Have You Ever Met a Rock Star?

If you’ve ever met someone you’ve long admired, you have an idea about how thrilled I was last week to meet author Julie Christine Johnson, author of In Another Life.

All week I felt like a teenager anticipating a first date as I waited for Julie’s presentation at Annie Bloom’s Books, an indie bookstore in Portland, Oregon. Although Julie and I met online in April of 2014, and although she had trusted me (a total stranger at the time) with the words of what would become her debut novel, I didn’t know what to expect. Would she be as charming and gracious in person as she is online?

Writing Fiction: #AmEditing Tips From @ChangeItUpEdit

Thanks to paranormal romance author Shonda Brock for sharing a Q&A about me on her website. Please join us there to learn more about editing … and about me!

Shonda Brock Paranormal Romance Author

Please welcome Candace Johnson from Change It Up Editing and Writing Services.

Candace Johnson is a professional freelance editor, proofreader, writer, and ghostwriter who works with traditional publishers, self-published authors, and independent book publishers in both fiction and nonfiction.

We asked Candace to help us demystify the editing process for new authors. She also shares tips on how to find the right professional editor for your book.

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Beta Readers Can Save You from Embarrassment—Guest Post by Chandi Wyant

As a professional freelance editor, I encourage every writer I work with to use beta readers. Most fiction writers know this is an important step, but did you know it is equally important when you write nonfiction? You’ll do yourself a huge favor by gathering your posse early in the process to learn what works and what doesn’t in your manuscript.

Author Chandi Wyant, who is working on a travel memoir about her solo forty-day pilgrimage in Italy (you can read sample chapters here), offers another important reason to seek that valuable input.

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A beta reader is a not a professional editor, but rather, a volunteer who reads your manuscript to provide feedback before you publish it, or before you submit it to agents or publishers.

I recommend seeking beta readers who are familiar with your genre and who are not close friends or family members.

 

Why a Memoirist Needs Beta Readers

Utilizing beta readers is an excellent idea for all genres. I’m going to focus here on why they’re essential for memoir.

Many authors in this genre write about traumatic things in their lives, and this is very challenging to do without sounding whiny.

This is where a beta reader can step in and save you from embarrassment. All authors are too close to their manuscripts and need an outsider’s perspective—and a memoirist is particularly entwined with her manuscript because it’s a piece of her life.

I have seen twice, with my own manuscript and with a friend’s, that beta readers saved us from the embarrassment of putting our book out into the world when it wasn’t ready.

My friend (who writes nonfiction like I do) was sure her book was ready for publication, but a beta reader told her,

Breaking All the Rules

I am delighted to introduce you to debut author Cheryl Fassett. Our editing work together ended months ago, but since then Cheryl has been hard at work preparing her middle-grade fantasy novel, Far Away and Ever After, for publication. Now that this enchanting book is available for everyone to enjoy (and I was enchanted by it), Cheryl agreed to share some thoughts about her journey and The Rules that surround being an writer.

Here’s Cheryl:

We are given rules in every area of our lives. From the time we are toddlers, we are guided by the don’ts, the dos, the nevers. Sometimes these rules are in our best interest: don’t touch a hot stove, never run with a sharp knife, always chew your food. But sometimes rules are constricting and limiting.

Many rules in writing are as arbitrary as being told not to wear white after Labor Day. One person’s helpful suggestion is the next young writer’s block.

I feel strongly that certain writing rules were just made to be broken.

“All About Editing” or How an Indie Author Made My Day

Last spring, I received an email from a writer who was looking for an editor for his novel. He’d read my blog post, How to (Almost) Instantly Improve Your Writing, and wrote,

I have to agree with what you said about how writers can’t afford to NOT use a professional editor. Which is why I’d like to know about your services, procedures and prices for editing a full-length novel. . . . My book, The Man of Nightstone, clocks in at over 110,000 words. I really want to make my novel the best that it can be . . . hopefully at a reasonable price.”

After a few email exchanges, we decided to have a telephone conversation. Like most first-time authors who seek professional editing, Devon had many questions about what an editor can and cannot do as well as what an author should and should not expect. Devon had many concerns because he’d previously hired an “editor” and had been burned by broken promises, poor results, and money out the window.

Hiring an English Major to Edit Your Book Is Cheating Yourself

I belong to a listserve of freelance editors, and I find the topics of conversation interesting and often thought-provoking. One recent topic that elicited many comments was about pricing the work we do.

The initial post was by an established and well-respected editor who wrote, “I recently was asked about my rates by someone at a local company who was looking for writing and editing help. She balked at my quote . . . Her response: < … we can find English majors for $10 to $15 [per hour] and many of them are quite good. >”

I get it; no one wants to spend more than necessary for anything—goods or services. I mean, if I can buy a knock-off designer widget that looks just like the brand-name widget, isn’t that a better value than buying the real thing just for the brand name? If I can get my next-door neighbor’s artistic son to design my book cover, isn’t that a better value than hiring an expensive professional cover artist?

And if I can get an English major to edit my book for a few hundred dollars, isn’t that a better value than hiring a professional editor?

Readers for Writers: Beta Readers, the Superheroes of Your Writing Team

If adding “Published Author” after your name is one of your goals for 2014, you’re probably itching to polish the NaNoWriMo manuscript or a WIP that is marinating on your hard drive  and send it out into the world.

But don’t just run a final spellcheck and pronounce your work ready for publication.

If you are serious about publishing, your first readers should be beta readers.

And just what is a beta reader?

Think of beta readers as superhero partner/readers for your WIP. Correctly employed, your superheroes can save you time and money. How? I’m glad you asked!

Wrapping Up the Details: Step 10 of How to Write a Compelling Nonfiction Book Proposal in 10 Easy Steps

I’ve been blogging tips for writing a nonfiction book proposal, and here we are at the last step. As we’ve been discussing, the purpose of a nonfiction proposal is to sell an agent or editor on the concept of your book. Writing a nonfiction book proposal is all about marketing yourself, your writing, and your idea. Each section of your proposal answers the questions, “Why will this book stand out in a sea of other books about this subject?” and “Why are you are the perfect author to write this book?”

Over the previous few weeks I’ve covered each part of a proposal and offered specific ideas for what should be included and why. Today I’ll focus on tying up some loose ends by giving you tips about details that can be the difference between a proposal that’s ignored and one that agents and editors can’t wait to read.

Sample Chapters: Step 7 of How to Write a Compelling Nonfiction Book Proposal in 10 Easy Steps

Sample chapters need to grab the readers imagination.

You’re coming into the home stretch of writing a book proposal. If you’ve been following this series, you’ve already learned about writing your author bio, the information that should go into your chapter summaries, how to handle competitive titles, identifying your target audience and how you’ll market to them, and how to make agents and editors sit up and take notice of your platform. If you’ve missed any of those previous articles, scroll down to the bottom of this post for links to the first six installments.

If you’re like most writers, you’ve probably already drafted a sample chapter or two; when the idea for your book first strikes, it’s difficult not to begin writing it. Now it’s time to take out that draft and polish it up until it sings. As the Bradford Literary Agency writes, “Draft the chapter that ‘puts your best foot forward’ so to speak. Write the section that is the most interesting, the most compelling and the one that you feel most passionate about.”

Tip: If you’re a new author, I strongly suggest you write your entire book before you query agents. Although it’s perfectly acceptable to shop an idea with a proposal and a few sample chapters, you do not want to be in a position where you are asked for an additional sample chapter or two and you have to hurry to write them. In addition, publishers plan their seasonal lists many months in advance, and if there is any doubt about your ability to finish a manuscript in time, your proposal will most likely get a pass.

Remember that in the end, everything boils down to your writing. No matter how original your book idea is, how spectacular your platform and marketing plans are, or how creatively you’ve compared your book to the competition, it’s all a foundation for the real star of the show: your sample chapter(s). As the Strothman Literary Agency recommends, “If you have not published a book, a strong writing sample provides essential evidence to the editors that you have the ability to attract and engage readers.”

Use the minimum number of words to generate the maximum amount of excitement about your manuscript; choose a chapter (or two) that not only conveys the idea of your book but also leaves an agent or editor wanting more. Revise, proofread, and go over your sample with a fine-tooth comb to be sure it’s the best it can be—a misplaced comma won’t get you a rejection, but pages filled with grammar errors and spelling errors might. You’re a professional writer who is an expert in your field, so put your best work out there.

Here are some FAQs I get from writers about sample chapters:

Competitive Titles: Step 5 of How to Write a Compelling Nonfiction Book Proposal in 10 Easy Steps

Anyone who’s written a nonfiction book proposal will probably tell you that proposal writing is more difficult than writing the actual manuscript. After all, you’re an expert on the subject you’re writing about, and sharing that knowledge is fun, but putting on your marketing hat to write the proposal often presents some unique challenges for writers, and facing your competition is one of those.

After all, you’re an expert on the subject you’re writing about, and sharing that knowledge is fun, but putting on your marketing hat to write the proposal often presents some unique challenges for writers. Facing your competition is one of those.

Your book proposal needs to convince the literary agents you query, and ultimately acquisition editors (who decide whether or not to bring your proposal forward for consideration through several vetting steps), why this book will stand out in a sea of other books about your subject, and why you are the perfect author to write this book.

This section of the proposal shouldn’t overwhelm you. This is actually another place for you to let your book shine and show your expertise about your subject—you just need to remember a few things.

Things to Do:

1. Research the competition and understand how your book fits in the market. Your book will be shelved next to other books in the genre; your book will come up in an online search as one of many in the genre. Here is where you discuss the differences between your book and the others. If you’re writing about a subject that has plenty of competition to choose from, list 5−10 books, but if your subject is very niche, think outside the box a little and come up with at least two or three comp titles. Even if your book is truly unique, find and list books that are similar to yours; for example, if you are shopping a book about baking gluten-free treats for goldfish, you probably won’t have a lot of competition, but compare and contrast your book to others about homemade pet food, raising healthy fish, and food allergies in pets.

Your Marketing and Publicity Plan: Step 4 of How to Write a Compelling Nonfiction Book Proposal in 10 Easy Steps

If you’re writing a nonfiction book proposal (and you’re following this series), you already understand the importance of your author bio and how to identify your target audience. Now it’s time to articulate your plans for selling your book by including marketing information that will grab the attention of an agent or editor.

Remember, you’re selling two things in your book proposal: your manuscript and yourself as the author-expert. A strong proposal weaves those separate pieces together in creative and compelling ways, and the Marketing/Publicity section of your proposal is where you bring together the best of those with some creative ideas of your own for making your book a success. And whether you ultimately publish traditionally or decide to self-publish, you just can’t expect publishers or booksellers to bring the readers to you.

As author K. S. Brooks writes,

Book sellers do not want to take up space on their shelves if you’re not going to push your book. They want to know what you have planned to getword out about your book. . . . If they don’t think you’re going to make an effort to sell the books they put on their shelves—well, you can kiss that opportunity goodbye.”

So how do you wow agents and editors with your marketing and publicity section?

Your Target Audience: Step 3 of How to Write a Compelling Nonfiction Book Proposal in 10 Easy Steps

 

Writing a nonfiction book proposal can feel overwhelming, but never fear! I’ve read hundreds of them (as an acquisitions editor for a traditional publisher) and helped numerous authors write them, too, and I understand the importance of including the right information in the right way that will grab the attention of an agent or editor—and now I’m sharing that with you!

 

Like most publishing professionals, I read those proposals in a certain order—but not necessarily in the order the author presented the material. As I wrote in Part 2: Author Bios, the different sections of a nonfiction book proposal (find a list of them here) are dependent on each other; in other words, what you write in one section will be elaborated on in the others.

Nowhere is this truer than in defining your target markets and the ways you convey your ideas for marketing to those potential readers.

No one really knows who will buy your book, so be optimistic and expansive in your assessment. You’re the expert in your field, remember, so don’t be afraid to think outside the box and offer some ideas for potential readers the publisher might not think about.

You’re selling two things in your book proposal: your manuscript and you. A strong proposal weaves those separate entities together in creative and compelling ways. As you may recall (again from Part 2), I think of the Author Bio section as the hub of the wheel; all the other sections are spokes coming from that hub. And those sections first come together as you lay out your

Target Market

Think about the people who will read your book. In What’s Your Book, former acquisitions editor Brooke Warner suggests,

Think about who would benefit from your book. Think about who your ideal reader would be. List five people you know who you’d love to have read your book once it’s finished. They can be a specific person, a type of customer, or just your ideal reader.”

Brooke goes on to discuss the value of this list when it comes time to market your book, and we’ll discuss that in Part 4 of this series, so stay tuned.

There’s an old saying that there’s nothing new under the sun, and another that says every story worth writing has been written, so why should anyone read your book? Consider the following as you think about exactly who your reader will be:

The Writer and the Platform: Guest post by Chris Mentzer

On the heels of my post about the importance of a strong author bio in your book proposal, author Chris Mentzer offered to further discuss that elusive author platform we hear so much about. (Chris’s book Nexus of the Worlds will be published by Tiger Dynasty Publishing in December, so he’s lived this firsthand.) Chris and I connected through social media, and we are both proponents of building those personal relationships  every author needs to create a strong platform. I know you’ll enjoy reading his thoughts, and don’t forget to visit Chris’s blog at Tales from the Fifth Tower when you’re finished here. Take it away, Chris:

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One of the hot topics of discussion in the world of writing concerns the writer’s platform. Some ask, “Should I have one, even though I don’t have a book?” or “I’m fiction author, so is it necessary for me to have one?” Let’s look at both these questions and some related ones.

What Is a Platform?

In simple terms, and speaking from a material standpoint, a platform is a series of planks connected together to make a raised surface for an individual to stand on. In politics, a platform is a candidate’s basis for being elected; each plank is a promise that he makes to be elected. In writing, the platform is your place in cyberspace for people to find you and know who you are among other writers. Each plank is an outlet where you can be noticed and heard.

The Planks of the Writer’s Platform

I read articles that say a writer’s blog or website is the platform, as that is the hub of his or her activity. In theory, I agree with this. However, looking at the definition of platform, the blog is only one part of the entire structure. It may be the main section, but it is not the whole platform. When you add your presence on Twitter, Facebook, Google+, and other social media outlets, those the additional planks strengthen the entire platform. Author interviews, books blurbs, author bios, and book trailers are additional planks.

But I Don’t Have a Published Book

There are a lot of writers out there who claim they don’t need a platform since they don’t have a book to sell. I can understand this, but in the busy world of cyberspace, even with a book you may not be heard; it might take months—even years—to develop a fan base for you and your books.

Let’s look at this through the lens of a historical landmark event. Everyone is familiar with the moon landing in 1969. We are introduced to the astronauts, we follow them to the rocket, we cheer the liftoff, and then we rejoice as it lands and the astronauts walk on the surface. The significance of this (besides the event itself) is that we know a great deal about it before long before the rocket leaves the launch pad. In a speech on May 25, 1961, President Kennedy promised we would put a man on the moon before the decade was over. That was eight years before it happened.

Now, let’s suppose that you, the author, are an astronaut, and your book is the moon landing. NASA is your publisher (traditional or self-publishing). Your platform then is the announcement to the country that you are heading to the moon writing a book. The news travels around from one person to the next, interviews are posted in papers and on television, and this leads up to your departure into space book being released. If you release the book first and then develop a platform, it’s the same as landing on the moon first and then telling everyone about it. Imagine the disappointed astronaut on the moon’s surface jumping up and down and waving his arms at the people on earth—and nobody is paying attention.

Selling Yourself

Your platform sells you and your brand and allows people to get to know you and your style of writing, and from there you build a fan base of followers. That way, when the book is released, you already have the attention of a number of people who will buy your book and/or tell others about it, and you hope they will get on board and buy as well.

How do you sell yourself? That’s where the blog comes into play. Talk about yourself, the genre you write, the books you have read, and other basic things about who you are and what makes you tick. Have someone interview you asking these questions. There are bloggers out there who specialize in helping people get discovered even before a book is available. On Twitter, follow fellow authors of the same genre and pick their brains. Find out how they got to where they are right now. They may soon follow you, and from there you can develop a following of your own.

But I’m a Fiction Writer

How to Write a Compelling Nonfiction Book Proposal in 10 Easy Steps

Your proposal on an editor’s desk

You had a fantastic idea for a nonfiction book, and now that you’ve written it, you need an agent and then a publisher to bring it to the world.

Writing the book is the easy part—after all, you’re an expert on the subject you’re writing about, aren’t you? But you’ll need to convince the literary agents you query, and ultimately acquisition editors (who decide whether or not to bring your proposal forward for consideration through several vetting steps) why this book will stand out in a sea of other books about your subject, and why you are the perfect author to write this book.

You convince them through a nonfiction book proposal.

How do I know what should go into a proposal?

I was an acquisitions editor for a traditional publisher for several years. I read literally hundreds of nonfiction book proposals, many from the “slush” pile (unsolicited manuscripts) and many from agents who represented both new and established writers. I’ve read more poorly written proposals than I care to remember as well as a few that knocked my socks off; I speak from experience when I tell you that a great proposal will have an editor picking up the phone and calling the agent before the last page is even read.

Now that I’m a freelance editor, I work directly with authors to help them write compelling book proposals. I’ve also been contacted by agents who represent an author with a great concept who needs help polishing the proposal before the agent shops it because I know what works and what doesn’t.

Why and when to write a proposal

A book proposal is, in essence, a business plan for your book, and it’s all about marketing and positioning. You sell your idea, you sell your execution of that idea, and you sell yourself. A book proposal outlines what your book is about and provides facts and figures that give an agent or editor the necessary ammunition to convince the publisher that your book will make money.

Are You a Social Media Addict?

Social networking back in the day, courtesy of National Archives and Records Administration

Today I welcome author and blogger Tam Francis, who muses about the addictive nature of social media for platform building.  Tam’s experience is one many of us have shared (still share?), and this humorous look at her “problem” made me laugh. Take it away, Tam:

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When Candace invited me to guest blog, I was grateful and thrilled. I have been blogging for years but mostly about subjects that reflect the content of my novel, The Girl in the Jitterbug Dress: vintage clothing, swing dancing, cocktails, vintage sewing, and WWII memorabilia. In keeping with the themes of Candace’s blog, I wanted to share my writerly (really love this new-for-me word) experience. Lately, I’ve been on a crash course to catch up to the social media standard for writers.

Do you feel like your real life is an interruption to your writer life?

Do you ever feel like your “real life” (dinner, friends, dishes, laundry, soccer games, even television) is an interruption to your “writer life”?

So much of the writer life is in our heads. Even as we physically read these words, we are in our heads. Cyberspace isn’t a real place, though real people are at the end of the tangled tapestry; they are in their heads at their computers.

When I began building my writer platform, I couldn’t wait to check my inbox to see who followed me today or if anyone commented on my comments.

I was an addict, and social media was my drug.