Your Book's Elevator Speech

Draw attention and generate interest in one sentence.
© Kimberly Dawn Wells

The elevator speech isn't just interns anymore. Find out how 25 words or less can create the future success of your book.

Years ago, elevator speeches were given in, well, elevators. It is presumed that young, fresh employees, no doubt on their way to run a mediocre errand, were caught on the elevator with a higher-up in the company that had the clout to send them on the fast track to a better place in their career. The catch was, during that short ride in the elevator, could they convince their superior that they were a worthy protégé?

Today, elevator speeches are used much more often at networking events than in actual elevators, but the purpose is the same. In just a few seconds, using just a few words, an elevator speech is designed to inform someone about a product and capture their attention, making them want to know more. As an author, you may have one for yourself, but what about your book?

Each year, thousands and thousands of new book titles are printed and it is your job as an author to make yours stand out. One way you can do this is by coming up with a short description of your book that describes the plot and leaves a listener hanging. For example:

Young lawyer commits a crime so his client can go free
Young woman's fiancé dies hours before their wedding
Sixteen hostages overtake their attacker

How can you reduce your entire 80,000+ word book into a short sentence? Pick out the most important key words about your novel. Forget about all the side plots; ignore everyone except your main characters. Reduce your sentence until every single word has meaning and defines your book. This is your new elevator speech.

There is an old adage, "never judge a book by its cover." Sad but true, most people still do – if not the front cover, the back cover. When you only have a few seconds to make your book stand out among the millions that will be printed this year alone, it is vital to take every advantage possible to make sure yours gets noticed. An elevator speech for your book is one way to draw attention and create interest in a compact presentation.

How to Write A Character Sketch

When you write a character sketch, you are trying to introduce the reader to someone. You want the reader to have a strong mental image of the person, to know how the person talks, to know the person's characteristic ways of doing things, to know something about the person's value system. Character sketches only give snap shots of people; therefore, you should not try to write a history of the person.

A good way to write a character sketch is to tell a little story about one encounter you had with him or her. If you do that, you could describe a place briefly, hopefully a place that belongs to the person you are describing, focusing on things in the scene that are somehow representative of the person you are describing. Describe how the person is dressed. Then simply tell what happened as you spent time together. From time to time, describe the person's gestures or facial expressions. It is important to put words into the person's mouth in direct quotations.

As you work on this paper, you should decide what kind of emotional reaction you want the reader to have in relationship to this person. What kind of details can you select to create that emotional reaction? Avoid making broad characterizing statements; instead, let the details you give suggest general characteristics. Let the reader draw her own conclusions.

Example
Grandma Atkinson

Character Resource Links

Creating Unforgettable Charactersby Vicki HinzeStory people emulate real people, though they are actually just the creative genius of the writer who develops them. Creating something or someone from nothing and convincing others the creation is real IS creative genius. And writers do this by incorporating little strokes.http://www.fictionfactor.com/guests/unforgettable.html

Using Body Language to Create Believable Charactersby Lisa Hood55% of our communication is through body language. Lisa looks at ways to bring depth and realism to your characters by using body language http://www.fictionfactor.com/guests/bodylanguage.html

Adding Character Depth Through Perceptionby Lee MastersonEvery person on the planet sees life through their own personal perceptions. These differing perceptions are what make us unique as human beings - but are you using your characters' perceptions to highlight their own individuality? http://www.fictionfactor.com/articles/perception.html

Necessary Transition

by Elisabeth Dahl

If you've ever taken a writing class, you know what transitions are. They're the glue that binds, the signs that direct, the forward- and backward-looking words, sentences, and paragraphs that -- whatever metaphor you prefer -- help readers follow what you write. Transitions keep our arguments, descriptions, pitches, reports, and explanations not just cohesive but coherent.
As writers and editors, we understand instinctively that readers need transitions, but we also work at getting rid of unnecessary words.

Are nonetheless, but, similarly, at the same time, in addition, and other short transitional words and phrases always "necessary parts" readers can't do without? How far can we trust readers to ride along as points are contradicted or additional information is tacked on? Are there places where more subtle transitions work better -- and save space as well?

Blunt little transitions
As William Zinsser reminds us in his classic On Writing Well, "I can't overstate how much easier it is for readers to process a sentence if you start with 'but' when you're shifting direction." Take this example from Ted C. Fishman's article, "The Joys of Global Investment":

The hope that one's money might scour the globe for fortunes isn't new, of course. For better and for worse, civilization as we know it...derives from the mercantile energies of sixteenth-century Europe. The British East India Company...eventually grasped an entire subcontinent. But it was not until this century that electrical, and then electronic, technology dramatically increased the flexibility of overseas investing.

Had that final sentence started with It was not until or, even more abruptly, In this century, electrical..., the change in overseas investment patterns would have been blurrier.

More subtle transitions
Small transition words aren't the only options for making a message clear, however. In A Writer's Companion, Richard Marius argues that

These are cautious, plodding words, words that leap to mind quickly when we are stuck. When we use them too frequently, they leave the rivets showing....

Good writers seldom use the mechanical transition words such as thus, therefore, moreover, furthermore, and however. The best transitions rarely call attention to themselves.

Less explicit transitions often come naturally. Take the opening paragraphs of Amy Tan's essay "Mother Tongue," first published in The Threepenny Review:

I am not a scholar of English or literature. I cannot give you much more than personal opinions on the English language and its variations in this country or others.

I am a writer. And by that definition, I am someone who has always loved language. I am fascinated by language in daily life.

Tan tells us what she isn't, then reveals what she is, but she makes this shift without relying on however or but. Instead, she establishes a rhythm of repetition that moves from the negative "I am not" and "I cannot" to the affirmative "I am." She could have written an opening that made the same points more conversationally:

You would not call me a scholar of English or literature, and I have only personal opinions on the English language and its variations in this country or others.

I am a writer, however, and have always loved language. Language in daily life fascinates me.
Instead, more subtly, with steadily accumulating force, Tan makes her theme of self-definition clear.

Journalists often use another technique: beginning a paragraph with a quotation that builds on information from a previous paragraph. In "All You Ever Wanted to Know about Gardening," from the San Francisco Chronicle, Elizabeth Navas Finley describes how county agricultural advisers field questions:

If a question stumps everyone in the office, a plant sample is sent off to the plant pathologists at UC Berkeley for an answer.

"We are an information source," emphasizes Hildegard Griffin, desk coordinator for the Marin Master Gardeners in Novato.

Griffin's words give a definite name, information source, to the previous loose description everyone in the office, and the brief quote smoothly identifies Griffin as it introduces a longer quotation from her that explains the service. More interesting techniques often guide the reader through a piece of writing more smoothly.

Ordering information: A Writer's Companion, P.O. Box 18607, Columbus, OH 43218-2607, 800-2MCGRAW.

Your First Steps To Becoming a Writer

By Sophfronia Scott, "The Book Sistah"

What's the first step to becoming a writer? You'd think it would be "write", but it's not. In speaking to other writers and from what I know of my own journey to becoming a writer, I've come to realize that the biggest obstacle for new writers is that they don't think of themselves as writers. They have trouble developing the belief that they are writers and yet it's something you have to do. When you haven't developed that belief, that conviction, it becomes a source of sabotage--you don't value your work enough to give it the time and the space it needs. How do you come to think of yourself as a writer, especially when you're not earning a paycheck as a writer? Here are a few tips:

What Happens When You Write?
If you want to be a writer, I'm assuming you feel you have something to say and a strong desire to say it. You may not know how you're going to say it or in what form (poetry, novel, essay, etc.) but you know something is there. Okay, you pick up your pencil or pen or you sit down to your computer or typewriter. Write something. Whatever you write, just make sure your heart is in it. It doesn't have to be perfect, it doesn't have to be neat. It does have to be expressive.

Next, as painful as it may be, you have to show this writing to someone. It can be a friend, it can be a family member. Then, pay attention to what happens. Did the person reading your work cry, laugh or get angry? If so, you did that! It means you can have an effect with your writing. It's worth something. You have to keep going!

A teenager recently wrote to me concerned because she's writing fiction and she's worried her mother will read it and get upset because she thinks it's stuff the teenager really did. On the one hand, that is a bummer to have to explain yourself to your mother, but on the other hand--wow, that means the young lady's work is believeable and effective. That kind of feedback is hard to ignore. It's powerful motivation to keep you going--if you take the time to notice and honor that it's happening. I once had a writer say to me, "I don't know if my stuff is any good. I just know that when people read it, they cry." I told her you can't get a message any clearer than that kind of response. Now she just has to listen to it.

Cultivate Silence
If you're having trouble thinking about what it is you have to say, it may help you to spend some time each day in silence. Some writers pray. Some meditate. The idea is to get used to clearing your brain space and tuning in to your inner voice. You'll also be more aware of those little scraps of possibility floating around in your head that can later grow into big ideas.

What Do You Want to Write?
Experiment!
It's okay if you don't know what you want to write about. It may take a long time journaling for you to see what keeps coming up for you. And it may take longer to find the form that fits you best. I went from poetry to essays to long-form letter writing before I settled on fiction. It took me years to do that. It doesn't mean I won't do anything else in those genres, but what I'm doing right now just fits. I encourage you to experiment until you find the form that suits your writing best.

Continually Remind Yourself You Are a Writer
As you develop your belief that you're a writer, it's helpful to set up reminders that will jog you back to that brain space that you need to be in to write. When you sit down to write it's easy to get distracted and starting thinking about doing laundry or what's for dinner. You'll want to have something either on your desk or on the wall in front of you that reminds you to get back to work and that you are a writer.

It might be your list of values that remind you that writing is a part of who you are. It may be simple words such as CREATE or INSPIRE. Isabel Allende, who writes beautiful, historical novels will sit in her office with photos around her, old photos of people who essentially represent her characters so she’s surrounded by them. That puts her back into the brain space of her book because she is sitting in their world; these people are all around her.

What world do you need to be in? The journey you take to get there will be one of many you'll take as a writer. I hope these ideas will help you take those first steps. What you write--and where you go from here--is entirely up to you. Bon Voyage.

© 2006 Sophfronia Scott Author and Writing Coach Sophfronia Scott is "The Book Sistah" TM. Get her FREE REPORT, "The 5 Big Mistakes Most Writers Make When Trying to Get Published" and her FREE online writing and publishing tips at http://www.TheBookSistah.com

CREATING AN EYE-POPPING BOOKSIGNING TABLECLOTH

If you have access to graphics software and an inkjet printer (or have a printer close-by that does), and you can iron, you can create your own eye-popping booksigning tablecloth with the images of your own book covers. This tablecloth has been proven to attract buyers' attention from across the room, piquing their interest, and steering them to the table to learn more about the book.

If you look at the picture to the right, the book covers on the stands and the publicity material are not as visible as the book cover images across the length of the tablecloth, so the tablecloth images shout your message more effectively than the other items.

What You'll Need:
A tableclothA rulerElectronic image of your book coverAn ironAvery 3271 or 3279 t-shirt transfers (or the equivalent)
Cost: $20 and up

Step 1: Buy a Tablecloth
The best tablecloth to use is 6 feet (72 inches) in length. Your signing tables will generally range from 4 to 6 feet, though sometimes they can be smaller. Pick a fabric that does not have an imprinted pattern (even if it's tone-on-tone) . You should generally stay away from white because it soils easily. The tablecloth at right used a natural color that appears white from across the room. You can also use dark colors. Pick something substantially different from the colors in your book cover or the cover will appear to blend into the tablecloth, reducing its effectiveness.

You will also want to choose a fabric that does not wrinkle or shrink easily. Wash it and iron it (if necessary) before proceeding.

Step 2: Obtain an Electronic Version of Your Book Cover
Ask your publisher for an electronic copy of your book cover. It should be the same size as your book cover - not the miniature version used on web sites like amazon.com. You'll be resizing it to maximize its effectiveness and the smaller it is when you get started the fuzzier it can get when it's enlarged.

Step 3: Buy T-Shirt Transfers
Office supply and crafts stores sell t-shirt transfers for light or dark material, such as Avery 3271 for light t-shirts or Avery 3279 for dark t-shirts. They come with 5 or 6 sheets in a box.

Step 4: Electronically Enlarge the Cover Image
If you don't have access to graphics software, you can bring this file to your local printer for enlarging. The best software to use is something similar to Adobe Photoshop or Adobe Illustrator. Even if you have Microsoft Powerpoint, you can enlarge the file. However, the Adobe products mentioned will allow you to change the resolution as well as the size.

Using the software of your choice, follow that product's instructions on enlarging the file. You will want to maintain proportions. Try sizing only the length and let the width remain predetermined. You will be using paper that is 8.5 x 11 inches, so you'll want to change the length to 10 inches. This will leave a half inch at the top and bottom. Do not change it to 11 inches, or you won't have any edge to work with while ironing and removing the paper backing.

If your software allows you to change the resolution, use at least 300 dpi (dots per inch).
Save this file. You're now ready for printing.

Step 5: Print the Cover Image
Follow the steps contained in the t-shirt transfers EXACTLY for printing the t-shirts. When it has printed, the side without the Avery logo should have your cover printed in reverse. When you turn the paper over so the Avery logo is facing up, you can see the correct book image.
Step 6: Measure the Tablecloth

This step is going to require some basic math skills. You will want to use no more than 4 feet of your tablecloth; this is due to the fact that many of your signing tables are going to be 4 feet in length. If you use the area to the edge of your tablecloth, those book covers may be folded when used on a smaller table.

If you have one book, center the image on the tablecloth approximately 12 inches from the bottom of the tablecloth.

For two books, place them an equal distance apart, and so on.

You can use a straight pin to hold them in place. Use one corner of the transfer label for the pin, and never run the pin through the image itself.

Step 7: Iron the Image
Once you have the images placed exactly where you want them, heat your iron according to the directions contained with the Avery t-shirt transfer. Begin at one corner and iron the transfer for at least three minutes. For the darker book covers shown above, the author ironed the image for more than five minutes. Bear down on the transfer so the image adheres to the tablecloth. Be sure to iron all of the corners, even out past the book cover image. Refer to the instructions that came with the t-shirt transfers for detailed information.

Step 8: Pull Off the Backing
Be sure to wait at least two minutes. The image should be completely cool to the touch. If you notice one or more of the corners are not completely adhered to the tablecloth, iron that corner until it adheres. Then wait again until the entire image is cool. Begin at one corner and very slowly, very gently, begin to pull the paper backing off the tablecloth. If you notice any part of the image coming away from the tablecloth or adhering to the paper, replace it immediately and iron the transfer again. Let it cool and then begin to pull the backing away again.

If you take your time pulling off the backing, the entire image will be perfectly ironed onto the tablecloth!

Step 9: Folding Your Tablecloth
The best way to fold your tablecloth is to fold it widthwise first, making sure no fold is placed on the book cover images. Then instead of folding it lengthwise when you're done, roll the tablecloth. If you fold the tablecloth with the book cover images, you may eventually get cracking in that location.

Now use your new tablecloth at your next book signing and let us know how it works out for you!

These steps provided by p.m.terrell.

What’s In a Title?

By Richard F.X. O’Connor

A recurring question from students is: How important is the title when submitting to an agent or editor?

The answer is very important sometimes and unimportant at others. Let me clarify. Generally, the idea for the book, comprehensively presented, is of more importance than a precise title. We writers are often too close to our work to be the best judge of the title. Moreover, better than 50 percent of the time, the editor and marketing people in a publishing house will come up with the best title, the "selling" title. They can be an immense help to the author.

And not to put too fine a point on it, when Herman Wouk became well known, he would submit his manuscript with the following: Untitled Work by Herman Wouk.

All that said, it doesn’t hurt to have a great title to intrigue the agent or editor. The one that comes immediately to mind, and a book I ultimately acquired and published, had great big block letters on the title page of the manuscript: The Zen of Oz. The subtitle was Ten Spiritual Lessons from Over the Rainbow.

I remember salivating, hoping that the title’s promise would be delivered in the manuscript. The author, Joey Green, proposed that one of America’s most-treasured films, The Wizard of Oz, offered some sublime, spiritual insights. He delivered on the promise in the title and the book is still in print.

Many titles need some explanation. It helps the writer’s cause if that explanation comes quickly in the presentation. As in the proposal for the memoir, Send Me Someone, A True Story of Love Here and Hereafter, by Diana von Welanetz Wentworth. The short strokes are that Diana was married to Paul von Welanetz for 25 years, after a highly romantic courtship. They shared everything, personally and professionally. Their passion for cooking and entertaining led them to successful careers as award-winning cookbook authors and hosts of a television show. But one day everything changed, when Paul was diagnosed with cancer. In rapidly declining health, Paul told her, "I don’t want you to be alone." She replied impulsively, "Then send me someone." He responded, "I will." That promise is at the heart of the extraordinary story told in Send Me Someone. Then again there is What Color Is My Parachute? Go figure!

–Richard F X. O'Connor is the published author of seven books including the best selling "How To Make Your Man More Sensitive" (E.P. Dutton/ Fawcett) and "Ident-A-Kid" (S&S). His self-published work is "How to Market You and Your Book." His writers’ Web site is http://www.richardf xoconnor. com.

Cover Letters

Most editors expect to receive a cover letter with your manuscript. It should be short and sweet:

Dear [editor's name]:

Enclosed is my 4,300-word short story entitled "Zombies of Zubenelgenubi"

for consideration in CyberCanuck.

My work has previously been published in On Spec and Tesseracts 4.

The manuscript is a disposable copy; I enclose a letter-sized SASE for your reply.

Make sure your address and phone number appear in the letterhead (they should also be on the manuscript). And, for Algis's sake, spell the editor's name correctly (Kristine Kathryn Rusch used to bounce anything from The Magazine of Fantasy & Science Fiction that had any of her names wrong). Also specify the publication you are submitting to — many editors work on multiple projects simultaneously.

If you have some, list a few publication credits (major non-fiction credits are okay, if you don't have any fiction ones). If you have expertise related to the story, you could mention that, too (an astronomy degree would carry weight if you're submitting to Analog). But don't pad the letter with meaningless credentials: no one cares if you belong to the Canadian Authors Association (which has no membership requirements), that you workshop every week, or that your mother thinks you're the new Isaac C. Heinlein.

If the submission is disposable (meaning all you want back is the editor's reply, not the story), say so here — and say it again on the manuscript.

If there's anything else the editor needs to know (for instance, that the story has been previous published, even in another language), say it. Carolyn and I were furious to discover one of the stories we wanted to take was an undisclosed reprint. And don't think that just because the story hasn't been published in English that you don't have to disclose the fact that it's already appeared in French — or the converse, of course — or that you don't need to mention that the story has already been posted on your World Wide Web home page. You must lay out, in plain language, the entire pedigree of the work you are offering for sale.

Just as important is what's not included. Don't try to synopsize the story. It's an instant turnoff to read things like "`Zombies' is a poignant love triangle between two humans and an alien slime-being . . ." Likewise, don't tell the editor why you wrote the story: "I was inspired to pen this tale after discovering slime between my own toes — moving me to ask that classic SF question of `What if?' . . ." None of that matters; the story should stand on its own.

SASEs

A SASE is a self-addressed stamped envelope. That means the destination address — the one that appears on the lower half of the envelope — is your own complete address. (We got some SASEs that were addressed to us, instead of the submitter.)

We were stunned to see how many people sent envelopes with no stamps, or sent big SASEs for return of the manuscript, but with insufficient postage. Also, don't send loose stamps: stick the stamps on the envelope yourself.

If you're submitting to a market outside your own country, you need stamps from that country — Canadian stamps are no good in the United States, and vice versa. If you can't get hold of foreign stamps, buy International Postal Reply Coupons at the post office, and include one for every thirty grams of material you want mailed back to you.

You must submit a SASE with every story manuscript (although one SASE per small batch of poems is fine). Some writers made multiple submissions to Tesseracts 6 on different dates, but only sent a SASE with the first submission, expecting us to sort through hundreds of envelopes to find theirs (instead, of course, they got left to the very end of the reading process).

Others said they hadn't bothered with a SASE, but told us we could reply by email. That's a no-no: never ask an editor for special treatment. The only way in which you want to stand out from the crowd is by making a proper, professional-looking submission.

Good luck!

Hunting for a Literary Agent: Which to Keep and Which to Shoot

by Chuck Rothman

What is an agent and why do I need one?

An agent is a writer's business representative. His job is to market your book, negotiate a deal with the publisher, keep track of rights sold, and generally handle the business end of things so that the author can concentrate on writing.

You may not need an agent. If you write poetry, or short fiction, or articles, you don't. Agents only handle book length manuscripts -- fiction and nonfiction. It's not worth their while to handle shorter works.

Even if you write books, you may not need an agent. There are two main advantages that an agent can offer you when it comes to marketing:

A good agent knows what editors are looking for. He can target your manuscript more effectively; an author has to send it out hit or miss, wasting time on editors who are overstocked and missing windows of opportunity. Generally, it will take a good agent less time to sell a manuscript than it would take if you did it yourself. However, if the agent can sell the novel, there's a good chance you can sell it, too. Conversely, if the novel is no good, no agent is going to be able to sell it.

Many publishers don't accept unagented submissions. Or, more commonly, they allow an agent to send the entire manuscript, while limiting unagented submissions to outlines and sample chapters. You're more likely to sell if the editor reads the entire book.

The main advantage of having an agent is not in marketing a novel; it's when you find a publisher willing to publish it. A good agent is an expert in negotiating contracts. She knows what clauses to ask for, which are harmless boilerplate, and which seemingly innocuous ones are invitations to disaster. A good agent will know how to get you the best possible deal. Unless you are in the publishing industry, it's unlikely you'll be able to negotiate a contract that gets you the most money possible while protecting all your rights.

(Some people think that a lawyer can replace an agent when it comes to this. However, few lawyers specialize in the type of contracts publishers use. In the words of editor Patrick Nielsen Hayden of Tor Books, every time an author used a lawyer to negotiate with Tor, the author was left "skinned and bleeding.")

When do I need an agent?

The first thing you need to do is write a book-length manuscript. Unless you have the book in hand, an agent won't be interested. He needs something he can see; without a manuscript, there's no knowing if you can write anything that's worth the agent's time to try to sell.
When the manuscript is done, you can start contacting agents. But don't let the search for the agent get in the way of your search for a publisher. You're perfectly welcome to start marketing the book yourself, if you want. It's up to you.

If you do send the book out, and get a call from the publisher that they're interested, this is the perfect time to find an agent. Indeed, some publishers will even recommend you get an agent before there's any negotiation; they'd much rather deal with a professional. It's said that, if you do get the call from a publisher, you automatically say, "I'll have my agent contact you" -- whether you have an agent or not. If you call agents and tell them about the offer, they will often jump at the chance to take you on. After all, it's a quick way for them to make a buck. The hardest part has been done; all they have to do is negotiate a contract, which means they (and you) will be paid in a couple of months, not several years.

How are agents paid?

Agents are paid by publishers. Usually, when they sell your book, the check is written out to the agent. The agent then takes his percentage of this amount and sends you the remainder. Most literary agents nowadays take 15% of any money paid you; a few still stick with the old rate of 10%. (Screenplay agents are required to only charge 10%.) If the agent sells your book to a non-North-American publisher, they usually take 20%, since they often work through a subagent.
Some agents also pass through charges for expenses to their authors. This can happen in different ways. Most commonly, an agent will pass along charges for "extraordinary" expenses.

These include charges for such things as Express Mail, Special Couriers, and other items that are not the usual part of doing business. Regular postage and copying costs are not extraordinary. Agents generally deduct these expenses from any money due you. In other words, if you're paid $1000 for your novel, and the agent spent an extra $15 for Federal Express, you'd be paid $835 instead of $850.

Where to I find information about agents?

There are many sources, of varying degrees of reliability. The best is to ask a published writer about her agent. If the writer likes the agent, ask if the agent is taking clients. If so, contact the agent.

Writer's Market and Literary Market Place list agents in their yearly volume. Check out the agent entries, looking for people who represent authors in your field of writing. Look for names of clients and recent sales.

You can find ads for agents in Writer's Digest. However, many of these are for sham agents who take money and do little to advance your career. I would strongly urge you to look elsewhere. Good agents don't take out ads to find clients.

How do I choose an agent?

This is the hardest question to answer. Anyone can call herself an agent. Scams are common; the pages of Writer's Digest are filled with people who claim to be literary agents, but who have never sold a book in their life. Even among legitimate agents, one agent may be perfect for you, but all wrong for someone else.

The first step is to eliminate the scams. The quickest way is to stick to one invariable rule:
Never, under any circumstances whatsoever, pay money to an agent.

If you follow this, you automatically eliminate the frauds. A fraud is out to get your money. A few years ago, scam agents charged "reading fees." Lately, as word has slowly gotten out that this is the sure sign of a ripoff, the same agents are charging for "expenses." Sound plausible, but the reality is that legitimate agents don't ask for money in advance for any reason.

If you send money to an agent in advance, there's no guarantee she'll do anything other than cash your check. A legitimate agent doesn't get paid unless she sells your novel; a fraud isn't going to go to the bother.

Other signs to be wary of:

Agent asks you for money up front. Yes, I know I just said this, but it bears repeating. Do not pay any agent, and especially don't pay anything in advance merely to have him represent you.
Agent won't give you the names of his clients and recent sales. Always ask for this. A legitimate agent is all too happy to recount his successes; most send out press releases whenever they sell a book. A fraud won't tell you (usually citing "confidentiality"), because it gives you a handle to track him down (and because he often has no recent sales).

Agent recommends an editorial service. Be very wary here. Real agents either like your manuscript or pass on it; if it's close, they may ask you to revise it yourself. There is, however, a common scam where the agent recommends an editorial service. There's a good chance the service is paying the agent a kickback to make that recommendation. (Note: probably the most notorious of these editorial services is a place called Edit Ink. Don't even consider any agent who mentions Edit Ink.)

Agent has contacted you. Agents don't need to go out of their way to find clients. But it's quite common for frauds to buy mailing lists of writers and go fishing. Unless you have published something, or otherwise have a reputation as a writer, no real agent is going to contact you out of the blue.

Agent's contract has a time limit. Agents used to work on a handshake basis, but nowadays even good agents often have contracts. But legitimate agency contracts are open ended: the continue until either party decides to quit. Frauds set a time limit, since this allows them to ask you for a further fee for "expenses" or "representation."

Agent claims sales to a vanity press. A vanity press is one where the author pays to be published. No real agent would even consider sending a manuscript to one (how could they make any money, if the publisher isn't going to pay?). Some agents do recommend vanity presses, most likely because they are getting kickback from the press (how else do they get paid?)

Agent asks you to put up your money in advance. What I tell you three times is true.
If an agent does any of these things, go somewhere else. There is little chance any agent who has these policies will be any help at all to you, and could do great damage to your career -- with you paying for the privilege of having them ruin you. It's just not worth it.
For more information about how agents work, check out this article by Dan Perez.

How do I contact an agent?

Once past this hurdle, the question becomes one of nuances. Does the agent seem interested in having you as a client? Does she have some sort of vision for your career? What do her other clients think of her?

Most agents do business by mail (a few by e-mail). The first thing to do is to send a query letter. The query letter should introduce you to the agent. Explain that you are looking for representation for your completed book. Describe the book in general terms (i.e., it's a science fiction novel), but don't summarize the plot. Mention any publishing history (if you have one, if not, say nothing) or any background information that might indicate a relevant area of expertise (if there's nothing directly relevant, leave this out, too). Keep the query letter short (if it's more than one page, it's way too long). Be sure to include a self-addressed stamped envelope for a reply. Send it off.

A question that crops up is whether you can query several agents at a time. It all depends on what you're comfortable with. It's generally acceptable to send off multiple query letters, so if you want to go that way, do so. However, once an agent asks to see your manuscript (or more likely, sample chapters and an outline), you should send it to that agent alone, and to none other until he says yes or no. If you get a second request, wait until you hear back from the first agent before sending it along (it isn't necessary to tell the second agent it's out somewhere. Just say nothing until you're ready to send it to her).

Incidentally, your agent hunt can be separate from the hunt for a publisher. You can send the book out to editors while agents are deciding; if the book sells, call the agent who is currently considering it. Note, however, that an agent often wants to market the book from scratch, and has a slight preference toward a book that has yet to be rejected.

How do I create an outline and sample chapters?

These are essential to selling a novel. Most agents (and publishers) want to see these instead of a full manuscript (note: if at all possible, it's best to find a way to send a full manuscript. But be careful: doing this when the agency/publisher doesn't allow it may mean that your book will not be read. You can break this rule, but be prepared to suffer the consequences).

The sample chapters are always the first chapters of the book. Usually the first three, but if you're writing extremely short chapters, send the first 50-60 pages (don't stop in the middle of a chapter). The idea is to give the editor/agent an idea of your ability to write.

An outline runs around 20 pages and describes the action in the book. It is usually written in the present tense (our hero kills off all the soldiers, but the princess is kidnapped by the Grand Vizier). Include any particularly important lines of dialog and all important scenes as you lay out the plot and all subplots.

Some agents prefer a synopsis to an outline. This is shorter (5 pages) and is more of an overview. Needless to say, either your outline or your synopsis must be well written and interesting.

What happens if I don't get an agent?

There's no reason you can't market your novel yourself. There are a few hurdles, but it's eminently possible. It isn't the end of your career, so just keep on plugging. Sooner or later, it will click for you.

Four Little-Known Reasons Why “Overlooked” Book Signings Are Key To Your Success

The reasons for doing book signings are obvious. What’s not so apparent are the hidden benefits they also give you.

You know the drill. You show up at a Barnes & Noble, get behind a table with your name and books on it, wait for readers to start squinting in your direction, be enthusiastic when they finally do talk to you, then autograph each book they decide to buy.

To you, as a writer, it’s just something you do. No big deal. Certainly nothing that’s going to make or break your writing career, right?

Not necessarily. String enough of these humble book signings together and you can build some irresistible momentum and grassroots “buzz” for your book, which is the foundation for any successful book campaign. Here’s what I mean.

The Six Benefits You Know About

Let’s start with six obvious reasons for spending time doing book-signings:

1. You’ll sell books. Granted, this is one-on-one, face-to-face sales, the kind that might take fifteen minutes or longer…but they’re sales nonetheless. And that’s a good thing.

2. May as well face it, Americans love celebrities. Doesn’t really matter what they’re celebrated for, “stars” rule in the U.S. So an author at a table creates a not-so-minor stir…which spells attention and publicity for your and your book.

3. You get to meet the folks who buy your book. Why is this important? Because this is your target audience. Your people. The same people you’ll keep in mind when you write your next book.

4. Many authors have a cause or two in their back pocket. Or on their sleeve. So if you’re passionate about yaks, homeless circus clowns or the chance Seattle will get struck by space junk, here’s your chance to enlighten avid listeners.

5. Speaking of enlightenment, you can actually change a life or two at these signings by doing some teaching and inspiring. And even if all you do is cause a few people to say, “Hmmm,” and they suddenly get a new realization about life – that can make a book-signing very gratifying and well worth your time.

6. Got seminar? Here’s where you can tie that upcoming workshop or speaking engagement you’ve got scheduled to a book-signing event at the local bookstore in that city. Great synergistic marketing here.

Okay…those are the neat book-signing benefits you already know about, right? Well, here are some you probably don’t know.

The Hidden Benefits of Book Signings…

HIDDEN BENEFITS

#1. Instant Distribution. To publishers, good book distribution can be as elusive as bigfoot. Why? With nearly 200,000 new books bombarding bookstores every year, retailers have to be very selective about the titles they put on their shelves.

On the other hand, when a bookstore agrees to schedule an author for a book-signing, the manager automatically orders a decent number of books for the signing event. This, then, becomes a wonderful way to get your books into stores, one that works very nicely.

#2. Free Advertising and Promotion. We talked about the publicity you generate when you show up at a bookstore. What you might not realize is the promotional lengths bookstores go to, to highlight you and your book. Book signings are, after all, two way streets: They draw attention to you, but you also draw attention to the store. So promotional mailings to customers, announcements in newsletters, newspaper ads, media interviews, Internet banners are all promotional actions some bookstores will take to draw attention to your arrival — priceless promotions that costs you nothing!

#3. Free Merchandising (That Normally Costs Big Bucks). Another way bookstores will promote your book and signing (and themselves) is through high profile display materials (provided by your publisher) that are set up in the front of the store announcing your arrival. This display is usually set up a week or so prior to your scheduled book-signing…and can be worth its weight in silver, if not gold.

#4. Infecting Readers with the Word-of-Mouth Virus. After all the advertising you do, it’s word-of-mouth marketing that will either crown or drown you. The smart author knows this…and will try to infect bookstore employees every opportunity they can. They’ll introduce themselves…shake hands…talk about their book in memorable “soundbites”…and make each and every employee feel singled-out and important.

Then, whenever customers ask for recommendations of a book on your topic, you can bet the bookstore people will recommend yours. That’s a no-brainer.

Having said all this, the underlying question here is…just how do you schedule good book-signings around the country?

Doing Author Tours

We’re Event Management Services and book-signings are something we’ve done for over seventeen years now. They’re part of a larger promotion service called an “Author Tour”. We arrange TV, radio and editorial interviews and “appearances” for authors touring in three to four major cities (at a minimum). The book-signings are part of that media blitz.

So, if you don’t mind traveling, and want intense exposure, with each media appearance dovetailed and correlated to each other to strengthen the overall impact (something like the effect buckshot from a shotgun has), then call us. We can set that up for you.

But even if you don’t want to tour, you can and should arrange book-signings on your own. Work within a 300 mile radius of your home, and you’ll land your share of book-signings. The key here is patience and persistence.

Bottom line? If you’re tired of being an invisible writer, if you don’t seem to be making any headway getting your book on reader’s “radar screens,” give us a call and find out what we can do for you.

Call me or Steve Friedman at 727-443-7115 x202 or email us at mfriedman@event-management.com. If we’re not in, we promise to get back to you immediately!

Warmest regards,
Marsha Friedman, President

What Literary Agents Do

From the Writing the Novel Proposal Workshop

Essentially, a literary agent is the liaison between a writer and a publisher. He is a business representative, whose primary job is to sell a work to the publisher who will pay the most for it (and ideally will handle it most effectively) .

An agent should know the special areas of interest for each publishing house as well as individual editors' tastes and enthusiasms within a particular house. The best literary agents acquire and maintain a wealth of knowledge about publishing, keeping up with trends in an industry that has been undergoing seismic changes in recent years.

A submission from a knowledgeable and respected agent will be read by an editor way before an unsolicited submission from an unknown writer. Editors know each agented submission is backed by the agent's reputation, which goes a long, long way in this business.

Because most major publishing houses accept only agented submissions, those publishers who do accept unagented submissions get so many of them that their slush pile becomes—and remains—overstocked with manuscripts. Many manuscripts get lost in the slush, with nary an editor's eyes ever gazing upon them. Editors just don't have the time to sift through all those submissions. That's what's so great about having an agent submit your material: While almost every unagented submission sits in a slush pile for awhile—sometimes for perpetuity—nearly every agented submission gets a read, usually with editorial enthusiasm if it comes from an agent the editor has worked with before

Can You Afford to Publish Your Book?

by Sophfronia Scott
All Rights Reserved © 2006

Money blinds. It's as simple as that. Aspiring authors ask about the money issue all the time, in varying forms, (How much does it cost to publish? How much will I get paid in royalties?, etc.) but they can't see beyond that issue to think about the thing that will truly decide the money question.

And here it is:

What Do You Want From Your Book? That is the real question! Once you are clear about what you want out of the publishing process, you can decide what route would be the most satisfying--and profitable--for you. When it comes right down it it, you can spend as much or as little as you want on your book. But how much are you willing to spend to get what you want?

When you aren't clear, you can make poor decisions that won't line up with your goals. For instance, many authors have a goal of making a lot of money, but they won't consider self publishing. The fact is that unless you can immediately sell on the level of an Oprah's Book Club selection or a James Patterson or a Dan Brown, it's going to take a very long time before your royalties add up to much. When you self publish you take on risk, but you stand to gain much more because you get to keep all the profits (unless your agreement with the publishing company you use is a royalties-based one).

Another strong reason to self publish: you can use your first book to build your platform for a bigger deal with a traditional publishing house in the future. Again, you can choose the self publishing deal that's right for you. A print on demand company such as Xlibris charges just $500 for a basic package where you can get your book produced and copies made as they are ordered--so no inventory. Of course, when you pay more, you get more: better design, distribution services, maybe even some marketing help.

The Traditional Road If your dreams of authorship include larger audiences and the literary status that comes of being published by one of the many arms of Random House, Warner or Simon & Schuster, that's fine--just know that this route isn't exactly free either. No, you don't have to pay a traditional publishing house and yes, they do everything for you (design, distribution, some advertising and marketing), but these days a writer is expected to spend a little too on promoting the book. Many writers are even putting the amount they've set aside in their book proposals. If you're serious about marketing your book, you'll need to set aside at least $10,000. That amount can go as high as $30,000 depending on the amount of travel and other advertising you intend to use.

Smart Money, Dumb Money Once you understand what you want out of your book, you'll not only know how much you're willing to spend, you'll also know better how to spend it. You can spend it smart or you can spend it dumb. Many writers spend it dumbly because they don't know what they want. If you're spending money on educating yourself about publishing, improving your writing skills, hiring a good editor or book consultant, and marketing that will help you reach your specific, targeted reader, that's all smart money. You will get more out of those dollars than if you had never spent it at all. You are investing in your writing career.

But if you spend money because someone told you this is "the only way you'll ever get this book published" (and you haven't researched any other ways), or buy advertising simply because it's where other books are advertised, or go to writer's conferences with no clear plan of what you want out of them, or pay agents "reader fees", or pay editors whose work you don't know or whose references you haven't checked, that's dumb money. You'll put those dollars out there and see little or no return.

So I guess the bad news is publishing isn't free. The good news is you have a choice as to how much you spend and where you spend it. Be an educated consumer as well as an educated--and talented--writer. You'll find that to have a book published in the way you want it published is still in the end--priceless. © 2006 Sophfronia Scott

About the AuthorAuthor and Writing Coach Sophfronia Scott is "The Book Sistah" TM. Get her FREE REPORT, "The 5 Big Mistakes Most Writers Make When Trying to Get Published" and her FREE online writing and publishing tips at http://www.TheBookSistah.com.

Using Body Language to Create Believable Characters

by Lisa Hood

Have you ever had a "Gut" feeling about someone? You meet someone and a little voice says: "I like him" or "I don't trust her". Have you ever wondered why you formed that immediate opinion? Body language plays a big role in intuition as it gives us messages about the other person that we can interpret at an intuitive level. We are always communicating verbally and nonverbally. To make a good impression, it is important to understand that you are always communicating through body language, whether it is intentional or not. Studies done in the field indicate that:. 55% of the communication consists of body language, . 38% is expressed through tone of voice (paralanguage) and only . 7% is communicated through words.

(1)As a writer, you can use the body language of your character to convey a great deal of information. There are four types of body language to be aware of: facial expression, including eye contact, gestures, posture and space relationship.

1. Facial Expressions including eye contact - "Darwin believed that facial expressions of emotion are similar among humans, regardless of culture." However, researchers now believe "our non verbal language is partly instinctive, partly taught and partly imitative."

(1) There are some universal facial expressions; a smile, a frown, a scowl, however, there are many more nonverbal messages that are learned and may be unique to specific cultures.Eye contact is direct and powerful. The eyes are always talking. A poet and writer of 19th-century France wrote, `Eyes are so transparent, that through them, one sees the soul.' Nothing builds trust and rapport as effectively as eye contact.

(2) The use of eye contact varies significantly from culture to culture. In some regions, direct eye contact may be considered insulting or challenging. In the United States, direct eye contact is often considered a sign of trustworthiness. So, if your character is American, regular, attentive eye contact would convey honesty, straight forwardness and/or approachability. However, a hard, unblinking stare will send a much different message.

2. Gestures - can be used purposefully to emphasis meaning. Fidgeting shows boredom and restlessness. Pressing fingers together to form a steeple shows interests, assertiveness and determination. Touching the nose or rubbing eyes indicates discomfort, or it may even be a signal that your character is not being completely honest. A hand to the back of the neck may indicate withdrawal from a conversation.

3. Posture - The way people hold themselves gives important information. Body posture can be closed or open. Interested people always pay attention and lean forward. Leaning backwards demonstrates aloofness or rejection. A firm handshake will give the impression of assertiveness or honesty, too firm can seem arrogant or challenging. Folding arms across your chest or body is protective and will give the impression of a character who's closed, guarded and defensive. People with arms folded, legs crossed and bodies turned away are signaling that they are rejecting messages. People showing open hands, both feet planted on the ground are accepting. A head held straight up signals a neutral attitude. A head tilted to the side indicates interest. A head down is negative and judgmental.

4. Space - Dr. Edward T Hall, a professor of anthropology at Northwestern University, coined the phrase "Proxemics" to describe his theories about zones and territory and how we use them. There are four distinct zones in which most people operate, including: intimate distance, personal distance, social distance and public distance. The cultural influence on spatial relationships is significant. "How we guard our zones and how we aggress to other zones is an integral part of how we relate to other people."

(1)"The orientation of speakers and listeners: face-to-face, side to side, or back-to-back, can send powerful non-verbal messages. In a group situation, when the leader faces the group and turns toward the one who is speaking, this conveys strong attention. When two people are communicating, competitors are more likely to sit facing each other while collaborators are more likely to sit side-by-side. If one stands while the other is sitting, the standing person may be sending dominance signals, which can stifle free exchange of ideas."

(2)You now understand different types of body language and you may be able to incorporate body language into your writing to make your characters come alive on the page.

Resources(1) Dick Mooney, Often, actions really do speak louder than words. Knoxville, TN: ACA Communicator, 2002(2) Debbie O'Halloran, How to use Body Language in an Interview. The Irish Jobs Column, 2002