writer - A 10 Step Guide
robparnell
(Download this article NOW!)


The urge to write fiction seems God given for some, a learned skill for
others.

One thing is certain – it requires practice and a particular mindset.
But, if you’re a beginner, where do you start?

The following 10 tips will help kick-start your writing habit, whether
you’re a complete novice, or perhaps a pro who has lost their way!

1. Step Away From the Car, Sir.

Slightly detach yourself from your surroundings. Stop participating and
begin observing. In social situations, watch people, see how they act
and – more importantly - interact.

Don’t pass judgment. Take it all in – and draw on it later when you
write.

2. Look Harder, Homer

Stop and look around you. Consciously notice the buildings, what’s
underfoot, overhead, and what’s right in front of you.

At home, look at something you take for granted. An iron, for instance.
Find yours and study it.

3. Write Thinking Will Be Rewarded.

A simple technique. Your mother is making tea and you are chatting to
her. Take a mental step back and describe the scene.

Similarly, when you’re outside, describe your environment as though you
were writing it down.

4. What Reasons Do You Need?

Don’t wait for inspiration – just write!

Force yourself to write anything at all. A shopping list. An overheard
conversation. Describe your bedroom.

It doesn’t matter how personal it is, or how trivial, just get it down!

5. Wakey Wakey!

Set your alarm clock for an hour earlier than normal.

When the alarm goes off, get up. Don’t dress, bathe or eat. Don’t even
make coffee. Just stagger to your writing space and write the first
thing that comes into your head for five minutes.

6. Oh God – Not That!

Think of the most awful and embarrassing thing you’ve ever done - the
more cringe-worthy the better. Now write about it. All of it, in all its
gory, horrible detail.

Then hide it away for a year or so before you read it again!

7. Like Your Style, Baby.

Don’t limit yourself. Write poems, songs, dialogue, fact, fiction, even
practice writing advertising copy or horoscopes.

Your expertise improves in all areas – an improvement in one area can
reap benefits in another.

8. The Sincerest Flattery

Take out a classic book from your bookcase. Copy out a paragraph. Think
about the words as you write them. Don’t get intimidated!

9. Wanna See My Invention?

When you’re not writing, string together stories in your mind. Think of
plots, characters, settings, dénouements.

Ask yourself what you should do next to improve your writing.

Develop this technique into a habit.

10. It’s A Goal!

When you start writing regularly, set yourself small goals. Anything
from 200 words a day, or just a commitment to writing in your diary.

Later extend to finishing a short story, or an article or a poem.
Perhaps one in a week.

The trick is to set goals you can achieve easily.

That way you’ll get the writing habit - and you won’t forget to enjoy
it!

©robparnell 2003
http://easywaytowrite.com

ARE WE A GOOD MATCH?

What we are currently seeking: romance (contemporary, historical, time
travel, paranormal, futuristic, science fiction, and romantic
suspense), women’s fiction, commercial fiction, literary and multicultural
fiction. In nonfiction: business, self-help, finance, entertainment,
media-related, pop culture, how-to, psychology, travel, health,
inspirational/religious, reference, and holiday books.

We are NOT seeking: science fiction/fantasy (unless it has a central
romantic element), mysteries, action-adventure, horror, short story or
poetry collections.

With any categories not mentioned, please query.


MANUSCRIPT SUBMISSION:

The submission process is comprised of several steps to better serve
the authors and to maximize the agent’s time. The first step in the
process is the query letter.

STEP ONE: The Query Letter. Your query letter should be limited to one
page. In it, you should include a brief summary of your manuscript or
proposal, as well as any pertinent author information. WE NOW ONLY
ACCEPT E-QUERIES. All e-queries must be included within the body of the
e-mail. No attachments, please.

Any PHONE QUERIES will be answered on the 32nd day of each month. (Yep,
that means we don’t accept or return them.)

Please direct all queries to Judson Knight, Manuscript Coordinator.
Query replies usually take one to three weeks from the date of receipt.

STEP TWO: Submissions. If you have queried our agency and we have
specifically requested a partial of your manuscript or proposal, then please
adhere to the guidelines below. PLEASE SEND NO UNSOLICITED MANUSCRIPTS.

FICTION
~~The first three chapters of the completed manuscript
~~Synopsis or outline (no more than 3 pages)
~~Copy of your original query letter

NON-FICTION
~~Proposal or outline
~~The first one to three chapters of the book
~~Summary of your qualifications
~~Unique marketing opportunities, i.e. speaking engagements,
professional organizations, etc.
~~Copy of your original query letter


For more information about preferred proposal content, please visit our
Proposal Guidelines page

IMPORTANT NOTES FOR ALL SUBMISSIONS: Manuscripts without return postage
cannot be returned or answered. Please send your materials in
envelopes, NOT BOXES. Send well prepared manuscripts: neatly typed,
double-spaced/single-sided, with consecutive page numbers. Send copies, not your
originals. If you'd like proof of delivery, please include a postcard,
asking us to let you know we received the submission. Review of
manuscripts currently takes eight to twelve weeks from the time of receipt. We
apologize for the lengthy review period, and hope to reduce the waiting
time in the future. Please do not call to check on the status of your
manuscript. If you are concerned as to whether we received it or not,
e-mail is the best way to inquire.

Send your submissions to:

~~Judson Knight
~~Manuscript Coordinator
~~The Knight Agency
~~577 South Main Street
~~Madison, GA 30650

Send your e-mail queries to Judson Knight at:

~~knightagent@aol.com

Again, please do not send attachments, as we cannot open them. All
requested submissions should be sent via snail mail, not e-mail.

TERMS OF REPRESENTATION: The agency does not charge a reading fee to
review manuscripts. Agent receives 15% commission on domestic sales;
20-25% commission on foreign sales. May use a sub-agent for sale of film
rights and foreign rights. Requires written contract. Charges for
expenses, including overnight delivery, copy costs, and postage.

BOOK PROPOSAL INFO

Message: 14
Date: Wed, 18 Feb 2004 03:38:03 -0000
From: "S. Michael Jennings"
Subject: FYI: Have you ever wanted to write a book about your life?

Manuscripts and Proposals

Generally, you can either send book manuscripts directly to
publishers for consideration or use a literary agent who will present
your manuscript for you. Using an agent means that you must pay a fee
for their service. It can, however, be an effective way to get your
manuscript read because an agent already has established
relationships with publishers who may not accept unsolicited
manuscripts. Whichever direction you choose, it is usually more
effective to approach a literary agent first.

Many publishers do not accept unsolicited manuscripts or proposals
because of the volume of submissions and the time involved in dealing
with them. Some publishers will accept unsolicited proposals, but not
manuscripts. In either case, manuscripts and proposals submitted by
literary agents will always take precedence.

Submitting Manuscripts


Get a list of publishers and find out what kinds of books they
publish to see if your work would be of interest to them. For
example, if you've written a book of poetry, don't bother sending it
to a publisher that specialises in reference books.
Get a list of literary agents and do the same. Beware - some will
charge a fee to read your manuscript, so ask about their fees up
front.
While you're doing your research, find out whether they accept
unsolicited manuscripts.
If they don't accept unsolicited manuscripts, they probably deal with
literary agents. Ask them which they deal with.
Never send an original manuscript, artwork or photograph. Send a good
copy.
Enclose a covering letter, a brief synopsis and sample chapter with
your manuscript. Include information such as:
a) Whether you've been published before
b) Your background
c) An executive summary of the book (max 1 page)
Always enclose a stamped self-addressed envelope, but remember that
publishers have no obligation to return manuscripts.
Don't expect a full critique. Most publishers will return your
manuscript with a standard rejection letter. Others may make a few
comments on why your work was not selected.
If you feel you must visit a publisher, unless you're a best selling
author about to dump your publisher, phone and make an appointment
before you go.
Submitting Proposals

Your book proposal should contain the following information:

Full name, address, telephone number and e-mail address (if
available) of the author.
A brief biography of the author. Be sure to indicate whether you've
been published before.
An outline of the book with a brief focus on each chapter.
Describe the audience for this book.
Does the book warrant translation into other languages?
Does the book require illustations or photographs? If so, do you have
these?
Why you think this book should be published?
What contribution will this book make?
What existing books would compete with this book, and what makes this
project unique?
The present state of the book.
Is the manuscript completed?
How long will you take to complete it?
Is it on computer disk?
Always enclose a stamped self-addressed envelope, but remember that
publishers have no obligation to return proposals.


If anyone has useful info that you think can enrich someone elses
life, please feel free to post it. There is no such thing as useless
info if it makes money.