Nickolove Lovemore
The cover of your book is a critical component of your book marketing strategy. It is the first impression people will have of your book and it may be the last. So it's essential that your book cover does more than convey your book's title.
Your book cover is your silent spokesperson and your mini-billboard.
So here are 3 ways in which you can maximize the impact of your book to help boost sales:
1. Add Your Image
Naturally, this is not appropriate in all cases but it can work effectively whether you are well-known or not. If you are well-known and your image is part of your overall branding then incorporating your image on the cover of your book will give your book brand recognition. Take Donald Trump for example. He incorporates his image onto the cover of all his books for to quote one of his book titles - "There's no such thing as over-exposure".
If you are well-known then your book represents a great opportunity to increase your recognition. People are generally curious to learn more about an author and to see what they look like. Authors are seen as very special people - celebrities even. Allow potential buyers and or readers to connect with you. So even if you don't want to include your image on the front cover of your book make sure that your image can be readily found. For example, consider including it on the back cover or on the inside flap if your book is a hardcover version.
2. List relevant awards or distinctions
If you have received a significant award for your writing or your work in the subject matter of your book then you can include this information on the cover of your book.
By distinctions I mean something that is worthy of note. For example, if your book has a TV connection your book cover is a great place to mention it. People have a tendency to believe what they see on television which is one reason why this is such a power medium and any TV links will massively boost the saleability of your book.
For instance, Dean Graziosi on his New York Times best selling book "Be a Real Estate Millionaire" mentions "As seen weekly on national TV since 1999". This instantly gives him a ton of credibility even if you've never actually seen Dean Graziosi on television yourself.
Another example is the book "Think Yourself Rich" written by the award-winning author Sharon Maxwell Magnus. "Think Yourself Rich" was a major BBC television series and this was mentioned on the front book cover not one but twice.
3. Direct people to a free recorded message
Think of your book as a lead generator. Your book should be just the first stage of a journey a reader shares with you. Offer your readers different ways to interact with you.
So you can use your book cover to invite potential buyers and or readers of your book to phone you using a free phone number where they can listen to a pre-recorded message. Your pre-recorded message can outline a special product or service you might have and a special offer that is only available to individuals who purchase your book.
You might even want to run a special competition in association with the launch of your book and use your pre-recorded message to give details about this. People love competitions and structured astutely a competition that is run as part of your book launch can generate massive publicity for you, your company and of course, your book.
Monday, January 19, 2009
How to Avoid This Costly Self Publishing Mistake
Michael Senoff
Here's how to avoid this costly self publishing mistake.
Mike Samonic became a self publishing millionaire and here's one mistake he says you don't want to make.
"As I pore through editorial display ads in the rags, I see costly mistakes made by advertisers after achieving relative success with space ads." Because of this, Mike Somonic decided to try direct mail.
He says that the most common mistake that marketers make is not identifying their USP. A USP is their universal selling proposition. A lot of people call it a USA.
I'm surprised how people really don't understand what they're selling. If you don't understand what your USP is, you're going to do badly. But, on the other hand, if you have a really strong idea of what your main benefit is, then you're really going to sell the heck out of it. I think, as well as Mike, that's the most common mistake I see.
A lot of times there's a lot of hype going on, a lot of unbelievable claims being made. I guess if I have to choose one, it would be people just not understanding what a USP is.
Mike also mentions that another thing he thinks a lot of marketers don't pay enough attention to is getting publicity for their products, especially books. Books are hard to sell. If you go to a publisher and have them agree to publish your book, they're still not going to advertise it.
Your USP (Universal Selling Proposition) defines what you're marketing. With a well-defined USP, your success is nearly assured. Without one, you might as well strike a match and burn your marketing dollars.
No go do it. Don't wait. Get started to your first million dollar seller
Here's how to avoid this costly self publishing mistake.
Mike Samonic became a self publishing millionaire and here's one mistake he says you don't want to make.
"As I pore through editorial display ads in the rags, I see costly mistakes made by advertisers after achieving relative success with space ads." Because of this, Mike Somonic decided to try direct mail.
He says that the most common mistake that marketers make is not identifying their USP. A USP is their universal selling proposition. A lot of people call it a USA.
I'm surprised how people really don't understand what they're selling. If you don't understand what your USP is, you're going to do badly. But, on the other hand, if you have a really strong idea of what your main benefit is, then you're really going to sell the heck out of it. I think, as well as Mike, that's the most common mistake I see.
A lot of times there's a lot of hype going on, a lot of unbelievable claims being made. I guess if I have to choose one, it would be people just not understanding what a USP is.
Mike also mentions that another thing he thinks a lot of marketers don't pay enough attention to is getting publicity for their products, especially books. Books are hard to sell. If you go to a publisher and have them agree to publish your book, they're still not going to advertise it.
Your USP (Universal Selling Proposition) defines what you're marketing. With a well-defined USP, your success is nearly assured. Without one, you might as well strike a match and burn your marketing dollars.
No go do it. Don't wait. Get started to your first million dollar seller
A Little Secret on How to Guarantee Your Book Will Sell on eBay
The secret of being successful online has to do with offering unique home made products that you own, where you have 100% exclusive control, and are extremely profitable and that no one else can sell. What I mean by home made products,is writing your own books.
Once you start writing your own Books, you will be making thousands of dollars each and every month.
The best places to sell your physical Books are eBay and Amazon.
Many people ask how do they know if a book will sell on eBay before they take the time to write it?
How to guarantee your Books will sell online?
I'm going to let you in on a little secret on how to guarantee your Book will sell before you write it.
Before you write your own Book, the first thing is to try and find a similar Book on the same subject, on Amazon.com or Google...then buy two or three copies of the same Book you found, then try and sell them on eBay as unwanted items.
If you can get orders, you then create your own version of the product using your own research, but you must rewrite the book using your own words and pictures never copy it word for word, and then sell it on eBay or online.
Let me give you a REAL example. A while ago this guy he sells his own Books on eBay, he uses the same method outlined above,he saw a book on how to get your child on television.
He went to Amazon and bought four copies of the same book for $24.95 each.
He then went on eBay and wrote his own ad for the books (using his specific formula, you will know about this later), he sold all 4 of them for $19.95 each.
I know what you are thinking ...yeah but the guy lost money on that deal? Yes... but he knows that, at this stage he wasn't interested in making a profit from these 4 books, he just wanted to know if they would sell.
They did sell.
So what he did next was, he created his own book based around that subject in his own words. He did all the research using Google and the library. He also created his own ad and the pictures and priced the book at $12.95 each and sold 34 copies that week,and made around $440.00 gross and about $415.00 net after he paid his eBay and Paypal fees. He still continues to sell that book on eBay and online each week.
To recap, if you want to write your own book about a certain subject but you don't know if it sells,then you must test the market first before you take the time to create it, just go to Amazon and buy similar books on the same subject, then sell them on eBay.
If they sell, then go ahead and create your own book on the same subject using your own words, price it then sell it on eBay or online.
Then... repeat the process again and again and again until you make enough money to do whatever you want, when you want.
Once you start writing your own Books, you will be making thousands of dollars each and every month.
The best places to sell your physical Books are eBay and Amazon.
Many people ask how do they know if a book will sell on eBay before they take the time to write it?
How to guarantee your Books will sell online?
I'm going to let you in on a little secret on how to guarantee your Book will sell before you write it.
Before you write your own Book, the first thing is to try and find a similar Book on the same subject, on Amazon.com or Google...then buy two or three copies of the same Book you found, then try and sell them on eBay as unwanted items.
If you can get orders, you then create your own version of the product using your own research, but you must rewrite the book using your own words and pictures never copy it word for word, and then sell it on eBay or online.
Let me give you a REAL example. A while ago this guy he sells his own Books on eBay, he uses the same method outlined above,he saw a book on how to get your child on television.
He went to Amazon and bought four copies of the same book for $24.95 each.
He then went on eBay and wrote his own ad for the books (using his specific formula, you will know about this later), he sold all 4 of them for $19.95 each.
I know what you are thinking ...yeah but the guy lost money on that deal? Yes... but he knows that, at this stage he wasn't interested in making a profit from these 4 books, he just wanted to know if they would sell.
They did sell.
So what he did next was, he created his own book based around that subject in his own words. He did all the research using Google and the library. He also created his own ad and the pictures and priced the book at $12.95 each and sold 34 copies that week,and made around $440.00 gross and about $415.00 net after he paid his eBay and Paypal fees. He still continues to sell that book on eBay and online each week.
To recap, if you want to write your own book about a certain subject but you don't know if it sells,then you must test the market first before you take the time to create it, just go to Amazon and buy similar books on the same subject, then sell them on eBay.
If they sell, then go ahead and create your own book on the same subject using your own words, price it then sell it on eBay or online.
Then... repeat the process again and again and again until you make enough money to do whatever you want, when you want.
Book Marketing - The Benefits of Giving Your Book Away
You've worked hard to write your book and get it published. So it may seem counter-intuitive as a book marketing strategy to simply give away your work but in the long-term you could reap huge dividends.
Nowadays, it is customary for authors to give away a couple of free chapters from their book to whet the appetite of potential readers. Think of it as a "try before you buy" strategy.
And it is very effective because people love to receive freebies but hate the feeling of not knowing the whole story. Of course, if you are only given access to a couple of chapters of a book and those chapters are very engaging then it's only natural that you'll want to read the rest of the book.
However, you can take the concept of giving away a chapter or two of your book a stage further. You can let individuals choose which chapter of your book they would like to receive. This approach provides invaluable market research because you get to see which topic in your book draws the greatest traction. An example of a book where this strategy was used is "The Audacity of Deceit", a book about the proposed policies of Barack Obama written by David O'Leary.
Knowing what chapters readers are initially most interested in can help to shape other aspects of your book marketing campaign. For instance, if you are using articles as part of your book marketing strategy you can focus your articles on the most popular topics of your book. Similarly, if you are hosting teleseminars or providing a sample audio extract from your book you can choose the most popular section of your book to base your audio on.
Many authors also choose to give away a digital version of their entire book. Some authors fear this may detract from sales but in reality, many readers will still purchase a physical copy of your book even if they have a digital version. In addition, if they like your book enough they will not only spread the word about your book they may also buy a copy of the book for a family member, friend or colleague. Better still, if they are a business owner or manager they might buy several copies of the book for their staff.
Hence, when you give away copies of your book think strategically. Include people on your list who have a wide sphere of influence.
Authors who sell their digital eBooks often worry that it will be passed along. There are obvious disadvantages to this. For instance, if this happens it means that you will lose out on capturing that person's name for your own database. However, people don't share books they dislike so the fact that someone is passing your book along can be seen as an advantage as well. And you want as many people as possible to read your book.
There are ways to prevent indiscriminate sharing of your digital content such as password protecting the document, limiting the number of times it can be printed and restricting the number of computers that it can be accessed from, etc. However, this can defeat your objective to promote your book and harness as many sales as possible for your book.
The thing is that people will share digital eBooks just as they share physical books. The key then is to ensure that your overall volume of sales is high enough for you to absorb these losses. Remember to include information about your products and services, such as coaching and consulting, in your book. Even someone who did not originally buy your book may still end up purchasing other of your products or services. Or, at the very least you may receive an unsolicited review of your book.
So, as part of your book marketing strategy, allow potential buyers to have access to free content. Also, make it easy for potential customers or clients to purchase from you at whatever level they choose. For example, someone might not buy your book but they may buy your $2,000 mentoring program - just as a result of reading your free eBook.
Nowadays, it is customary for authors to give away a couple of free chapters from their book to whet the appetite of potential readers. Think of it as a "try before you buy" strategy.
And it is very effective because people love to receive freebies but hate the feeling of not knowing the whole story. Of course, if you are only given access to a couple of chapters of a book and those chapters are very engaging then it's only natural that you'll want to read the rest of the book.
However, you can take the concept of giving away a chapter or two of your book a stage further. You can let individuals choose which chapter of your book they would like to receive. This approach provides invaluable market research because you get to see which topic in your book draws the greatest traction. An example of a book where this strategy was used is "The Audacity of Deceit", a book about the proposed policies of Barack Obama written by David O'Leary.
Knowing what chapters readers are initially most interested in can help to shape other aspects of your book marketing campaign. For instance, if you are using articles as part of your book marketing strategy you can focus your articles on the most popular topics of your book. Similarly, if you are hosting teleseminars or providing a sample audio extract from your book you can choose the most popular section of your book to base your audio on.
Many authors also choose to give away a digital version of their entire book. Some authors fear this may detract from sales but in reality, many readers will still purchase a physical copy of your book even if they have a digital version. In addition, if they like your book enough they will not only spread the word about your book they may also buy a copy of the book for a family member, friend or colleague. Better still, if they are a business owner or manager they might buy several copies of the book for their staff.
Hence, when you give away copies of your book think strategically. Include people on your list who have a wide sphere of influence.
Authors who sell their digital eBooks often worry that it will be passed along. There are obvious disadvantages to this. For instance, if this happens it means that you will lose out on capturing that person's name for your own database. However, people don't share books they dislike so the fact that someone is passing your book along can be seen as an advantage as well. And you want as many people as possible to read your book.
There are ways to prevent indiscriminate sharing of your digital content such as password protecting the document, limiting the number of times it can be printed and restricting the number of computers that it can be accessed from, etc. However, this can defeat your objective to promote your book and harness as many sales as possible for your book.
The thing is that people will share digital eBooks just as they share physical books. The key then is to ensure that your overall volume of sales is high enough for you to absorb these losses. Remember to include information about your products and services, such as coaching and consulting, in your book. Even someone who did not originally buy your book may still end up purchasing other of your products or services. Or, at the very least you may receive an unsolicited review of your book.
So, as part of your book marketing strategy, allow potential buyers to have access to free content. Also, make it easy for potential customers or clients to purchase from you at whatever level they choose. For example, someone might not buy your book but they may buy your $2,000 mentoring program - just as a result of reading your free eBook.
Online Marketing - EBook Marketing Sales Strategies
You finished your book, you're ready to start promoting, but you don't know where to begin. To start an online marketing ebook strategy to increase your ebook marketing sales, you can implement three easy steps that will immediately start generating a profit!
1. Sell to your own list.
Email to them and keep your opt-in subscribers #'s growing. Use autoresponders to handle your promotions. Then, you don't have to be there in person to promote. That's a winner to use busy people! One bookcoaching client, Jeanne sold 68 books the first week she announced in her ezine.
It's OK to send the promo out again and again-with a few changes and new information each time. At the bottom of your email, send them to your website with a link where you offer the book.
Repetition and consistently sending messages to your groups will catapult your sales, no doubt about it.
2. Write articles of interest to your niche.
Your audience is out there looking for information to help them.
It may as well be yours. One high-traffic site to submit your articles to is EzineArticles.com. Their Alexa ranking is 259 at the end of 2008. That's hundreds of thousands of more visitors than visit your website alone. Get smart: learn the 5 new changes and mistakes of article marketing that will affect you this coming year.
Another benefit of articles is that they make you highly visible and credible as the savvy go to person in your niche.
Another benefit is high traffic to your site, just what you need to sell your books. Not only through direct visitors, but the links back to your own pages will increase your search engine rankings. Take a teleseminar or get a few coaching sessions to make your journey faster and more profitable!
3. Gain a huge following by joining a social network.
After only 4 months on Facebook.com, my business writing group grows well and allows me to send messages. The fan page helps draw your audience too. It's subtle networking just like twitter.com. After 2 months at twitter, my opt-in group subscribers zoomed way up to about 1/3 of my targeted traffic. Join up and get educated there-people are friendly. You can look me up there too as coachjudy. If you are looking for someone special, just Google their name and see what comes up. It's a way to step up and take action.
You know that these strategies are for the long haul. You do plan to stay in business a long time, don't you? If so, take some action now to make you and your book noticed.
1. Sell to your own list.
Email to them and keep your opt-in subscribers #'s growing. Use autoresponders to handle your promotions. Then, you don't have to be there in person to promote. That's a winner to use busy people! One bookcoaching client, Jeanne sold 68 books the first week she announced in her ezine.
It's OK to send the promo out again and again-with a few changes and new information each time. At the bottom of your email, send them to your website with a link where you offer the book.
Repetition and consistently sending messages to your groups will catapult your sales, no doubt about it.
2. Write articles of interest to your niche.
Your audience is out there looking for information to help them.
It may as well be yours. One high-traffic site to submit your articles to is EzineArticles.com. Their Alexa ranking is 259 at the end of 2008. That's hundreds of thousands of more visitors than visit your website alone. Get smart: learn the 5 new changes and mistakes of article marketing that will affect you this coming year.
Another benefit of articles is that they make you highly visible and credible as the savvy go to person in your niche.
Another benefit is high traffic to your site, just what you need to sell your books. Not only through direct visitors, but the links back to your own pages will increase your search engine rankings. Take a teleseminar or get a few coaching sessions to make your journey faster and more profitable!
3. Gain a huge following by joining a social network.
After only 4 months on Facebook.com, my business writing group grows well and allows me to send messages. The fan page helps draw your audience too. It's subtle networking just like twitter.com. After 2 months at twitter, my opt-in group subscribers zoomed way up to about 1/3 of my targeted traffic. Join up and get educated there-people are friendly. You can look me up there too as coachjudy. If you are looking for someone special, just Google their name and see what comes up. It's a way to step up and take action.
You know that these strategies are for the long haul. You do plan to stay in business a long time, don't you? If so, take some action now to make you and your book noticed.
Top 10 Things Every Best-Selling Book Must Have
You can go to any bookstore and get a book on how to publish your book or do a Google search on book publishing. (I recommend Dan Poynter's Self-Publishing Manual - he's been called the guru of self-publishing). You can even get a good editor to help you with your rough manuscript.
If you really don't want to do that much work and want to get your book out fast, you can go to "iuniverse" or "lulu" and have books produced as you needed. This is called Print-On-Demand (POD) - great for first time authors; they take your word document and turn it into a book. FedExKinkos is even in the book producing game.
The production of a book is now pretty common. That's why we see so many people doing books.
But are the books selling? After the books are back from the printer/publisher - the real work begins. It's time to promote and sell your book. You have just opened up a business. Like any new business, you need a business plan plus extensive knowledge of the field you're in and good advisors. A standard statistic you need to know according to book industry sources: there are over 150,000 new books published every year. And typically we see the same roster of authors on the New York Times Best-Seller's list.
As a book publicist for over ten years in the Christian literary field, I see what flys and what fizzles. Before you embark on this costly venture (prepare to spend at least $2,500 up to $10,000 for editing, production and promotion), I would like to share with you what I've learned on what makes a best-seller:
1. Title - is it griping, interesting? Would one know what it's about without reading anything else?
2. Cover- people do judge a book by its cover. Make sure it has enough punch to stand out on the shelves among the thousands of other books. Is it clean, neat and crisp - yet interesting? Hire a professional!
3. Endorsements - what others say about you is key. Who these people are is even more important. Pull together the "best words from the best people." It will pre-sell your book before you even open your mouth.
4. Writer's credentials - do you have anything else with your byline? Do you blog? Do you have an audience that actually likes what you write?
5. Knowledge of the Market the book will reach - and the author's reputation in that market. The author must create a market for himself by really addressing the needs of that market, knowing that market and communicating the right message to that market.
6. Timing - in relation to other events going on in the world/society. Are there movies, songs or talk shows that are bringing up the subject you have discussed in your book? Do you read the newspaper regularly and respond with Opinion Editorials when they are discussing "your" platform/topic?
7. Advertising - targeting the right message to the right media at the right time. Consistently!
8. Media coverage - publicity. The frosting on the cake. Getting on radio, TV and in newspapers and magazine and Ezines. Consistently (with advertising too).
9. Distribution - If you want to be a best-seller you have to have your book available. Make sure you sign up with a distributor or wholesaler so it is accessible to bookstores. (Amazon is not national distribution...it is a website) Best-sellers are sold in real bookstores and they only order from distributors or wholesales. (See Sally Stuart's Christian Writers Market Guide for distributors to approach. Note: You must have a press kit and solid marketing plan for them to consider you).
10. Word of Mouth - The best advertising. The more "buzz" you have about your book the better. How do you get people talking about your book? By engaging in their culture and creating messages in their media. Be relentless in your goal to be a "best-seller" - and it will happen if you commit to the publicity process and pray for favor.
If you really don't want to do that much work and want to get your book out fast, you can go to "iuniverse" or "lulu" and have books produced as you needed. This is called Print-On-Demand (POD) - great for first time authors; they take your word document and turn it into a book. FedExKinkos is even in the book producing game.
The production of a book is now pretty common. That's why we see so many people doing books.
But are the books selling? After the books are back from the printer/publisher - the real work begins. It's time to promote and sell your book. You have just opened up a business. Like any new business, you need a business plan plus extensive knowledge of the field you're in and good advisors. A standard statistic you need to know according to book industry sources: there are over 150,000 new books published every year. And typically we see the same roster of authors on the New York Times Best-Seller's list.
As a book publicist for over ten years in the Christian literary field, I see what flys and what fizzles. Before you embark on this costly venture (prepare to spend at least $2,500 up to $10,000 for editing, production and promotion), I would like to share with you what I've learned on what makes a best-seller:
1. Title - is it griping, interesting? Would one know what it's about without reading anything else?
2. Cover- people do judge a book by its cover. Make sure it has enough punch to stand out on the shelves among the thousands of other books. Is it clean, neat and crisp - yet interesting? Hire a professional!
3. Endorsements - what others say about you is key. Who these people are is even more important. Pull together the "best words from the best people." It will pre-sell your book before you even open your mouth.
4. Writer's credentials - do you have anything else with your byline? Do you blog? Do you have an audience that actually likes what you write?
5. Knowledge of the Market the book will reach - and the author's reputation in that market. The author must create a market for himself by really addressing the needs of that market, knowing that market and communicating the right message to that market.
6. Timing - in relation to other events going on in the world/society. Are there movies, songs or talk shows that are bringing up the subject you have discussed in your book? Do you read the newspaper regularly and respond with Opinion Editorials when they are discussing "your" platform/topic?
7. Advertising - targeting the right message to the right media at the right time. Consistently!
8. Media coverage - publicity. The frosting on the cake. Getting on radio, TV and in newspapers and magazine and Ezines. Consistently (with advertising too).
9. Distribution - If you want to be a best-seller you have to have your book available. Make sure you sign up with a distributor or wholesaler so it is accessible to bookstores. (Amazon is not national distribution...it is a website) Best-sellers are sold in real bookstores and they only order from distributors or wholesales. (See Sally Stuart's Christian Writers Market Guide for distributors to approach. Note: You must have a press kit and solid marketing plan for them to consider you).
10. Word of Mouth - The best advertising. The more "buzz" you have about your book the better. How do you get people talking about your book? By engaging in their culture and creating messages in their media. Be relentless in your goal to be a "best-seller" - and it will happen if you commit to the publicity process and pray for favor.
Author's Tip Sheet - How to Work With the Print Media
Pam Perry
Follow these 12 steps and you'll see yourself in print - OFTEN.
1. Get newsworthy info into the hands of the media. Make a habit of sending out releases on a regular basis about your events, special speakers, or anything impacting the community at large. Use a media directory or "Google" on the web to find names and contact information.
2. Get to know the beat of reporters of the daily and weekly newspapers. Position yourself with them as an accessible and reliable source and a key authority to be featured in future stories.
3. Read the dailies, weeklies! Respond to articles where you can take a stand on an issue while branding your book by writing a "Letter to Editor" or an "Op Ed" - Opinion Editorial.
4.Send out media releases for really intriguing or fascinating human interest stories by using news wire services. Wire services get wider distribution and can be picked up by national media via the web.
5. Place ads in local newspapers and monthly magazines. Have the ads consistent with your other marketing materials.
6. Become a regular advertiser in at least one publication. You build brand equity with that audience by advertising in one publication. They learn to trust you. Purchase ads in souvenir program books like the NAACP or SCLC to show your commitment to the community.
7. Feature bold graphics and a lot of white space in your newspaper and magazine ads. Keep copy to a minimum. Steer people to your web site. Color commands attention and adds impact. It also gets better ad placement in newspapers.
8. Supply media with well-written and professionally developed press kits. Include press releases (the who, what, when, where, how and why), fact sheets, bios, photo, brochure, annual reports and news clips. Suggest a story idea in the cover letter. Use the industry format for releases to improve your chances of gaining publicity.
9. Expect very little communication back from editors. They are very busy every day with tons of lead for stories. Assign an intern or team member to follow up by phone, email, or both.
10. Read any and all publications you can. Note stories that deal with issues important to your ministry. Add that reporter to your media contact list to send them future releases. The best media lists are the ones you personally create and are familiar with the reporter's work and style.
11. Send out thank you notes to reporters who feature you in stories. They will remember your personal touch and will keep you in mind as a good source in the future.
12. Assign a photographer to take photos at ALL events where you are participating. Releasing the photos to the media after an event is called Post-Publicity. Send the photo with a brief description of the event. Identify the people in the photo with a label on the back. Realize that newspapers always need good photos. Most black newspapers love to chronicle events in the community.
Follow these 12 steps and you'll see yourself in print - OFTEN.
1. Get newsworthy info into the hands of the media. Make a habit of sending out releases on a regular basis about your events, special speakers, or anything impacting the community at large. Use a media directory or "Google" on the web to find names and contact information.
2. Get to know the beat of reporters of the daily and weekly newspapers. Position yourself with them as an accessible and reliable source and a key authority to be featured in future stories.
3. Read the dailies, weeklies! Respond to articles where you can take a stand on an issue while branding your book by writing a "Letter to Editor" or an "Op Ed" - Opinion Editorial.
4.Send out media releases for really intriguing or fascinating human interest stories by using news wire services. Wire services get wider distribution and can be picked up by national media via the web.
5. Place ads in local newspapers and monthly magazines. Have the ads consistent with your other marketing materials.
6. Become a regular advertiser in at least one publication. You build brand equity with that audience by advertising in one publication. They learn to trust you. Purchase ads in souvenir program books like the NAACP or SCLC to show your commitment to the community.
7. Feature bold graphics and a lot of white space in your newspaper and magazine ads. Keep copy to a minimum. Steer people to your web site. Color commands attention and adds impact. It also gets better ad placement in newspapers.
8. Supply media with well-written and professionally developed press kits. Include press releases (the who, what, when, where, how and why), fact sheets, bios, photo, brochure, annual reports and news clips. Suggest a story idea in the cover letter. Use the industry format for releases to improve your chances of gaining publicity.
9. Expect very little communication back from editors. They are very busy every day with tons of lead for stories. Assign an intern or team member to follow up by phone, email, or both.
10. Read any and all publications you can. Note stories that deal with issues important to your ministry. Add that reporter to your media contact list to send them future releases. The best media lists are the ones you personally create and are familiar with the reporter's work and style.
11. Send out thank you notes to reporters who feature you in stories. They will remember your personal touch and will keep you in mind as a good source in the future.
12. Assign a photographer to take photos at ALL events where you are participating. Releasing the photos to the media after an event is called Post-Publicity. Send the photo with a brief description of the event. Identify the people in the photo with a label on the back. Realize that newspapers always need good photos. Most black newspapers love to chronicle events in the community.
Recording a Conference Call - Recording Made Easy
Ethan D Orman
Sometimes it is important for conference call recording to take place. You may want a written record of what was said to pass out to the attendees after the meeting, this can allow listeners to pay full attention to the meeting instead of also trying to take their own notes. Most of the time conference call recording is offered as an additional feature of the service-- there may be an extra cost for that, so be sure you find out any fees that may be associated with this service. If you want to save money, another option is to record it yourself and to have it transcribed in house.
When you are need to take care of conference call recording, you want to make sure you have quality equipment in place. You don't want the audio to be so poor it is difficult to clarify what people are saying. Also, you want to be sure to have speakers say their name before they speak. This way that information can also be part of the recorded documentation. Plan ahead of time so that the speakers understand the expectations so that the call is not interrupted during the conference.
It is a nice gesture to let everyone at the conference call to know that it will be recorded. Likewise, anyone invited to be a part of such a conference call should never record it without the express permission of the person that is conducting it. There may be vital information that is discussed that they don't want to have out there for those not invited to find out about yet. If you definitely don't want a conference call recorded you need to make that known before hand as well.
Since conference call recording is often a key element that businesses want, you will find the technology for it is readily available. In fact, some service providers go as far as to offer to transcribe the call for you and have it available with a very fast turnaround time. It is a good idea to find out what your options are. That way you can choose one that is right for your business. You may not choose to record every conference call but there may be some that you definitely would like to.
Sometimes it is important for conference call recording to take place. You may want a written record of what was said to pass out to the attendees after the meeting, this can allow listeners to pay full attention to the meeting instead of also trying to take their own notes. Most of the time conference call recording is offered as an additional feature of the service-- there may be an extra cost for that, so be sure you find out any fees that may be associated with this service. If you want to save money, another option is to record it yourself and to have it transcribed in house.
When you are need to take care of conference call recording, you want to make sure you have quality equipment in place. You don't want the audio to be so poor it is difficult to clarify what people are saying. Also, you want to be sure to have speakers say their name before they speak. This way that information can also be part of the recorded documentation. Plan ahead of time so that the speakers understand the expectations so that the call is not interrupted during the conference.
It is a nice gesture to let everyone at the conference call to know that it will be recorded. Likewise, anyone invited to be a part of such a conference call should never record it without the express permission of the person that is conducting it. There may be vital information that is discussed that they don't want to have out there for those not invited to find out about yet. If you definitely don't want a conference call recorded you need to make that known before hand as well.
Since conference call recording is often a key element that businesses want, you will find the technology for it is readily available. In fact, some service providers go as far as to offer to transcribe the call for you and have it available with a very fast turnaround time. It is a good idea to find out what your options are. That way you can choose one that is right for your business. You may not choose to record every conference call but there may be some that you definitely would like to.
Banner Advertising Secrets - How to Place Simple Banner Ads For Tidal Waves of Traffic
One thing that almost no one knows about banner advertising is that it can still be immensely profitable, if done right. What is banner advertising? It is the process of placing banners that advertise your offers on sites that usually get lots of traffic. If you target your ads right, it can be a reliable source of visitors for you.
Here is how to place simple banner ads for tidal waves of traffic:
Step #1: Create Your Banner Creative
To get this method of advertising to work, obviously you need an ad that works! I find that the best kinds of ads are not actually graphic ads in the sense of the word - but text ads. In other words, create a graphic, but only put text in it! People have been conditioned to ignore graphic ads, but when they see a prominent text link, they will click on it. Want to create ads that are almost guaranteed to work? Take your copy from other places where you are getting good results (such as perhaps your signature file on forums, pay per click ads etc), and plug the same text into your ad!
Here is how to place simple banner ads for tidal waves of traffic:
Step #1: Create Your Banner Creative
To get this method of advertising to work, obviously you need an ad that works! I find that the best kinds of ads are not actually graphic ads in the sense of the word - but text ads. In other words, create a graphic, but only put text in it! People have been conditioned to ignore graphic ads, but when they see a prominent text link, they will click on it. Want to create ads that are almost guaranteed to work? Take your copy from other places where you are getting good results (such as perhaps your signature file on forums, pay per click ads etc), and plug the same text into your ad!
Wednesday, January 14, 2009
Reasons For Publishing Unique Content
There are many people who still don't understand the real purpose of publishing unique content. It is a proven fact that unique content helps in building a site's or a person's credibility to a great extent.
Keeping the importance of high quality unique content in mind, below I have listed some of the main reasons why every online publisher should consider publishing unique content.
Number 1:
If you add top quality original content to your site at regular intervals, then it is assured that your website will have a better search engine ranking. Search engines love unique content and often penalize duplicate content. Therefore, you can really boast of owning a site that contains absolutely original articles unlike many other websites.
Number 2:
Original content can definitely boost traffic flow to your site. Many webmasters prefer linking their websites with those that contain highly informative and fresh content. Therefore, with original content, you can earn a lot of back links to your site, which would ensure high flow of traffic.
Number 3:
If you add top notch unique content on a regular basis, it's 100% guaranteed that a lot of people will come back to your website in search of fresh information. Thus, adding unique articles will definitely establish your website as a natural source of info that people would love to get from time to time.
Number 4:
A lot of times I have received newsletters that were pretty much similar, even though they came from different people. What many people do is, they simply reword some other marketer's newsletters and send them out to their subscribers. I have come across similar (but reworded) newsletters a lot of times, and that's, indeed, a major turn off for me. So, from the point of view of a subscriber, I would like to tell you that people love some fresh and unique content instead of rehashed ones. A newsletter that is crafted in a unique and interesting way is sure going to attract a lot of subscribers and help you build an active and responsive mailing list.
Number 5:
Be it a review article or an informative article, the more unique content you offer to your customers, the more will be your chances of establishing yourself as an authority on the subjects or topics that you're writing about. This way you will be on your way to securing more business and sales.
Aritra Basu
These are the 5 basic reasons why every online marketer must make use of unique content in order to build their credibility in their chosen niche. Many people recommend rewriting others articles to make them unique but I would not really suggest that you do it always. The reason for this is, just by rewriting an existing article, you are not actually adding any new information.
In this age of rampant article marketing , people mostly attempt to take the short route and simply rewrite articles that are published all over the Internet.
By doing this, they are not offering much value to their customers-are they? This way they are simply playing safe to prevent themselves from copyright infringement laws. This practice is definitely not illegal by any means, but in my opinion publishing some content that is conceptually unique plays a major role in establishing one's expertise in their business.
If you are serious about your online business and want to earn your customer's trust and faith, I would strongly suggest you to publish some great content that is conceptually unique.
Keeping the importance of high quality unique content in mind, below I have listed some of the main reasons why every online publisher should consider publishing unique content.
Number 1:
If you add top quality original content to your site at regular intervals, then it is assured that your website will have a better search engine ranking. Search engines love unique content and often penalize duplicate content. Therefore, you can really boast of owning a site that contains absolutely original articles unlike many other websites.
Number 2:
Original content can definitely boost traffic flow to your site. Many webmasters prefer linking their websites with those that contain highly informative and fresh content. Therefore, with original content, you can earn a lot of back links to your site, which would ensure high flow of traffic.
Number 3:
If you add top notch unique content on a regular basis, it's 100% guaranteed that a lot of people will come back to your website in search of fresh information. Thus, adding unique articles will definitely establish your website as a natural source of info that people would love to get from time to time.
Number 4:
A lot of times I have received newsletters that were pretty much similar, even though they came from different people. What many people do is, they simply reword some other marketer's newsletters and send them out to their subscribers. I have come across similar (but reworded) newsletters a lot of times, and that's, indeed, a major turn off for me. So, from the point of view of a subscriber, I would like to tell you that people love some fresh and unique content instead of rehashed ones. A newsletter that is crafted in a unique and interesting way is sure going to attract a lot of subscribers and help you build an active and responsive mailing list.
Number 5:
Be it a review article or an informative article, the more unique content you offer to your customers, the more will be your chances of establishing yourself as an authority on the subjects or topics that you're writing about. This way you will be on your way to securing more business and sales.
Aritra Basu
These are the 5 basic reasons why every online marketer must make use of unique content in order to build their credibility in their chosen niche. Many people recommend rewriting others articles to make them unique but I would not really suggest that you do it always. The reason for this is, just by rewriting an existing article, you are not actually adding any new information.
In this age of rampant article marketing , people mostly attempt to take the short route and simply rewrite articles that are published all over the Internet.
By doing this, they are not offering much value to their customers-are they? This way they are simply playing safe to prevent themselves from copyright infringement laws. This practice is definitely not illegal by any means, but in my opinion publishing some content that is conceptually unique plays a major role in establishing one's expertise in their business.
If you are serious about your online business and want to earn your customer's trust and faith, I would strongly suggest you to publish some great content that is conceptually unique.
Lessons Learned Number 1 to 4 - Writing and Publishing an Interactive Book & CD For Children
Alan H. Jordan
Be warned: Writing, illustrating and recording a children's picture book and audio-book CD is not for the faint-of-heart. One 850-word book took me over three years to go from concept-to-completion. To put that into perspective, I have written six 50,000+ word books that were targeted to business people. These took an average of six months. Here, in a summary fashion, are four of major lessons that I have learned. Future articles will provide additional insights. To illustrate these lessons, let's focus on a suggested sentence for a non-existent book: "Billy struggled to climb on top of the red fire truck."
1. Use a few words as possible - Would "Billy climbed up the fire truck," be better? It might or might not. It's definitely shorter, and gives the artist more freedom. On the other hand you might be eliminating some crucial concepts. Read on.
2. Understand that every word you write has the potential to restrict the artist. As an example, "climbed," means that the artist must show Billy going upward, ascending, using his hands and feet. This might make sense if it is important for Billy to climb up the truck, but what if the artist could add humor by having Billy swing on a vine to reach the top of the fire truck. Either way, Billy could struggle to reach the top of the fire truck, But, is struggling important? If it's not, imagine the fun that Billy could have jumping onto the top of the dire truck from a tree.
You may not see Billy jumping onto the fire truck in your mind's eye, but an artist might--if you don't restrict him or her with your words. Perhaps it will help to compare writing a children's book to writing a play. In the children's book, your words give you veto power over the artist. In a play the stage directions you provide give you veto power over the Stage Director and actors. I once write a play where the main characters were a man with two alter egos. Imagine my surprise when an avant-garde production of the play cast the alter egos of the man as female. It worked, and it was a valid interpretation because I did not specify that the alter egos had to be male.
3. Consider children equals when you're writing. Talking down to children, explaining what's happening to them is silly. They know what's happening. Also, don't be afraid to use a few challenging words. Children will figure them out, or look them up. Want proof? Read the Harry Potter books. Children understand them.
4. Read the story to several children as you write it. Be open to unexpressed criticism. Do not expect praise. You won't get it. Watch, instead, for involvement with the characters. Listen for excitement as they talk about your plots. If you don't find these things, you've failed. Go back to the drawing board.
Writing for children doesn't pay much, unless you happen to have a blockbuster best seller, but it's fun. Mix a children's book in with your other writing. If you do your job right, you're liable to make a difference in the lives of many children. That's a big deal because today's children are the people who will influence tomorrow's world.
Be warned: Writing, illustrating and recording a children's picture book and audio-book CD is not for the faint-of-heart. One 850-word book took me over three years to go from concept-to-completion. To put that into perspective, I have written six 50,000+ word books that were targeted to business people. These took an average of six months. Here, in a summary fashion, are four of major lessons that I have learned. Future articles will provide additional insights. To illustrate these lessons, let's focus on a suggested sentence for a non-existent book: "Billy struggled to climb on top of the red fire truck."
1. Use a few words as possible - Would "Billy climbed up the fire truck," be better? It might or might not. It's definitely shorter, and gives the artist more freedom. On the other hand you might be eliminating some crucial concepts. Read on.
2. Understand that every word you write has the potential to restrict the artist. As an example, "climbed," means that the artist must show Billy going upward, ascending, using his hands and feet. This might make sense if it is important for Billy to climb up the truck, but what if the artist could add humor by having Billy swing on a vine to reach the top of the fire truck. Either way, Billy could struggle to reach the top of the fire truck, But, is struggling important? If it's not, imagine the fun that Billy could have jumping onto the top of the dire truck from a tree.
You may not see Billy jumping onto the fire truck in your mind's eye, but an artist might--if you don't restrict him or her with your words. Perhaps it will help to compare writing a children's book to writing a play. In the children's book, your words give you veto power over the artist. In a play the stage directions you provide give you veto power over the Stage Director and actors. I once write a play where the main characters were a man with two alter egos. Imagine my surprise when an avant-garde production of the play cast the alter egos of the man as female. It worked, and it was a valid interpretation because I did not specify that the alter egos had to be male.
3. Consider children equals when you're writing. Talking down to children, explaining what's happening to them is silly. They know what's happening. Also, don't be afraid to use a few challenging words. Children will figure them out, or look them up. Want proof? Read the Harry Potter books. Children understand them.
4. Read the story to several children as you write it. Be open to unexpressed criticism. Do not expect praise. You won't get it. Watch, instead, for involvement with the characters. Listen for excitement as they talk about your plots. If you don't find these things, you've failed. Go back to the drawing board.
Writing for children doesn't pay much, unless you happen to have a blockbuster best seller, but it's fun. Mix a children's book in with your other writing. If you do your job right, you're liable to make a difference in the lives of many children. That's a big deal because today's children are the people who will influence tomorrow's world.
Write, Get Published and Promote
Joyce Shafer
The title of this article is the reality of writers culled down to five words. You want to see your article available online or in print or hold a copy of your book in your hands. The next desired reality is to see a response to all the energy, time, creativity, and passion you put into what you've written.
As a new or aspiring writer, you can feel delightfully excited about writing or feel stalled about how to start. Once you get going, fingers fly as thoughts and ideas flow through you. Maybe you know the technical side of writing that involves punctuation, grammar, sentence structure, formatting (including dialogue in a novel), plot or theme development ... and maybe you don't. One of the easiest ways you can familiarize yourself with these aspects is to read what someone else published.
You get through the writing stage and feel proud of what you've done, and you should. What many new writers don't realize is there's another, more critical stage that comes next: editing and rewriting.
This is the "brutal" part. It's brutal because you have to be honest with yourself or engage an editor who is honest with you on your behalf. James Michener said it well, "I'm not a very good writer, but I'm an excellent rewriter." Rewriting is the most creatively challenging part of writing. It's where you get to make everything smooth, flowing, and effective for readers. At some point, your focus must shift from satisfying your desire to write to making it a quality experience for readers. An important step in this process is to walk away from what you've written for a period of time so you return to it with a fresh perspective.
If you're an article writer, your next step is to look for venues to publish and distribute what you've written to as many readers as possible. Book writers seek to get published. The number of free article sites on the Internet is huge. A search will lead article writers to more venues than they might imagine. Book writers face the choice of whether to find a major publisher willing to take a chance on a new writer, to invest in vanity publishing, or find the right self-publishing option. This is the stage that needs research; but once you've moved through it, you'll know what to expect the next time you aim to publish.
Now in print, it's time to promote. Every writer is different. Perhaps you're ready to hit the road to do book signings, willing to set up speaking engagements or seminars, send out press releases, or explore the myriad ways you can promote yourself. One thing writers discover is if they want to see real income from their writing, it takes more than just having a book or article in print.
Then there's the matter of promotion. You can't start planning to promote too soon. Many book writers wait until the book is in print and anticipate that once this happens, sales will start rolling in without their having to do anything else. This isn't realistic.
There are many options to plan and strategize how you will promote and when to get started.
As a writer, if you haven't looked online for the numerous free e-zines and Websites for writers, this is something you should do, even if for a couple of hours each week as you're in the writing stage. These freebies offer a wealth of information for writers from writing tips to publicity and promotion.
Everything described above are all important threads in a writer's tapestry; however, the single most important thread is attitude. As a writer, you'll have a better experience if you embrace the creative process in all its facets. The more positive, intentional, and inspired you are the better tapestry you'll weave.
If you're a new or aspiring writer, welcome to an incredible world where you can discover more aspects of yourself, resources, and people than you ever imagined. It can be a wild ride, but an awesome one, as well.
The title of this article is the reality of writers culled down to five words. You want to see your article available online or in print or hold a copy of your book in your hands. The next desired reality is to see a response to all the energy, time, creativity, and passion you put into what you've written.
As a new or aspiring writer, you can feel delightfully excited about writing or feel stalled about how to start. Once you get going, fingers fly as thoughts and ideas flow through you. Maybe you know the technical side of writing that involves punctuation, grammar, sentence structure, formatting (including dialogue in a novel), plot or theme development ... and maybe you don't. One of the easiest ways you can familiarize yourself with these aspects is to read what someone else published.
You get through the writing stage and feel proud of what you've done, and you should. What many new writers don't realize is there's another, more critical stage that comes next: editing and rewriting.
This is the "brutal" part. It's brutal because you have to be honest with yourself or engage an editor who is honest with you on your behalf. James Michener said it well, "I'm not a very good writer, but I'm an excellent rewriter." Rewriting is the most creatively challenging part of writing. It's where you get to make everything smooth, flowing, and effective for readers. At some point, your focus must shift from satisfying your desire to write to making it a quality experience for readers. An important step in this process is to walk away from what you've written for a period of time so you return to it with a fresh perspective.
If you're an article writer, your next step is to look for venues to publish and distribute what you've written to as many readers as possible. Book writers seek to get published. The number of free article sites on the Internet is huge. A search will lead article writers to more venues than they might imagine. Book writers face the choice of whether to find a major publisher willing to take a chance on a new writer, to invest in vanity publishing, or find the right self-publishing option. This is the stage that needs research; but once you've moved through it, you'll know what to expect the next time you aim to publish.
Now in print, it's time to promote. Every writer is different. Perhaps you're ready to hit the road to do book signings, willing to set up speaking engagements or seminars, send out press releases, or explore the myriad ways you can promote yourself. One thing writers discover is if they want to see real income from their writing, it takes more than just having a book or article in print.
Then there's the matter of promotion. You can't start planning to promote too soon. Many book writers wait until the book is in print and anticipate that once this happens, sales will start rolling in without their having to do anything else. This isn't realistic.
There are many options to plan and strategize how you will promote and when to get started.
As a writer, if you haven't looked online for the numerous free e-zines and Websites for writers, this is something you should do, even if for a couple of hours each week as you're in the writing stage. These freebies offer a wealth of information for writers from writing tips to publicity and promotion.
Everything described above are all important threads in a writer's tapestry; however, the single most important thread is attitude. As a writer, you'll have a better experience if you embrace the creative process in all its facets. The more positive, intentional, and inspired you are the better tapestry you'll weave.
If you're a new or aspiring writer, welcome to an incredible world where you can discover more aspects of yourself, resources, and people than you ever imagined. It can be a wild ride, but an awesome one, as well.
Write a Book and Get Published
by angela booth
Want to write a successful book? It all starts with planning your route to publication. You can become a published author once you create a realistic plan, based on which books are selling.
Writing a book is a process which can take months or years, and unfortunately once your book's written, you have no guarantee of publication. However, with a little foresight and understanding of how book publishing works, you can shorten the odds.
Your Publisher Wants a Book Which Sells, So Write One
Your route to publication starts with research. You must know what sells.
A tip: if you're shocked at this crass focus on money, consider your prospective publishing house. They're totally focused on money - they need to be, or they'll go broke. If you understand the need to know what sells, you're already far ahead of most writers.
Write a 25-word summary of what your book's about, and visit a bookstore. Your aim is to discover not only who publishes books of a similar type, but also who the published authors are, and how well the books sell (this is shown by how much space is allocated to those books in the bookstore.)
Here's an example. Let's say you want to write a book on dog care. Dog books sell well, as you'll see in the store. This is an indication that you've got a viable idea which will interest publishers.
Here's an example if you're writing fiction. You're writing a mystery novel with a photographer as the detective. This is potentially a "cosy" mystery, and these also sell well, again it's a viable idea.
But what if your book idea is completely unique?
This is unlikely, but if that's the case, drop the idea. Your book needs to fit into a known type for publishers to be interested. Of course you can still write your book, and go the self-publication route, but traditional publishers want what sells.
Continue Your Research While You're Writing Your Book
Nonfiction books are sold via a proposal, so you don't need to complete your book before you try to sell it. On the other hand, even though your novel will attract publisher interest on the basis of a partial (three chapters and an outline) you must complete the novel to get a publishing contact.
While you're writing, keep researching. Your publisher will want to know how you intend marketing your book, so the more you know, the more effective a marketing plan you can create.
When you know what sells, you'll write a salable book, and you'll get published fast - enjoy the writing, and before you know it, the next time you visit a bookstore your own book will be on the shelves.
Want to become a successful and published author? Angela Booth's writing class, "Write More And Make More Money From Your Writing: Develop A Fast, Fun Productive Writing Process" at http://www.angelaswritingclasses.com/Class/writemore.html is based on lessons she developed for her private coaching students to help them to write more, improve their writing, and to sell their writing. The course trains you to become an expert writer and author.
Her ebook "Top 70 Writing Tips To Help You To Write More" at http://www.abmagic.com/Write-More/write-more.html shows you how to end procrastination for good.
Want to write a successful book? It all starts with planning your route to publication. You can become a published author once you create a realistic plan, based on which books are selling.
Writing a book is a process which can take months or years, and unfortunately once your book's written, you have no guarantee of publication. However, with a little foresight and understanding of how book publishing works, you can shorten the odds.
Your Publisher Wants a Book Which Sells, So Write One
Your route to publication starts with research. You must know what sells.
A tip: if you're shocked at this crass focus on money, consider your prospective publishing house. They're totally focused on money - they need to be, or they'll go broke. If you understand the need to know what sells, you're already far ahead of most writers.
Write a 25-word summary of what your book's about, and visit a bookstore. Your aim is to discover not only who publishes books of a similar type, but also who the published authors are, and how well the books sell (this is shown by how much space is allocated to those books in the bookstore.)
Here's an example. Let's say you want to write a book on dog care. Dog books sell well, as you'll see in the store. This is an indication that you've got a viable idea which will interest publishers.
Here's an example if you're writing fiction. You're writing a mystery novel with a photographer as the detective. This is potentially a "cosy" mystery, and these also sell well, again it's a viable idea.
But what if your book idea is completely unique?
This is unlikely, but if that's the case, drop the idea. Your book needs to fit into a known type for publishers to be interested. Of course you can still write your book, and go the self-publication route, but traditional publishers want what sells.
Continue Your Research While You're Writing Your Book
Nonfiction books are sold via a proposal, so you don't need to complete your book before you try to sell it. On the other hand, even though your novel will attract publisher interest on the basis of a partial (three chapters and an outline) you must complete the novel to get a publishing contact.
While you're writing, keep researching. Your publisher will want to know how you intend marketing your book, so the more you know, the more effective a marketing plan you can create.
When you know what sells, you'll write a salable book, and you'll get published fast - enjoy the writing, and before you know it, the next time you visit a bookstore your own book will be on the shelves.
Want to become a successful and published author? Angela Booth's writing class, "Write More And Make More Money From Your Writing: Develop A Fast, Fun Productive Writing Process" at http://www.angelaswritingclasses.com/Class/writemore.html is based on lessons she developed for her private coaching students to help them to write more, improve their writing, and to sell their writing. The course trains you to become an expert writer and author.
Her ebook "Top 70 Writing Tips To Help You To Write More" at http://www.abmagic.com/Write-More/write-more.html shows you how to end procrastination for good.
Confessions of a Self Published Author - From Fighter Pilot to Author
It all began with a slight misunderstanding between me and the University of Illinois. I thought that going to classes and studying hard was optional and drinking beer was mandatory. How was I to know it was the other way around? By the time I learned the difference it was too late.
By early 1954, I was certain that I would flunk out by the end of the semester, which meant I would be drafted into the Army soon thereafter. I had to do something fast. Enter the aviation cadet program. No college required; a year of officer and flight training; and I would walk away with a pair of shiny silver wings and the gold bars as a second lieutenant.
What would happen after that? I had no idea. Long range planning was not one of my strong suits in those days.
I was twenty years old when I walked into my first fighter squadron and into the clutches of a group of hard drinking, womanizing World War II and Korean War veterans who quickly taught me their ways. Most of them didn't give a rat's rear end about anything but flying, drinking and getting laid; mostly, but not always, in that order. It was a simple system and it didn't take me long to learn it.
Being a fighter pilot was a glorious life; sort of like being a rock star and professional athlete all rolled into one. We were literally above it all most of the time, going fast and hurling our bodies at the ground. And we did all right with the ladies too; especially at the officer's club at Friday night happy hour, hanging around the bar in our flying suits, trying to look like Robert Mitchum and talk like John Wayne. To misquote Dire Straits, The fighter pilot's life was the life for me, money for nothing and the chicks were free.
That life had a dark side too. Namely, our squadron mates tended to get killed in training accidents in prodigious numbers. We never referred to it as "getting killed," but preferred to use euphemisms like "bought the farm," or "busted his ass." There were as many ways of buying the farm as there were pilots and aircraft flying, but generally the cause of death fell in one of two broad categories; things falling apart, and running into things.
The former category including such things as wings and tails falling off, engines seizing or flaming out, fuel lines rupturing thus causing spectacular fires, and flight controls jamming. Bad weather was the main culprit in the second category because low visibility caused pilots to fly into the ground, the sides of mountains, and even into each other when they were flying formation; especially at night. Oddly enough we didn't think much about all that carnage going on around us and soldiered on, convinced that such things would never happen to us.
As time went on, our youthful penchant for risky behavior became burnished and polished into a steely, professional resolve. Flying became our life and we were determined to beat our peers at whatever game was being played. It was a competitive life where "excellent" meant "ordinary," and "outstanding" was merely "good." Somewhere along the line we married - usually to
resourceful, good looking women - raised children, and pursued our careers with vigor. When the Vietnam War came along we scrambled to see who could get there first. We had no illusions that the war was just or even winnable. All we knew was that every time we flew a mission in support of an Army unit under attack or bombed a truck loaded with munitions on its way down the Ho Chi Minh trail we were saving American lives - and we felt good about that.
All that I just described seemed to happen in a blink of an eye and suddenly, I found myself in my sixties, sitting at my favorite watering hole in Manhattan every day, telling war stories to friends who insisted on calling me "The Colonel." Most of them had never been in the military, but they seemed to enjoy hearing my stories as much as I enjoyed telling them. By the way, my favorite watering hole was a bar and restaurant called Il Violino on the corner of 69th and Columbus Ave. on the Upper West Side. If you ever get to New York City drop by there - it"s a cool place and the food is great. Tell the owners Roberto and Peter that The Colonel sent you. Roberto was the one who told me I was a good story teller and should write a book someday.
It was bound to happen, and it did. One afternoon after a particularly long, liquid lunch I arrived home to find my wife waiting for me. She was home from work early. Maja is European and knows how to get to the bottom line in a hurry. "You need to get a life," she said, "or you're going to become an alcoholic." That night I stayed awake for a long time while the words of Roberto and Maja swirled in my head - "write a book" -"get a life before you become an alcoholic." By morning it was all clear. I'm going to write a book, I decided. It's cheaper and easier on my liver. What happened next? If you buy me a drink, maybe I'll tell you about it in my next post
By early 1954, I was certain that I would flunk out by the end of the semester, which meant I would be drafted into the Army soon thereafter. I had to do something fast. Enter the aviation cadet program. No college required; a year of officer and flight training; and I would walk away with a pair of shiny silver wings and the gold bars as a second lieutenant.
What would happen after that? I had no idea. Long range planning was not one of my strong suits in those days.
I was twenty years old when I walked into my first fighter squadron and into the clutches of a group of hard drinking, womanizing World War II and Korean War veterans who quickly taught me their ways. Most of them didn't give a rat's rear end about anything but flying, drinking and getting laid; mostly, but not always, in that order. It was a simple system and it didn't take me long to learn it.
Being a fighter pilot was a glorious life; sort of like being a rock star and professional athlete all rolled into one. We were literally above it all most of the time, going fast and hurling our bodies at the ground. And we did all right with the ladies too; especially at the officer's club at Friday night happy hour, hanging around the bar in our flying suits, trying to look like Robert Mitchum and talk like John Wayne. To misquote Dire Straits, The fighter pilot's life was the life for me, money for nothing and the chicks were free.
That life had a dark side too. Namely, our squadron mates tended to get killed in training accidents in prodigious numbers. We never referred to it as "getting killed," but preferred to use euphemisms like "bought the farm," or "busted his ass." There were as many ways of buying the farm as there were pilots and aircraft flying, but generally the cause of death fell in one of two broad categories; things falling apart, and running into things.
The former category including such things as wings and tails falling off, engines seizing or flaming out, fuel lines rupturing thus causing spectacular fires, and flight controls jamming. Bad weather was the main culprit in the second category because low visibility caused pilots to fly into the ground, the sides of mountains, and even into each other when they were flying formation; especially at night. Oddly enough we didn't think much about all that carnage going on around us and soldiered on, convinced that such things would never happen to us.
As time went on, our youthful penchant for risky behavior became burnished and polished into a steely, professional resolve. Flying became our life and we were determined to beat our peers at whatever game was being played. It was a competitive life where "excellent" meant "ordinary," and "outstanding" was merely "good." Somewhere along the line we married - usually to
resourceful, good looking women - raised children, and pursued our careers with vigor. When the Vietnam War came along we scrambled to see who could get there first. We had no illusions that the war was just or even winnable. All we knew was that every time we flew a mission in support of an Army unit under attack or bombed a truck loaded with munitions on its way down the Ho Chi Minh trail we were saving American lives - and we felt good about that.
All that I just described seemed to happen in a blink of an eye and suddenly, I found myself in my sixties, sitting at my favorite watering hole in Manhattan every day, telling war stories to friends who insisted on calling me "The Colonel." Most of them had never been in the military, but they seemed to enjoy hearing my stories as much as I enjoyed telling them. By the way, my favorite watering hole was a bar and restaurant called Il Violino on the corner of 69th and Columbus Ave. on the Upper West Side. If you ever get to New York City drop by there - it"s a cool place and the food is great. Tell the owners Roberto and Peter that The Colonel sent you. Roberto was the one who told me I was a good story teller and should write a book someday.
It was bound to happen, and it did. One afternoon after a particularly long, liquid lunch I arrived home to find my wife waiting for me. She was home from work early. Maja is European and knows how to get to the bottom line in a hurry. "You need to get a life," she said, "or you're going to become an alcoholic." That night I stayed awake for a long time while the words of Roberto and Maja swirled in my head - "write a book" -"get a life before you become an alcoholic." By morning it was all clear. I'm going to write a book, I decided. It's cheaper and easier on my liver. What happened next? If you buy me a drink, maybe I'll tell you about it in my next post
2008 Trends in Publishing Online
There are so many ways that allow authors and writers to put their work online now that it seems we have entered a whole new era in self expression. Even folks who many not have even ever considered writing a book or anything of that nature are getting their starts blogging, posting poetry, participating on forums and even writing and posting articles online. Better yet with the increase ability of word processing programs folks are even considering self-publishing an eBook or two.
The best part about this is the cost is nominal and they can concentrate on creating their work or telling their story rather than trying to chase down a publisher or go between. And even if their work is not perfect, it's a start and the more they do the better they get. Putting in pictures, formatting, and using templates is all something a new writer can learn quickly. Then they can publish in a .pdf file and post it onto the Internet for all to see.
In fact, there are websites online that allow authors and writers to post their poetry, articles, pictures, stories, essays, and even eBooks. Each sector has its niche players and some are quite substantial. One online article submission site has over 100,000 authors, many of whom are completely new to the writing scene. The online publishing trend is growing and we are noticing that the human race has a whole lot of information and insight still waiting to be collected and so this trend continues and there is no stopping it.
"Lance Winslow" - Online Blog Content Service. If you have innovative thoughts and unique perspectives, come think with Lance; http://www.WorldThinkTank.net/.
Article Source: http://EzineArticles.com/?
The best part about this is the cost is nominal and they can concentrate on creating their work or telling their story rather than trying to chase down a publisher or go between. And even if their work is not perfect, it's a start and the more they do the better they get. Putting in pictures, formatting, and using templates is all something a new writer can learn quickly. Then they can publish in a .pdf file and post it onto the Internet for all to see.
In fact, there are websites online that allow authors and writers to post their poetry, articles, pictures, stories, essays, and even eBooks. Each sector has its niche players and some are quite substantial. One online article submission site has over 100,000 authors, many of whom are completely new to the writing scene. The online publishing trend is growing and we are noticing that the human race has a whole lot of information and insight still waiting to be collected and so this trend continues and there is no stopping it.
"Lance Winslow" - Online Blog Content Service. If you have innovative thoughts and unique perspectives, come think with Lance; http://www.WorldThinkTank.net/.
Article Source: http://EzineArticles.com/?
Out of the Forest of Noise - On Publishing the Literary Short Story
So you'd like to try getting your short story published. Take heart: you can do it. And, if your work is worthy- a question only you can answer- it merits the effort. Like a boat, send it out where it belongs, over the great wide sea. Let it find readers, whoever they may be, on whatever strange shores. Some of your readers may not be born yet. It helps to keep that in mind.
Beginning writers often imagine publishing their short story to be a glamorous event,
Hemingwayesque in a wear-your-sunglasses-and-knock-back-the-grappa-as-agents-ring-your-phone-off kind of way. But for most writers it's an experience on par with, say, folding laundry. Unless you make one of the slicks- The New Yorker, Esquire, Atlantic Monthly, Harper's- most likely your payment will be two copies of the magazine. These will arrive in your mailbox in a plain brown envelope. Some editors jot a thankyou note, but most don't bother. Chances are, your friends and family will not have heard of the magazine. Even the best literary journals often manage only a modest circulation- 500 to 5,000- and may not be available for sale except in a very few widely scattered off-beat independents. In short, if you want money, you'd do better to flip burgers, and if you want attention, go fight bulls. Knock back that grappa, heck, wear a spangled pink tutu and splash in the Dupont Circle fountain during lunch hour. Scream obscenities in Swahili. Whatever.
So why try? Because when your story is published it is no longer one copy printed out from your printer, but 1,000 or more. Perhaps one is lying on someone's coffee table in Peterborough, New Hampshire, or on a poet's broad oak desk overlooking the beach at La Jolla, California. Maybe one sits on the shelves at the University of Chicago's Regenstein Library, or on a side table in the lobby at Yaddo. Perhaps a dentist will read your story, or a retired school teacher from Winnetka. Perhaps one day, a hundred years from now, a bizarrely tattooed highschool student will find it on a shelf in the basement of the Reno, Nevada public library, and she will sit down Indian-style on the cold linoleum floor and read it, her eyes wide with wonder. Your story, once published, lives its own life, sinking some deep, strange roots. Potentially forever.
And of course it is validating
(i. e., gives one's ego the warm & fuzzies) to have your work published. It also helps to mention it in your cover letters when you try to get other work published, or apply for grants and fellowships, or to attract the attention of an agent, and so on. Indeed, publishing one's stories in literary journals is (with a very few notable exceptions) y a prerequisite to securing a publisher for a collection.
If you can keep your focus on the story, however, and what the story merits- rather than the warm & fuzzies for your ego- the process will be easier. Expect your ego to take some punches.
First, Rejections
It may appear that we live in a nation of "Leno"watchers, throngs of Gladiator"-goers, Stallone fans, Brad Pitt groupies and the like. From a breezy foray through the local mall's bookstore, one might guess that America reads nothing but brand-name bodice-rippers, shiny red foil paperbacks with nuclear warheads on their covers, or those teensy gifty "books" with angels and cats on them displayed at the cash register alongside the chotchkes and chocolates.
Mais non! Secretly, millions of Americans are scribbling, and bravely (if often furtively)
thousands and thousands are sending their work to literary magazines. Yes, thousands and thousands (and say that again, out loud, à la Carl Sagan). The Paris Review receives over 10,000 submissions a year. My own Tameme, a bilingual literary magazine with a mere two issues out, has received over 200 submissions. Most litmags publish only 2-3% of the manuscripts they receive. As for the "slicks"- GQ, Esquire, Atlantic Monthly, Harper's, The New Yorker-getting published in one of these, even for the most outstanding and recognized writers, even National Book Award winners, is like winning the lottery.
In short, you've got some competition. So when you receive the unsigned xeroxed form rejection note that says "Sorry" it could mean your story sucks and you should do yourself a favor and burn it, but it could mean that it's a fine story and they simply didn't have room for it. Or they already had a story about a dying alcoholic gradmother, the heartbreak of losing the family dairy farm, or for that matter, a flying monkey in a business suit. (You'd be amazed.) Equally, it could mean it's one of the best short stories ever written- better than Chekov's "The Lady with the Pet Dog," better than Flannery O'Connor's "A Good Man is Hard to Find," better than A. Manette Ansay's "Read This and Tell Me What It Says"- and the editor, or more likely some flunkey/ wannabe / slush pile- squeegee, is an aethetically blind/ dispeptic / Philistine / pinhead. Who was probably hung over. Or jealous. Who knows? The point is, the little unsigned xeroxed rejection note means nothing except that this particular magazine's editor at this particular time has chosen not to publish this particular story.
Sometimes editors write personal notes explaining why they didn't take your story. Indeed, anything handwritten and/ or signed by an editor can mean that a distinguished literary personage has taken an interest in your work, and you should, gratefully, with a zing in your heart and Jell-O in your knees, interpret this as both validation and an invitation to send more. It can also mean that an inexperienced graduate student/ assistant/ whomever as yet unacquainted with the toughening rigors of plowing down towering slush piles felt guilty saying no and was merely attempting in a flakey and time-consuming way to be nice.
Thus it behooves you to do your research about the litmags and editors you are sending your work to. A personally signed rejection letter from the Editor-in-Chief of The Kenyon Review, for example, would make my day. On the other hand,even lengthy letters from an assistant of a minor new litmag would no more impress me than the comments of a commuter randomly collared at the bus stop. (Who might be a very perceptive fellow, but who knows? He could be coke-addled lunkhead.) Keep in mind that anyone- yes anyone, including the flying monkey- can found a litmag. Compared to, say, making a feature film, or casting bronze sculpture, publishing a litmag is dirt cheap. All of which is to say, unless they are from the likes of the editor-in-chief of The Kenyon Review, don't take letters from editors too seriously. For that matter, don't take editors themselves too seriously.
So you send again, and again. And again. She who spends for the most postage wins. As does she who does her research.
Research, Research, Research
The most basic level of research is to get an overall feel for the "market" for literary short fiction. You can usually find a reasonably interesting selection at your local library. If you can afford it, however, I recommend you go to a bookstore and buy a bunch - at the Georgetown Barnes & Noble I've spotted Chelsea, Calyx, Witness, The Paris Review, Southwest Review, Tin House, Potomac Review, all of which would be worth your while to read. Read all you can, and read the contributors notes. If you read a story by, say, Bob Doe, that you admire, and you read in Bob Doe's bio that he's also published in Seattle Review, High Plains Review, and DoubleTake- check 'em out! Another good way to spot worthy litmags is to pick up prize-winning short story collections - anything that wins the AWP, Iowa Prize, Flannery O'Connor, Bakeless, National Book Award, etc- and look on the acknowledgments page to see where stories have been previously published.
Then have a look at the web for guidelines. Litmags without a website will usually send guidelines in exchange for a SASE (self addressed stamped envelope). A great place to look for links is on the website of the Council of Literary Magazines and Small Presses, http://www.clmp.org
Reference books like Writers Market can be helpful, but in my experience they are often too quickly out of date. There is no substitute for actually seeing - and reading - a magazine and its guidelines before you submit.
Guidelines not only give an idea of the types of writing the editors are looking for, but reading periods. Many litmags read only during the fall, or during the winter. Some read Sept - May, others Oct -June. Oftentimes litmags have special issues, e.g., "The Body", "Mothers and Daughters", "Love in America", "Overcoming Loss", "Borderlands." Your manuscript will have a better chance if you can aim it at a special issue.
2007 Update: an increasing number of litmags accept on-line (e-mailed) submissions. Nonetheless, many editors refuse to read e-mailed submissions. Be sure to check the submissions guidelines before zapping out that attachment.
Calls for submissions are often listed in the classifieds in Poets & Writers, a publication I strongly recommend that you subscribe to. (For more information go http://www.pw.org) For those of you in the Washington DC metropolitan area, consider joining The Writers Center. Their publication, Writer's Carousel, also inlcudes numerous calls for submission.
Contests can be tricky. These invite you to send a story with an entry fee of anywhere from $5 to $20. The fees are often used to fund the litmag, and/or to pay a judge for her time reading manuscripts. For book contests- especially for poetry, but also for literary short story collection awards such as the AWP, Bakeless, Iowa, Flannery O'Connor, and others- reading fees cover the honoria for the judge, and as such I think they are fair and fine. For individual stories, however, I would not enter a contest that requires a fee unless it includes a subscription or anthology that I would have bought anyway.
There are too many litmags that don't request a fee to consider your work, and given your chances, you might as well lay down your bucks on a lottery ticket. In short, be sure you know where and why you are sending before you start writing checks.
The Mechanics of Submission
First, your cover letter. This should have your name, address, tel, and e-mail.
Address the letter to a specific person if you can- "To the Fiction Editor" is a red flag that you don't know the magazine.
Tell them what you're submitting,
e. g., "Please find enclosed for your consideration a short story, "Down the Well"). Do not explain the story, e.g., "this is a story about a young girl who falls down a well," etc. You are not selling a nonfiction article
- the literary short story is art, and you must let it speak for itself. Explaining and introducing is blather, it annoys the editor and it makes you look silly.
Editors are human however, so it helps- if you can do it honestly- to say something about their litmag, e.g., "I bought a copy of ABC at the Bethesda Book Festival and I really admired the story by Bob Doe". If you can't say anything, don't. Brief and business-like is fine.
Include something about yourself- a few sentences, a paragraph at the most, that could be used as your contributor's note if your story is taken. I find them easier to both write and read in the third person. (I put mine at the bottom of the page, under the title "Brief Bio".) This is your opportunity to signal that you're serious-
e. g., "Bob Doe's stories have been published in ABC, PDQ etc" or "Bob Doe was recently awarded a scholarship at the Bread Loaf Writers Conference and is now in his second year at the Johns Hopkins MFA Program". If you don't have literary "credentials," not to worry, a simple note will do, e.g., "Bob Doe is a statistician who lives in Grand Forks, North Dakota with his wife, four children and pack of seven Alpo-guzzling Huskies. He is at work on a novel." Anything more- your five page resume, a previously published poem, a newspaper article about your amazing recovery after being simultaneously hit by a cement truck and an estimated 397 volts of lightning- is clutter. The editor has limited time and attention, so don't take it up with the nonessential. End the cover letter with a "thank you for considering my work" and sign it.
The manuscript itself should have your name, address, tel and e-mail in the upper left hand corner. If you can, include a word count, preferably in the upper right hand corner. Double space the text (or else!). Fasten the whole thing- manuscript, and cover letter- with a paper clip. (Don't staple, because if they do seriously consider your story they may need to make xerox copies for other editorial readers.)
Finally- crucially- enclose a self-addressed stamped envelope (SASE) for the reply because without it you may not get one. Unless your manuscript is short enough to fit in the 39 c stamped envelope, expect them to (ahem) recycle it.
The Question of Multiple Submissions
A dismaying number of litmag editors say that they either do not accept multiple submissions, or that they insist on being informed. My view is, they're shouting into the wind because so many writers do it anyway. According to my own informal poll, 90% of serious already well published short story writers multiple submit, and without compunction. With the odds so stacked against even the best writers, to expect a one-at-a-time submissions is not only unrealistic but grossly unfair. If you submit your story to one litmag at one at a time, it may take years, toe curling, shoulder sagging years, to find it a home. Even the most distinguished litmags can sometimes take as long as a year to reply. That's right, a year. Rather than get steamed about that, keep in mind that litmag publishing is not a profit generating business, but a labor of love. Most editors are not paid for their time, and if they are, only poorly paid.
They're only human, they have to take the kids to the dentist and grade papers and water the lawn and walk the dog and write their own short stories/poems/ novel, and in any case the slush pile is very tall, and growing ever taller what with all these multiple submissions...
If you do have a story accepted, you should immediately inform all of the other editors that you are withdrawing it. A simple postcard will do: "Dear Editor: This is to let you know that I am withdrawing my story "Down the Well". I hope this has not caused any inconvenience. Sincerely, Bob Doe." To do otherwise- to wait in hopes of a bigger bite from, say, The New Yorker- is both dishonorable and unfair to the editor who has taken your story. The literary world is small, and it seems to me that in a somewhat random but inexorable way, what goes around comes around.
I think submitting to three or four litmags or slicks is a good number to start with. With each rejection, send out another. If after three months you haven't received a reply from a given journal, this may mean your story is under serious consideration, although, it may mean your story is sitting behind some junior assistant's couch who still hasn't read it and by the way the cat pissed on it. Who knows? So it's a tough call whether to withdraw the manuscript or not. All I can say is, go with your gut.
Aside from the secretarial hassle and expense of postage, another reason not to send out more than three or four submissions of a given story at a time is that most likely, with a fresh look a few months later, you will want to revise it. You may even want to take it out of circulation. Again, go with your gut.
Keep Learning, Keep Writing
I doubt there are many serious short story writers who don't have a thick file of rejections. It's part of the game, and so don't let them fluster you. Some of the best short stories have five, eight, even fifteen rejections behind them. One prize-winning story by a major contemporary writer racked up 48- that's right, 48- rejections before it was taken. Some genuinely amazing stories are never published- until they show up in a collection.
As writers we must continually work to balance on the razor's edge of arrogance and humility- and we do that with a dose of both: arrogance to continue sending out work when it has been rejected and rejected and rejected; humility to recognize when we need to rewrite, or re-envision, or even (ah well) to discard. Trying to publish can be a discouraging and disorienting experience, like entering a dark forest full of noise. The trick is, keep your chin up but your ego in check, and stay focused on maintaining that balance, and making your writing the best you can.
When your story is accepted for publication, let your ego, for a few private minutes, tingle and shine. When, some months later, your two contributors copies arrive in their plain brown envelope, sit down and read one. Get to know the company your story is in. Write the editors a thank you note. Be generous- if you honestly can- with kind comments about the other contributors' work. Update your resume and bio. Smile wistfully as you wish your story a bon voyage. And then, at last, you can plunk the thing on a shelf and get back to the fun stuff: writing.
C.M. Mayo is the author of the forthcoming The Last Prince of the Mexican Empire, as well as the widely-lauded travel memoir, Miraculous Air: Journey of a Thousand Miles through Baja California, the Other Mexico, and Sky Over El Nido, which won the Flannery O'Connor Award for Short Fiction. Founding editor of Tameme, the bilingual Spanish/English) chapbook press, Mayo is also a translator of contemporary Mexican poetry and fiction. Her anthology of Mexican fiction in translation, Mexico: A Traveler's Literary Companion, was published by Whereabouts Press in March 2006. Mayo's stories, essays and poems have appeared in numerous U.S. literary magazines including Chelsea, Creative Nonfiction, Fourth Genre, Kenyon Review, The North American Review, The Paris Review, Southwest Review, Tin House and Witness.
Beginning writers often imagine publishing their short story to be a glamorous event,
Hemingwayesque in a wear-your-sunglasses-and-knock-back-the-grappa-as-agents-ring-your-phone-off kind of way. But for most writers it's an experience on par with, say, folding laundry. Unless you make one of the slicks- The New Yorker, Esquire, Atlantic Monthly, Harper's- most likely your payment will be two copies of the magazine. These will arrive in your mailbox in a plain brown envelope. Some editors jot a thankyou note, but most don't bother. Chances are, your friends and family will not have heard of the magazine. Even the best literary journals often manage only a modest circulation- 500 to 5,000- and may not be available for sale except in a very few widely scattered off-beat independents. In short, if you want money, you'd do better to flip burgers, and if you want attention, go fight bulls. Knock back that grappa, heck, wear a spangled pink tutu and splash in the Dupont Circle fountain during lunch hour. Scream obscenities in Swahili. Whatever.
So why try? Because when your story is published it is no longer one copy printed out from your printer, but 1,000 or more. Perhaps one is lying on someone's coffee table in Peterborough, New Hampshire, or on a poet's broad oak desk overlooking the beach at La Jolla, California. Maybe one sits on the shelves at the University of Chicago's Regenstein Library, or on a side table in the lobby at Yaddo. Perhaps a dentist will read your story, or a retired school teacher from Winnetka. Perhaps one day, a hundred years from now, a bizarrely tattooed highschool student will find it on a shelf in the basement of the Reno, Nevada public library, and she will sit down Indian-style on the cold linoleum floor and read it, her eyes wide with wonder. Your story, once published, lives its own life, sinking some deep, strange roots. Potentially forever.
And of course it is validating
(i. e., gives one's ego the warm & fuzzies) to have your work published. It also helps to mention it in your cover letters when you try to get other work published, or apply for grants and fellowships, or to attract the attention of an agent, and so on. Indeed, publishing one's stories in literary journals is (with a very few notable exceptions) y a prerequisite to securing a publisher for a collection.
If you can keep your focus on the story, however, and what the story merits- rather than the warm & fuzzies for your ego- the process will be easier. Expect your ego to take some punches.
First, Rejections
It may appear that we live in a nation of "Leno"watchers, throngs of Gladiator"-goers, Stallone fans, Brad Pitt groupies and the like. From a breezy foray through the local mall's bookstore, one might guess that America reads nothing but brand-name bodice-rippers, shiny red foil paperbacks with nuclear warheads on their covers, or those teensy gifty "books" with angels and cats on them displayed at the cash register alongside the chotchkes and chocolates.
Mais non! Secretly, millions of Americans are scribbling, and bravely (if often furtively)
thousands and thousands are sending their work to literary magazines. Yes, thousands and thousands (and say that again, out loud, à la Carl Sagan). The Paris Review receives over 10,000 submissions a year. My own Tameme, a bilingual literary magazine with a mere two issues out, has received over 200 submissions. Most litmags publish only 2-3% of the manuscripts they receive. As for the "slicks"- GQ, Esquire, Atlantic Monthly, Harper's, The New Yorker-getting published in one of these, even for the most outstanding and recognized writers, even National Book Award winners, is like winning the lottery.
In short, you've got some competition. So when you receive the unsigned xeroxed form rejection note that says "Sorry" it could mean your story sucks and you should do yourself a favor and burn it, but it could mean that it's a fine story and they simply didn't have room for it. Or they already had a story about a dying alcoholic gradmother, the heartbreak of losing the family dairy farm, or for that matter, a flying monkey in a business suit. (You'd be amazed.) Equally, it could mean it's one of the best short stories ever written- better than Chekov's "The Lady with the Pet Dog," better than Flannery O'Connor's "A Good Man is Hard to Find," better than A. Manette Ansay's "Read This and Tell Me What It Says"- and the editor, or more likely some flunkey/ wannabe / slush pile- squeegee, is an aethetically blind/ dispeptic / Philistine / pinhead. Who was probably hung over. Or jealous. Who knows? The point is, the little unsigned xeroxed rejection note means nothing except that this particular magazine's editor at this particular time has chosen not to publish this particular story.
Sometimes editors write personal notes explaining why they didn't take your story. Indeed, anything handwritten and/ or signed by an editor can mean that a distinguished literary personage has taken an interest in your work, and you should, gratefully, with a zing in your heart and Jell-O in your knees, interpret this as both validation and an invitation to send more. It can also mean that an inexperienced graduate student/ assistant/ whomever as yet unacquainted with the toughening rigors of plowing down towering slush piles felt guilty saying no and was merely attempting in a flakey and time-consuming way to be nice.
Thus it behooves you to do your research about the litmags and editors you are sending your work to. A personally signed rejection letter from the Editor-in-Chief of The Kenyon Review, for example, would make my day. On the other hand,even lengthy letters from an assistant of a minor new litmag would no more impress me than the comments of a commuter randomly collared at the bus stop. (Who might be a very perceptive fellow, but who knows? He could be coke-addled lunkhead.) Keep in mind that anyone- yes anyone, including the flying monkey- can found a litmag. Compared to, say, making a feature film, or casting bronze sculpture, publishing a litmag is dirt cheap. All of which is to say, unless they are from the likes of the editor-in-chief of The Kenyon Review, don't take letters from editors too seriously. For that matter, don't take editors themselves too seriously.
So you send again, and again. And again. She who spends for the most postage wins. As does she who does her research.
Research, Research, Research
The most basic level of research is to get an overall feel for the "market" for literary short fiction. You can usually find a reasonably interesting selection at your local library. If you can afford it, however, I recommend you go to a bookstore and buy a bunch - at the Georgetown Barnes & Noble I've spotted Chelsea, Calyx, Witness, The Paris Review, Southwest Review, Tin House, Potomac Review, all of which would be worth your while to read. Read all you can, and read the contributors notes. If you read a story by, say, Bob Doe, that you admire, and you read in Bob Doe's bio that he's also published in Seattle Review, High Plains Review, and DoubleTake- check 'em out! Another good way to spot worthy litmags is to pick up prize-winning short story collections - anything that wins the AWP, Iowa Prize, Flannery O'Connor, Bakeless, National Book Award, etc- and look on the acknowledgments page to see where stories have been previously published.
Then have a look at the web for guidelines. Litmags without a website will usually send guidelines in exchange for a SASE (self addressed stamped envelope). A great place to look for links is on the website of the Council of Literary Magazines and Small Presses, http://www.clmp.org
Reference books like Writers Market can be helpful, but in my experience they are often too quickly out of date. There is no substitute for actually seeing - and reading - a magazine and its guidelines before you submit.
Guidelines not only give an idea of the types of writing the editors are looking for, but reading periods. Many litmags read only during the fall, or during the winter. Some read Sept - May, others Oct -June. Oftentimes litmags have special issues, e.g., "The Body", "Mothers and Daughters", "Love in America", "Overcoming Loss", "Borderlands." Your manuscript will have a better chance if you can aim it at a special issue.
2007 Update: an increasing number of litmags accept on-line (e-mailed) submissions. Nonetheless, many editors refuse to read e-mailed submissions. Be sure to check the submissions guidelines before zapping out that attachment.
Calls for submissions are often listed in the classifieds in Poets & Writers, a publication I strongly recommend that you subscribe to. (For more information go http://www.pw.org) For those of you in the Washington DC metropolitan area, consider joining The Writers Center. Their publication, Writer's Carousel, also inlcudes numerous calls for submission.
Contests can be tricky. These invite you to send a story with an entry fee of anywhere from $5 to $20. The fees are often used to fund the litmag, and/or to pay a judge for her time reading manuscripts. For book contests- especially for poetry, but also for literary short story collection awards such as the AWP, Bakeless, Iowa, Flannery O'Connor, and others- reading fees cover the honoria for the judge, and as such I think they are fair and fine. For individual stories, however, I would not enter a contest that requires a fee unless it includes a subscription or anthology that I would have bought anyway.
There are too many litmags that don't request a fee to consider your work, and given your chances, you might as well lay down your bucks on a lottery ticket. In short, be sure you know where and why you are sending before you start writing checks.
The Mechanics of Submission
First, your cover letter. This should have your name, address, tel, and e-mail.
Address the letter to a specific person if you can- "To the Fiction Editor" is a red flag that you don't know the magazine.
Tell them what you're submitting,
e. g., "Please find enclosed for your consideration a short story, "Down the Well"). Do not explain the story, e.g., "this is a story about a young girl who falls down a well," etc. You are not selling a nonfiction article
- the literary short story is art, and you must let it speak for itself. Explaining and introducing is blather, it annoys the editor and it makes you look silly.
Editors are human however, so it helps- if you can do it honestly- to say something about their litmag, e.g., "I bought a copy of ABC at the Bethesda Book Festival and I really admired the story by Bob Doe". If you can't say anything, don't. Brief and business-like is fine.
Include something about yourself- a few sentences, a paragraph at the most, that could be used as your contributor's note if your story is taken. I find them easier to both write and read in the third person. (I put mine at the bottom of the page, under the title "Brief Bio".) This is your opportunity to signal that you're serious-
e. g., "Bob Doe's stories have been published in ABC, PDQ etc" or "Bob Doe was recently awarded a scholarship at the Bread Loaf Writers Conference and is now in his second year at the Johns Hopkins MFA Program". If you don't have literary "credentials," not to worry, a simple note will do, e.g., "Bob Doe is a statistician who lives in Grand Forks, North Dakota with his wife, four children and pack of seven Alpo-guzzling Huskies. He is at work on a novel." Anything more- your five page resume, a previously published poem, a newspaper article about your amazing recovery after being simultaneously hit by a cement truck and an estimated 397 volts of lightning- is clutter. The editor has limited time and attention, so don't take it up with the nonessential. End the cover letter with a "thank you for considering my work" and sign it.
The manuscript itself should have your name, address, tel and e-mail in the upper left hand corner. If you can, include a word count, preferably in the upper right hand corner. Double space the text (or else!). Fasten the whole thing- manuscript, and cover letter- with a paper clip. (Don't staple, because if they do seriously consider your story they may need to make xerox copies for other editorial readers.)
Finally- crucially- enclose a self-addressed stamped envelope (SASE) for the reply because without it you may not get one. Unless your manuscript is short enough to fit in the 39 c stamped envelope, expect them to (ahem) recycle it.
The Question of Multiple Submissions
A dismaying number of litmag editors say that they either do not accept multiple submissions, or that they insist on being informed. My view is, they're shouting into the wind because so many writers do it anyway. According to my own informal poll, 90% of serious already well published short story writers multiple submit, and without compunction. With the odds so stacked against even the best writers, to expect a one-at-a-time submissions is not only unrealistic but grossly unfair. If you submit your story to one litmag at one at a time, it may take years, toe curling, shoulder sagging years, to find it a home. Even the most distinguished litmags can sometimes take as long as a year to reply. That's right, a year. Rather than get steamed about that, keep in mind that litmag publishing is not a profit generating business, but a labor of love. Most editors are not paid for their time, and if they are, only poorly paid.
They're only human, they have to take the kids to the dentist and grade papers and water the lawn and walk the dog and write their own short stories/poems/ novel, and in any case the slush pile is very tall, and growing ever taller what with all these multiple submissions...
If you do have a story accepted, you should immediately inform all of the other editors that you are withdrawing it. A simple postcard will do: "Dear Editor: This is to let you know that I am withdrawing my story "Down the Well". I hope this has not caused any inconvenience. Sincerely, Bob Doe." To do otherwise- to wait in hopes of a bigger bite from, say, The New Yorker- is both dishonorable and unfair to the editor who has taken your story. The literary world is small, and it seems to me that in a somewhat random but inexorable way, what goes around comes around.
I think submitting to three or four litmags or slicks is a good number to start with. With each rejection, send out another. If after three months you haven't received a reply from a given journal, this may mean your story is under serious consideration, although, it may mean your story is sitting behind some junior assistant's couch who still hasn't read it and by the way the cat pissed on it. Who knows? So it's a tough call whether to withdraw the manuscript or not. All I can say is, go with your gut.
Aside from the secretarial hassle and expense of postage, another reason not to send out more than three or four submissions of a given story at a time is that most likely, with a fresh look a few months later, you will want to revise it. You may even want to take it out of circulation. Again, go with your gut.
Keep Learning, Keep Writing
I doubt there are many serious short story writers who don't have a thick file of rejections. It's part of the game, and so don't let them fluster you. Some of the best short stories have five, eight, even fifteen rejections behind them. One prize-winning story by a major contemporary writer racked up 48- that's right, 48- rejections before it was taken. Some genuinely amazing stories are never published- until they show up in a collection.
As writers we must continually work to balance on the razor's edge of arrogance and humility- and we do that with a dose of both: arrogance to continue sending out work when it has been rejected and rejected and rejected; humility to recognize when we need to rewrite, or re-envision, or even (ah well) to discard. Trying to publish can be a discouraging and disorienting experience, like entering a dark forest full of noise. The trick is, keep your chin up but your ego in check, and stay focused on maintaining that balance, and making your writing the best you can.
When your story is accepted for publication, let your ego, for a few private minutes, tingle and shine. When, some months later, your two contributors copies arrive in their plain brown envelope, sit down and read one. Get to know the company your story is in. Write the editors a thank you note. Be generous- if you honestly can- with kind comments about the other contributors' work. Update your resume and bio. Smile wistfully as you wish your story a bon voyage. And then, at last, you can plunk the thing on a shelf and get back to the fun stuff: writing.
C.M. Mayo is the author of the forthcoming The Last Prince of the Mexican Empire, as well as the widely-lauded travel memoir, Miraculous Air: Journey of a Thousand Miles through Baja California, the Other Mexico, and Sky Over El Nido, which won the Flannery O'Connor Award for Short Fiction. Founding editor of Tameme, the bilingual Spanish/English) chapbook press, Mayo is also a translator of contemporary Mexican poetry and fiction. Her anthology of Mexican fiction in translation, Mexico: A Traveler's Literary Companion, was published by Whereabouts Press in March 2006. Mayo's stories, essays and poems have appeared in numerous U.S. literary magazines including Chelsea, Creative Nonfiction, Fourth Genre, Kenyon Review, The North American Review, The Paris Review, Southwest Review, Tin House and Witness.
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