Gay Ingram's Blog, page 3
May 7, 2011
Query or Elevator Pitch?
I’d like to address a couple terms that pop up often in the writing and publishing world: query and elevator pitch.
A query does not have to be a masterpiece to grab an agent or editor's attention. What
it has to do is 1) impress the agent/editor with good, clear writing and an interesting plot summary, 2) describe the work as fiction or non, provide a word count, and suggest a genre,
and 3) list your credentials as a capable writer.
“elevator pitch” - a short, snappy description of your book used to quickly and simply define it and to inspire interest. You generally have thirty seconds to two minutes. You know your book better than anyone; what do you think really sets your work apart?
A query does not have to be a masterpiece to grab an agent or editor's attention. What
it has to do is 1) impress the agent/editor with good, clear writing and an interesting plot summary, 2) describe the work as fiction or non, provide a word count, and suggest a genre,
and 3) list your credentials as a capable writer.
“elevator pitch” - a short, snappy description of your book used to quickly and simply define it and to inspire interest. You generally have thirty seconds to two minutes. You know your book better than anyone; what do you think really sets your work apart?
May 3, 2011
Ready to Publish?
I gleaned this information from one of my favorite and informative newsletters, Funds For Writers put out by C. Hope Clark It’s something to take into consideration when you are weighing the options of seeking publication. Whether you persevere until you achieve traditional publishing, use the services of a print-on-demand company or decide to self-publish, these editing tasks are all part of the process.
ACQUISITIONS EDITOR - Finds, acquires, negotiates the project. Of course, this task is peculiar to traditional publishing but on the other hand, if you use POD or self-publish, you have the responsibility of doing the research to find the just-right publishing environment for your book.
LINE EDITOR - Performs the actual content edit (also call the "line" or "substantive" edit). With POD and self-publishing, this may or may not be a service included in the package you purchase. Most times, if it is offered, it is an added expense.
CONTENT EDITOR - Reads for accuracy, balance and fairness, cogency of argument, adequate treatment of the subject matters, and conformity to the original book proposal.
COPY EDITOR - Scours the manuscript for accuracy in grammar, citations, and factual content.
PROOF READER - Fine tunes punctuation and other nit-picky details.
If you choose to use either POD or self-publishing, you, the author, will have to complete the tasks of Content Editor, Copy Editor, and Proof Reader. Or you may choose to incur the additional costs of seeking a professional editor.
ACQUISITIONS EDITOR - Finds, acquires, negotiates the project. Of course, this task is peculiar to traditional publishing but on the other hand, if you use POD or self-publish, you have the responsibility of doing the research to find the just-right publishing environment for your book.
LINE EDITOR - Performs the actual content edit (also call the "line" or "substantive" edit). With POD and self-publishing, this may or may not be a service included in the package you purchase. Most times, if it is offered, it is an added expense.
CONTENT EDITOR - Reads for accuracy, balance and fairness, cogency of argument, adequate treatment of the subject matters, and conformity to the original book proposal.
COPY EDITOR - Scours the manuscript for accuracy in grammar, citations, and factual content.
PROOF READER - Fine tunes punctuation and other nit-picky details.
If you choose to use either POD or self-publishing, you, the author, will have to complete the tasks of Content Editor, Copy Editor, and Proof Reader. Or you may choose to incur the additional costs of seeking a professional editor.
April 10, 2011
My Experience with Journaling
Reading a back issue of Personal Journaling, I became aware that there are several reasons why I journal every day.
My serious effort to be consistent came about as a result of Julia Cameron’s influential book, The Artist’s Way. I connected with what she had to say about being committed to what she called ‘daily pages.’ It wasn’t so much her urge to write every day, but the reasoning she gave for doing these daily pages. She pointed out that in doing so every day at the approximate same time, in an identical location each day, your objective was to form a new habit, to train your brain and hand into a cooperative effort to write. As this repetitive exercise became more familiar and the routine established, the act of sitting down to write for a specific length of time would become an almost automatic practice.
And I have found it so.
But there have been other benefits derived as a result of establishing this routine into my daily schedule.
I’ve found it true that just the act of settling myself at the desk in my bedroom, lighting a nearby candle, opening the spiral 5-subject notebook I’ve chosen to use and picking up my pen seemed to open a floodgate, causing the words to flow effortlessly as my writing strives to keep up with the thoughts that come to me.
I’ve found whenever I have an assignment or an article that’s due, there isn't any doubt about having words come or any hesitation to begin the work.
You've probably all been part of a mini-workshop or writing presentation where the person in charge announces: “we will now write for ten minutes on...” Somewhere over the years of keeping up my daily pages, I’ve eradicated that ‘freezing up’ feeling that used to grab me whenever required to attempt spontaneous writing. Those instances, when they happen, no longer bring on a sense of terror and frustration.
Another discovery: there are times as I’m writing along I find myself reeling in thoughts that are resolutions to dilemmas I’d considered unsolvable. So, I just keep on writing, saying to myself, “Isn’t that interesting?”
Another way these daily pages help me, is in providing a place to express my frustrations and anger about situations over which I have no control. My journal pages give me somewhere to rant and rave without doing damage. And writing about the circumstances usually brings me a degree of acceptance once I’ve expressed my feelings.
I highly recommend every writer set aside a small portion of their day–perhaps just ten minutes to begin with. I can almost guarantee the writing time will expand to longer periods as you become more comfortable with the activity and it becomes a more familiar routine. Try it; I promise only good results.
My serious effort to be consistent came about as a result of Julia Cameron’s influential book, The Artist’s Way. I connected with what she had to say about being committed to what she called ‘daily pages.’ It wasn’t so much her urge to write every day, but the reasoning she gave for doing these daily pages. She pointed out that in doing so every day at the approximate same time, in an identical location each day, your objective was to form a new habit, to train your brain and hand into a cooperative effort to write. As this repetitive exercise became more familiar and the routine established, the act of sitting down to write for a specific length of time would become an almost automatic practice.
And I have found it so.
But there have been other benefits derived as a result of establishing this routine into my daily schedule.
I’ve found it true that just the act of settling myself at the desk in my bedroom, lighting a nearby candle, opening the spiral 5-subject notebook I’ve chosen to use and picking up my pen seemed to open a floodgate, causing the words to flow effortlessly as my writing strives to keep up with the thoughts that come to me.
I’ve found whenever I have an assignment or an article that’s due, there isn't any doubt about having words come or any hesitation to begin the work.
You've probably all been part of a mini-workshop or writing presentation where the person in charge announces: “we will now write for ten minutes on...” Somewhere over the years of keeping up my daily pages, I’ve eradicated that ‘freezing up’ feeling that used to grab me whenever required to attempt spontaneous writing. Those instances, when they happen, no longer bring on a sense of terror and frustration.
Another discovery: there are times as I’m writing along I find myself reeling in thoughts that are resolutions to dilemmas I’d considered unsolvable. So, I just keep on writing, saying to myself, “Isn’t that interesting?”
Another way these daily pages help me, is in providing a place to express my frustrations and anger about situations over which I have no control. My journal pages give me somewhere to rant and rave without doing damage. And writing about the circumstances usually brings me a degree of acceptance once I’ve expressed my feelings.
I highly recommend every writer set aside a small portion of their day–perhaps just ten minutes to begin with. I can almost guarantee the writing time will expand to longer periods as you become more comfortable with the activity and it becomes a more familiar routine. Try it; I promise only good results.
April 3, 2011
It Take Reading Also
When your story has been revised and changed until it’s as good as you can make it, that’s the time to banish the writer-you and become the reader-you.
Let the story rest for a day or so, maybe even longer. Then find a time when you can begin and finish reading your story in one sitting. It’s important to absorb the experience of your story with this read-through.
Only after a complete read-through will you then take up a pen and make a few notes as you ask yourself a few questions.
Does the title suit the story’s tone and subject? Did it engage you, tease you into reading more of the story? It may be as the story evolved during the writing that a different title is needed. There could be a key phrase or passage tucked inside the story, just waiting to be discovered.
Did the story’s opening lines compel you to continue? Or is your opening too cluttered, delaying the start of the story? Search for an opening that will launch the reader directly into the story. Then keep the action in forward motion. Make sure your story takes the reader somewhere interesting.
Stories, like life, are about human problems. Characters need to struggle toward those solutions–and be changed in some way by their struggles.
A satisfying story leaves the reader reminded of their own life’s struggles and encouraged by the character’s victory.
Let the story rest for a day or so, maybe even longer. Then find a time when you can begin and finish reading your story in one sitting. It’s important to absorb the experience of your story with this read-through.
Only after a complete read-through will you then take up a pen and make a few notes as you ask yourself a few questions.
Does the title suit the story’s tone and subject? Did it engage you, tease you into reading more of the story? It may be as the story evolved during the writing that a different title is needed. There could be a key phrase or passage tucked inside the story, just waiting to be discovered.
Did the story’s opening lines compel you to continue? Or is your opening too cluttered, delaying the start of the story? Search for an opening that will launch the reader directly into the story. Then keep the action in forward motion. Make sure your story takes the reader somewhere interesting.
Stories, like life, are about human problems. Characters need to struggle toward those solutions–and be changed in some way by their struggles.
A satisfying story leaves the reader reminded of their own life’s struggles and encouraged by the character’s victory.
March 26, 2011
Persistence Is Fundamental
All writers know that keeping their butts in the seat and fingers on the keys is a necessary factor to becoming a successful writer.
But what does it take to develop the necessary stick-to-it-ness? Five aspects come to mind.
1. Develop the habit of writing – find the where and the when you feel most comfortable and energized over writing. Make it a routine; meet yourself there as often as possible with one goal in mind. This time, this place, is set aside for writing. To help yourself remember the importance of routine, incorporate little activities – light a candle, grab a cup of coffee, have a favorite photo to inspire you.
2. Focus on the now. This time should be devoted to writing. Don’t allow your thoughts to dredge up chores needing to be done, errands needing to be run. Don’t chide yourself for letting the answering machine pick up interrupting phone calls. Don’t spend this set-aside time on checking email or Facebook. This block of time is for writing and writing only.
3. Zero in on your writer persona. For this period of time, you are a writer – not a mom, not a wife, not a bill-payer or a dry-cleaning picker-upper. All those other roles you fill the rest of the time take a back seat to the writer – you at writing time.
4. Write toward a goal. Don’t sit down not knowing what you will spend your writing time working on. It may be a scene in a growing novel, perhaps an idea for a short story. A list of ideas you’re considering writing about is a handy help to have nearby.
5. Focus only on producing the best writing you are capable of doing. This is not the time to worry about publication worthiness. Don’t fret yourself over whether anyone will like it or not. This set-aside time should be dedicated to producing the best piece of work you are capable of at the moment. The rest will take care of itself.
But what does it take to develop the necessary stick-to-it-ness? Five aspects come to mind.
1. Develop the habit of writing – find the where and the when you feel most comfortable and energized over writing. Make it a routine; meet yourself there as often as possible with one goal in mind. This time, this place, is set aside for writing. To help yourself remember the importance of routine, incorporate little activities – light a candle, grab a cup of coffee, have a favorite photo to inspire you.
2. Focus on the now. This time should be devoted to writing. Don’t allow your thoughts to dredge up chores needing to be done, errands needing to be run. Don’t chide yourself for letting the answering machine pick up interrupting phone calls. Don’t spend this set-aside time on checking email or Facebook. This block of time is for writing and writing only.
3. Zero in on your writer persona. For this period of time, you are a writer – not a mom, not a wife, not a bill-payer or a dry-cleaning picker-upper. All those other roles you fill the rest of the time take a back seat to the writer – you at writing time.
4. Write toward a goal. Don’t sit down not knowing what you will spend your writing time working on. It may be a scene in a growing novel, perhaps an idea for a short story. A list of ideas you’re considering writing about is a handy help to have nearby.
5. Focus only on producing the best writing you are capable of doing. This is not the time to worry about publication worthiness. Don’t fret yourself over whether anyone will like it or not. This set-aside time should be dedicated to producing the best piece of work you are capable of at the moment. The rest will take care of itself.
March 19, 2011
A Moment of Being a la Virginia Woolf
As described by Woolf, ‘moments of being’ are moments in which an individual experiences a sense of reality, in contrast to the states of ‘non-being’ that dominate most of an individual’s conscious life, in which they are separated from reality by a protective covering. Moments of being could be a result of instances of shock, discovery or revelation.’
Your only goal is to describe one moment as fully as possible. The idea is to slow down and to tune into your senses: sight, hearing, taste, smell, and touch. So turn off the phone, hide in the bathroom, do whatever’s necessary to get 10 minutes undisturbed. And for good measure, add any details that fully capture this moment in time for you: temperature, touch or texture, sensations of comfort or discomfort, thoughts that are occupying your mind.
No one’s going to read it, so don’t worry about spelling, punctuation, etc. Write it like a shopping list if you want to. Start anywhere and, at the end, tack on anything you want to add.
Your only goal is to describe one moment as fully as possible. The idea is to slow down and to tune into your senses: sight, hearing, taste, smell, and touch. So turn off the phone, hide in the bathroom, do whatever’s necessary to get 10 minutes undisturbed. And for good measure, add any details that fully capture this moment in time for you: temperature, touch or texture, sensations of comfort or discomfort, thoughts that are occupying your mind.
No one’s going to read it, so don’t worry about spelling, punctuation, etc. Write it like a shopping list if you want to. Start anywhere and, at the end, tack on anything you want to add.
March 8, 2011
Believability Matters
There is a concept that a writer can put anything down on paper, make it interesting enough, or startling enough, or shocking enough and it will be a success. Imagination is a handy tool to have available when creating a piece of fiction. For some, the products of imagination come bubbling forth as a gushing brook; a freshet tumbling its path down a rock-strewn hillside. One situation sparks another, even more stupendous and climatic than the last.
But through all the weirdness and astonishing events must run a thread of believability. It’s all right to stretch the reader’s imagination but your writing must contain a nugget of believability or the story will be rejected and discarded faster than a streak of lightning.
Anything imagined can be integrated within a story’s structure as long as the writer remembers to embed an element of plausibility, giving the reader a hand-hold to grasp as the words take him/her into uncharted waters.
It isn’t necessary to plod along your plot line, never straying from the norm that we all encounter in our everyday lives. A piece of fiction can take its readers into unfamiliar territory, introduce them to strange lands, different lifestyles, people who think and act differently, life lives that differ from ours.
But through it all, the writer must keep in mind the commonness of mankind. Include those basic elements and truths that are a part of everyman’s psche. These will become your anchors, allowing the reader to follow along with into the unknown world you are creating on the page. As these benchmarks impress themselves on your readers’ minds, they will allow the reader to feel a sense of comfort. In the midst of the adventuring, the reader remains in contact with the believeable.
But through all the weirdness and astonishing events must run a thread of believability. It’s all right to stretch the reader’s imagination but your writing must contain a nugget of believability or the story will be rejected and discarded faster than a streak of lightning.
Anything imagined can be integrated within a story’s structure as long as the writer remembers to embed an element of plausibility, giving the reader a hand-hold to grasp as the words take him/her into uncharted waters.
It isn’t necessary to plod along your plot line, never straying from the norm that we all encounter in our everyday lives. A piece of fiction can take its readers into unfamiliar territory, introduce them to strange lands, different lifestyles, people who think and act differently, life lives that differ from ours.
But through it all, the writer must keep in mind the commonness of mankind. Include those basic elements and truths that are a part of everyman’s psche. These will become your anchors, allowing the reader to follow along with into the unknown world you are creating on the page. As these benchmarks impress themselves on your readers’ minds, they will allow the reader to feel a sense of comfort. In the midst of the adventuring, the reader remains in contact with the believeable.
March 5, 2011
Believe in Yourself
Believe in yourself. You must believe you can do it, whether it’s authoring a book, writing an article for the local paper, or simply creating a humble memoir for family members. It’s called self-confidence, and I think it’s the most important tool in a writer’s toolbox.
Push yourself to improve. Take some writing classes, read a half-dozen books on writing, attend some writers' conferences.
A good writer recognizes his weaknesses and works to master them. Writing, like life itself, is a continuous journey of self-improvement.
It’s never too late, or too early, to get started. The beauty of this avocation is that you can dive in whenever the spirit moves you.
You are not too old to begin writing as long as you’re still lucid. Writing exercises the mind, just like swimming or walking exercises the body, and that can be just as vital to one’s overall health.
Push yourself to improve. Take some writing classes, read a half-dozen books on writing, attend some writers' conferences.
A good writer recognizes his weaknesses and works to master them. Writing, like life itself, is a continuous journey of self-improvement.
It’s never too late, or too early, to get started. The beauty of this avocation is that you can dive in whenever the spirit moves you.
You are not too old to begin writing as long as you’re still lucid. Writing exercises the mind, just like swimming or walking exercises the body, and that can be just as vital to one’s overall health.
February 26, 2011
Find That Point of Change
In every story, there needs to be a discovery. A light-bulb moment when a life-lesson is learned. If your character remains in the same place at the end of the story as he/she was in the beginning, then you've missed the mark.
Force yourself to dig deeply into your character's personality; search for a revelation of something wrong that needs to be righted. Discovery of the meat of your piece will set your spine to tingling, your head to spin. You'll grin like someone whose been caught with their hand in the cookie jar.
Sometimes it's just a tiny incident that starts a landslide of change in your character's life. Something incidental yet it will resonate with your readers, causing them to say, "Oh yeah, that's me too."
Force yourself to dig deeply into your character's personality; search for a revelation of something wrong that needs to be righted. Discovery of the meat of your piece will set your spine to tingling, your head to spin. You'll grin like someone whose been caught with their hand in the cookie jar.
Sometimes it's just a tiny incident that starts a landslide of change in your character's life. Something incidental yet it will resonate with your readers, causing them to say, "Oh yeah, that's me too."
February 18, 2011
HOW do I write something – short?
(As in average novel length-300 pages)
Interesting question and whether you usually write long or short reveals a lot about your writing habits.
First of all, I never worry about the length of a story until I've gotten it all down. What's more important to me is to tell the whole story.
After there's a first draft and it's spent time on editing and revising--that's when the number of pages come into focus.
If it's too long for the market you're considering, then you go over the whole thing looking for scenes that don't contribute to the story line and start cutting
When I consider publication is the time to consider the story's length mainly because most publishing houses has pretty specific word-count ranges for their different genres.
Interesting question and whether you usually write long or short reveals a lot about your writing habits.
First of all, I never worry about the length of a story until I've gotten it all down. What's more important to me is to tell the whole story.
After there's a first draft and it's spent time on editing and revising--that's when the number of pages come into focus.
If it's too long for the market you're considering, then you go over the whole thing looking for scenes that don't contribute to the story line and start cutting
When I consider publication is the time to consider the story's length mainly because most publishing houses has pretty specific word-count ranges for their different genres.
