Get Published: The Nuts and Bolts of Good English, and How to Impress a Publisher (1)

Not all writers write good grammar. That's a fact. It's no big deal. Well, mostly it's no big deal. As a freelance books editor, I've seen hundreds of books whose authors cannot produce decent grammar and punctuation. I do it for them. I'm paid to do that -- mostly by the hour.

So why bother to write good grammar? you ask. What does it matter if I can't tell a colon from a semicolon, or when to use double quote marks and single quote marks? Is it such a sin to use inappropriate or downright wrong words if someone is going to correct them for me? Who cares if my syntax isn't logical? If there are copy editors and proofreaders to ensure my book looks good, why is it so important to go to the trouble of ensuring my grammar and punctuation are tiptop?

Well, it might just help you to sell your book, that's why. And I don't mean sell it to the buyer in the bookstore: I mean sell it to the commissioning editor who is on the point of deciding whether your life is about to change.

When you're a would-be first-time author -- and many of us have been in that position -- a well-presented approach letter and sample chapter might be the thing that tips it for you. Look at it this way: you're an unknown; the commissioning editor likes your ideas, but has seen a couple of other approach letters and sample chapters recently that say much the same; of those other two, one is so well presented that it won't need much copy-editing. Which writer is that commissioning editor going to choose?

In reality, that editor will probably not see your full manuscript till you've been accepted, but will get a good idea of your writing skills from that approach letter and the sample chapter or two that you may be asked to submit, along with a breakdown of the book's structure.

Copy editors such as me are freelance. Mostly, we're paid by the hour. Sometimes a publisher will pay a flat rate for a particular editing job, but will assess it first and say, "Hmm, I'll offer nine hundred dollars" (or, say, four hundred pounds, depending on where you're working). That commissioning editor has just done a quick calculation and has decided that, by accepting the manuscript from the author who's submitted a near-perfect approach letter and samples, the company will save some money.

But I'm writing a novel, a big stream-of-consciousness thing, you argue. I don't want good grammar. It will spoil the whole thing.

Fine. If your terms of reference are that this is the type of manuscript you're producing, you'll have agreed this with your in-house editor, who will have taken note of it and will brief me -- or another copy editor -- to treat the text accordingly.

Most books, however, are not stream-of-consciousness novels. Many are told in a straightforward way (that's not to say they're dull, but merely that their authors have chosen to adhere to the conventions); and, anyway, many are not novels. Most books are nonfiction. If you can find a subject that will interest a publisher and you're suitably expert in it, you may get published.

But the publisher will look more kindly on you if, in your approach letter and accompanying material, you present yourself well.

The good news is that the basics -- what I refer to as "the nuts and bolts of English" -- are not too difficult to learn. Most of them are logical. Once you've seen them in action and passed that eureka! moment, you won't forget them.

I hope this short article has made you realize that you'll have to bite the bullet sometime soon, and get to grips with these basics. If you're already an expert, of course, you won't have read this far, so probably won't be reading this sentence!

But there are many writers who, for whatever reason, need to brush up a little. It's nothing to be ashamed of. Maybe they've had better things to do with their lives so far.

The important thing to know is that there are people like me, writing articles such as this one, to help. Call me a nerd if you will, but I actually like working on text at the level I do. As writer and co-writer of 14 print titles, I've also been copy-edited a lot, so I know what it's like from both sides.

Getting published isn't always easy, but attention to detail can sometimes be the deciding factor. I wrote a downloadable book recently with my co-writer Stephen Blake, called You Can Write Books (at www.youcanwritebooks.com), which, although its main topic is actually getting published, contains some tips on the nuts and bolts of writing. This is already selling quite well, which is gratifying.

To sum up: don't neglect good grammar, because (a) it could make the difference between acceptance and rejection; (b) it's satisfying to know that you can do it; and (c) once you've learned a few basic stylistic points, that dread word grammar may not sound so bad after all.

Good luck with your writing.

Get Published: The Nuts and Bolts of English, and How to Impress a Publisher (2)

The tiniest things can be so useful when you come to consider the nuts and bolts of writing. The comma is one of them. No, don't go away: it's a useful device that's often used badly -- or ignored altogether.

As an editor of books, I am forever sticking commas into other people's prose, having first of all had to work out what their sentence is trying to say. Many people are slapdash about comma use, and it can go down badly with a commissioning editor who is, say, looking at your approach letter and sample chapter and thinking, "Uh, oh. This one's going to give us problems. Where's that equally promising but better-presented proposal that will cost us far less in copy-editing fees?"

There are many useful punctuation and grammar tips in a downloadable book I co-wrote on how you can get yourself published very quickly, You Can Write Books (at www.youcanwritebooks.com), although its main focus is on how to get your work before a publisher. But here I'll deal with this one useful but sometimes overlooked little squiggle, and a few things that many writers neglect.

First, should be used in a list of items to break them up: pens, pencils, books, and paper. Should you use a comma before and in that list, though? Well, yes if you're, say, a North American; yes and no if you're British. This is called the list comma or serial comma (it is often called the Oxford comma, and is still used by Oxford University Press).

Many people say it's not necessary, because the word and in that sentence is doing the job the commas were doing earlier in the sentence. However, many writers of English throughout the world -- notably, as I said, in America -- like the serial comma, and insist on it. Most British writers, publishers, and newspapers don't bother with it, and so would write "writers, publishers and newspapers"; "pens, pencils, books and paper."

What should you do? Well, you choose a style and stick to it. Be consistent. Better still, you see which style your potential publisher uses, and go with that. That goes for all stylistic considerations. Don't forget: you're selling an idea to a publishing house, and anything you can do to impress them will go in your favor.

The comma is also very handy to separate two distinct clauses in a sentence, and this is where many writers ignore it. You'll see how I used it in the last sentence, after the word sentence. Not only does it give you a pause for breath (a mental breath if you're not reading aloud, of course), but often it can help the meaning.

Take this: "I passed the ball to Joe and Fred kicked it into the net." I passed the ball to Joe and Fred? No, I passed it to Joe, and then Fred came along and kicked it into the net. You get the meaning eventually, but why should I as writer give you, the reader, pause? If I'd written, "I passed the ball to Joe, and Fred kicked it into the net," you wouldn't even have blinked, because the meaning would have been immediately clear.

Or look at this sentence: "That day I went to the movies ..." could mean that on that particular day I went to the movies ("That day, I went to the movies") or that it was on the day I went to the movies that something else happened ("That day I went to the movies something else happened").

In the first pair of parentheses above, you'll see how the comma has been used to convey the first of the two possible meanings. But, if you miss it out, you're going to have your reader thinking you meant it the other way. If that's not your intention, make sure you use the comma.

A few final brief points, then, about the comma.

Commas come before quoted speech: "Joe said, 'Let's go and see a movie.'"

Commas come after a piece of quoted speech, before you say who's speaking: "'Let's go and see a movie,' said Joe."

Commas can be used in the way brackets are used: "My English teacher, Martha Moonbeam, gave me good marks this week." The commas here are known as bracketing commas, because they do the same work as parentheses (round brackets, like these) but in a "weaker" way.

Another example of bracketing commas would be, "The train, which was late leaving, made up for lost time." Don't miss off the second comma; many people do.

Commas separate adjectives in such sentences as, "It was a cold, damp, dreary sort of day." In this context, they're doing much the same work as in the list of items above, except that here we have adjectives, not nouns.

In one short article, you have, I hope, got to grips with this bit of occasionally troublesome but very useful punctuation. You may have been familiar with some of the things, anyway, but I hope that, if there were one or two concerns you weren't too sure about, this article has been of help.

Get Published: The Nuts and Bolts of Good English, and How to Impress a Publisher (3)

A well-punctuated approach letter may make the difference between acceptance and rejection by a publisher's commissioning editor. In this article, I'll look at just one small, but often bothersome, piece of punctuation: the apostrophe.

One of the biggest problems that writers face when it comes to punctuation concerns this seemingly insignificant little squiggle. This article will show you how easy it is to use, for the rules are few and simple.

When I edit books for print publishers, I find that the apostrophe is one of the most niggling problems for writers when it comes to punctuation. It needn't be such a challenge, and, when you've read this short article, you'll probably wonder what all the fuss is about.

There are many useful punctuation and grammar tips in a downloadable book I co-wrote on how you can get yourself published very quickly, You Can Write Books (at www.youcanwritebooks.com), although its main focus is on how to get your work before a publisher. Here, however, I'll deal with this one, potentially trying, little fella.

There are jokes about the so-called "greengrocer's apostrophe." That happens when one of these little tadpole's appear's in word's in which it is not supposed to appear -- as it did in three words in this sentence (you spotted them!). It's called the greengrocer's apostrophe because you often see handwritten signs saying, "pea's ..." and then the price per pound or kilo, or "carrot's ..." or "potato's ..."

So, if it's a simple plural, don't use an apostrophe.

You'll have seen it used as it is in less formal writing in this article so far: in words such as it's and you'll. It's been used where there's a missing letter: you'll is short for you will, for instance; there's is short for there is.

The apostrophe's biggest use, though, as I'm sure you know, is for possessives. These are simply words that indicate possession (they're also called genitives). But here many writers run into problems.

If you want to show that a book belongs to Joe or Jane, you write "Joe's book" or "Jane's book." If that car belongs to that guy over there, you write "that man's car." If a hat belongs to a boy, you write "the boy's hat."

I'm probably not telling you much you don't know, but where many writers come unstuck is when they get a plural, and they want to make it a possessive. What if there are two or three boys? Simple, you move the apostrophe to after the s: "the boys' hats."

So you'd write "the mens' cars," right? Er, no. This is where the complication begins, but I'll give you one simple rule and, if you remember only this, you won't go far wrong. The rule is: if the plural ends with s, put the apostrophe after the s. That's all you need to remember, because, if the plural doesn't end with s, then, quite simply, you don't put the apostrophe after the s: you leave it before the s.

Words such as sheep, cattle, men, women, children, and people are plurals, but they don't end with s. So leave the apostrophe where it was for the singular: sheep's, as in "that sheep's fleece", becomes ... well, sheep's, as in "those sheep's fleeces". Don't write "those sheeps' fleeces." Similarly, write "the cattle's drinking trough."

You often see captions or headlines in catalogues or signs in shop windows saying "childrens' wear" or "womens' fashions." At least they've bothered to use the apostrophe, so let's give them two marks out of ten. However, the plural of child or woman isn't made by adding an s, so write children's and women's.

I have a final word of warning, though, on a small word that traps many writers. You'll have seen the word it's used a lot in this article. It's short for it is, of course. Although we use apostrophes to indicate possession, it is an exception: the possessive is its. Write down this sentence and use it as a mnemonic: "It's good in its way."

Who said the apostrophe was difficult? It isn't. Just keep this article handy, and you'll never have a bad-apostrophe day again.

Check Your English Grammar With This Easy Technique

As an International language, English has been used widely in online world. Whether you use it to write a sales letter, a follow up, ads headline, an article, and so on, you need to use it correctly.

Now, by using search engine (Google, etc), you can check:
-typing error.
-grammatical structure.

This sort of tutorial is intended for you who have some basics in English.

For the first example, if you want to check whether the right word is "below" or "bellow", just type the word in the search box.

Here are the steps:
1. Type the word "below" in the search box and click "Search".
2. When the search result appears, click a website that uses the word to make sure that the website use it correctly.
3. Notice the search result.
4. Now, type the word "bellow" in the search box and click "Search".
5. Repeat step 2 and 3 for the word "bellow".

Here are the signals whether the word is right or wrong:

-The search result shows a list of websites that use the word. In other word, if the word is wrong, the search result will show nothing.

-If you find that both words have search results, notice the number of websites that appear and compare both words. Usually, the right word has more search results.

-Don't forget to notice what is the language of the website. For example, the word "biz" and "bizz" both have many search result. But only the word "biz" is used in the English website.

Sometimes some websites have typing errors. Be cautious about it!

The same technique can also be applied to check a grammatical error.

For example, if you are in doubt which one is the right sentence:

"The brave man swam over the river yesterday." or "The brave man swam accross the river yesterday"?

Follow the steps above, but don't forget to put the (") symbol in the beginning and in the end of the sentence, in order that Google will not cut it.

If your sentence is too long, try to cut it.

For the above example, just type "swam over the river" and then "swam accross the river".

However, you should take care in checking sentences, because not every sentence can be checked with this technique.

One more thing, it is very difficult if you want to check emotions of a sentence. For example, you can not check whether "Would you please...?" is more polite than "Will you please...?" by using this technique.

That's why you should use English everyday on any occassion, so that you will get used to it.

Hero's Journey - The Herald

Beyond three and four act story structure, lies the Hero's Journey.

The Hero's Journey is the most usable story structure consisting of at least 106 stages and the template for successful contemporary stories, from Star Wars to Al Pacino Scarface to The Incredibles to War of the Worlds to The Dirty Dozen to Midnight Cowboy.

The Hero's Journey is a valuable template because:

a) It attempts to tap into unconscious expectations the audience has regarding what a story is and how it should be told.

b) It gives the writer more structural elements than simply three or four acts, plot points, mid point and so on.

c) Interpreted metaphorically and symbolically, it allows an infinite number of varied stories to be created.

One interesting stage of the Hero's Journey is that of the Herald, not the Hero.

Once the Call to Adventure is realised, a Herald sets off to find a Hero.

It is likely that the Herald may not want to embark on the journey and may resist somehow. There will be debates between Hawks and Doves about he value of sending the Herald, but nevertheless, the Herald will be pulled into the journey, or pushed into it in some way.

The Herald will set off in the dead of night and aware that the antagonist may be displeased, if he finds out. The antagonists may send his armies to prevent the Herald from seeking the Hero.

The Herald's Journey is naturally dangerous (being pursued by the antagonist's armies may add to the danger). If the Herald's are more than one, they will normally conflict along the way, may be separated and one may perish.

Not long into the story (as this is about the Hero), the Herald's will find themselves in the Hero's Ordinary World - this could be totally down to chance - and it is not unusual for the Hero not to recognise the Herald's as bringers of a message that will alter his future.

In fact, it is likely that certain obstacles will interfere with the Sacred Meeting between the Hero and Herald...

Six Tips for Creating More Lifelike Story Characters

Working on my first humorous novel, I started with a single character. I followed suggestions in writers' reference books for developing story characters. Then, still dissatisfied with my results, I began to explore other ways to make my characters more lifelike and included those strategies below.

1. Find your character's astrological sign and its corresponding description. How closely does that description match your character and his or her ways and tendencies?

2. Look in joke books for short anecdotes/short stories. Do any of the people in those anecdotes match or help to clarify your character(s) or ideas? Can you expand the character's problem(s) and action(s)?

3. Discover ways in which your character matches (or doesn't) a given stereotype. For example, are attractive women always thin and blond? Are sheriffs and police always honest? Are politicians always corrupt and self-serving? How does your character go against the grain and how does that tendency help or hinder his or her efforts in solving a problem?

4. Consider creating "turn-coat" characters, such as actress-turned-robber, professor-turned-miner, doctor-turned-scuba diver, school guard-turned-airline pilot. What gets a given character into the most trouble in the first place, his/her "old" or "new" occupation? How does the character set himself or herself up?

5. Has your character resolved to change his or her ways as a result of surviving an accident, catastrophe, ruinous divorce or love affair? Does your character take a turn for the worse, and if so, why or why not?

6. In what way or ways does your character resemble his or her pet or friend or sibling? How do those things enhance or complicate his or her problems in your story?

Creative Writing

Do you consider yourself a storyteller? Do you consider yourself a writer? Were you always the student in school that the teacher chose to read your creative writing out loud to the rest of the class? Believe it or not these skills can land you a very good job in Washington D.C. with a regulatory agency. Perhaps you can get a job at the FTC, i.e. The Federal Trade Commission, because many of their cases are pure hokum and creative writing projects.

Here is how it works. A company, which is giving good benefits to the consumer, such as great service and good pricing accelerates in the market place providing jobs and tax base. The competitors, who are lazy, weak and have disenchanted their customers, go to the agency to complain about unfair competition. The Agency then, puts the good company on their target list and starts doing investigations. But the Agency has to try to find something that they can make stick otherwise they look bad. So they promise advancement to junior newbie regulators if they make a good case and that is exactly what they do; make or create a case, generally out of thin air. They use their creative writing skills to attack the company and make up supporting documents for their lawsuit. Then the agency files the BS in court under secret seal, while simultaneously embellishing the story and more creative writing in their press releases. Eventually the case is settled and the company, which has been defamed is free and no penalty is given out. (companies know not to ever expect an apology for government regulator lies, that is a well known fact, ask any D.C. lawyer). Meanwhile the creative writing regulators advance to the next level having done well in their first big case.

So if you have these skills of making stuff up, creative writing and story telling, well there is a good high paying job waiting for you at the Federal Trade Commission where creating stories, false declarations, embellished profiles and BS rule. Go get that fat paycheck in Washington D.C. and put your creative writing skills to work.

Through the Eyes of an Artist

As writers, we initially tend to be either more cerebral or emotional than perceptive. Its occurs to me that writers are driven to express what they actually haven't figured out how to say verbally, but long to say somehow. Then, we at least have the struggle down on paper where we can move it around, erase it, start over and add to it. Seeing the words will perhaps give us a better chance of revising to something close to what we want to say.

Written expression is a bittersweet struggle, according to most writers who've written about writing. The need to write seems to come from a deep need, as I expect does most art. When the words work, we are elated, and when they don't and especially after a long struggle, we're often dismayed or despondent.

We learn when our writing says what we want that it has begun with what we see, touch, smell, hear, and only then with what we make of it by way of our minds and emotions. Surprisingly to both the new writer and the new visual artist, our art, when it is art, comes directly and spontaneously from our senses. It feels almost instinctual and sometimes spiritual when it's right and maybe that tricks us into thinking that art comes from a mystical place. We see the painting or we read the words that make our hearts sing and we almost assume some magical origin.

As we learn, though, when we attempt to create from a mystical place within ourselves, art eludes us. Still, art is an expression that reflects us in some, however obscure, mysterious ways. This said, art is not a quick Polaroid, a case study of a character or the facts of a story laid out upon a page either.

Art intimates a sensual reality, rather than imitating it.

Picture a Van Gogh in your mind. Let the painting flash across your mind's eye. A simple room, the color yellow and other bright and contrasting and complimentary colors; a rough blue shoe bent and shaped to the form of a man's foot; a bright flower open and screaming its vibrant life at you, the viewer; and a tall, dark and texturally swirling tree contrasted by bright white and yellow stars colors. We see that art is shades, values, structure, relationships, textures and forms. We feel a kind of wholeness or joy.

Now, think of Joyce Carol Oates' writing, a woman sitting tensed upon the edge of her seat, holding herself rigid, dressed in gray, a small stain at the white-ringed wrist of the dress. Through quick and telling detail of sight, Oates hints to us of character, scene and thereby, story, without ever filling in all of the numbers. She gives us not an entire snapshot, but an intimation. We strongly suspect that we know the current attitude of the woman. Aha! We read on.

Perceptions, whether expressed by a visual artist, a Van Gogh, or an excellent writer, provide us with sensual hints, drawing us in and wanting more. How exactly Van Gogh will execute the form, what Oates will have her character say and do, are almost imperceptably secondary to the perceptual hints at the realities shared with the viewer or reader. Without these perceptual glimpses, we turn from the work, bored, as bored as by the case study or the Polaroid.

The perception of alertness of Oates' woman begins with a woman. the woman's alertness is told to us in how she actually sits at the edge of her chair. Oates' needn't say, "The woman is alert," because she has shown us. Van Gogh does not need to correctly diagram the shape of his yellow room for us. He has made it just enough the shape of a room and containing what a room might plausibly contain that we instantly believe it to be a room. A diagram of the room would be of little interest.

Upon and through the artist's perceptions, character and story are both built and conveyed, whether painter or writer. In our quest to become fully human, we seek the arts, whether our own creations or others'.

The Dreaded Daily Word Count

Open any book on 'how to write,' and somewhere you will find a discussion of how many words you should write every day. Forget the struggle to get ourselves to the paper or the computer every day, now we have to produce a certain number of words?

Me? I don't write every day (Quick! Call the Writer Police!), I don't do 2000 words, and you don't have to either. So what's the pace you should aim for and how do you figure that out? I'll show you.

Rather than order yourself to write a certain number of words a day, join the Design Your Own Word Count program. Here's how to find your daily word count in 3 easy steps:

1) Give yourself an easy word count limit, say 10 words. Ready? Go. And.....stop. Hurray! Congratulations, you've met your goal. You're free to go do the laundry or have some ice cream. Your choice.

Seriously, note how you'd feel fairly ridiculous if you stopped there. Remember that feeling and keep writing. Check in whenever you find yourself pausing and see if you still feel that way (i.e. lame, lazy, if you're laughing--picture yourself telling a writer friend, "I wrote 27 words today, isn't that awesome?" Picture the look on their face). Now, keep writing.

2) As long as you feel interested and excited in what you're doing each time you check in, keep going. Even if you're nervous and a little scared, keep going. Those feelings will propel you past superficial writing about how much you're looking forward to that bowl of Ben & Jerry's.

3) When do you stop? When you first notice you're controlling word and image choice. When you notice your thoughts turning negative. When you feel yourself sliding downhill into The Tar Pit of Despair. Dig in your heels and turn your eyes back to the sun (your page or computer screen). Look what you've accomplished!

It's important that you end the session still feeling positive and excited about what you're writing. Hemingway always stopped at a place where he could leave himself something to start with the next day, something to look forward to. Do the same. Jot down where you want to pick up the next time and stop.

Work your way up to the count that feels right, through practicing the above exercise. The amount of time you spend lost in your enthusiasm (sometimes even the nervousness) for what you're writing will get longer and longer the more you stick with it.

We all really LOVE writing. It's not the act itself, it's the fear that everything we produce will stink and everyone will find out. Pssst, let me tell you a secret: everybody writes garbage. I'm including the greats too. Except maybe Shakespeare. Some publisher should dig up some of this bad writing from the best writers of our time and publish it. It would make us all feel better.

Here's another tip - STOP TRYING TO IMPRESS THE PEOPLE IN YOUR HEAD. Whoever they are. Who cares what they think? This is about discovering what interesting things you have to say, what visions are in your mind's eye. Maybe they don't come out as polished as you'd like, but they are still important. You're not going to write a Pulitzer Prize winning novel right out of the gate. Give yourself a break. Just get it on paper. You can fix it later in the editing process. If you've got a blank page, you've got nothing. Can't give a haircut or new hairstyle to a person who is completely bald, right?

I'm giving you a free pass to write garbage. In fact, that's your first assignment. See what truly awful stuff you can write. I dare you.

As for writing every day: Promise yourself you'll write 3 or 4 days a week and stick to it. If you end up not writing for a week or even two months, and the next time you do you really enjoy it--and end up writing for two weeks straight before taking a break--I'd consider that a SUCCESSFUL writing practice.

I believe what keeps you writing is that electric loss of self--when you're inside the experience, flowing with your thoughts and vision--even if that feeling only lasts for 10 minutes.

IT'S THE PROCESS NOT THE PRODUCT. Stop when you're still feeling good. Leave yourself wanting more.

By the way, the word count for this article is 796. Not 2000 but who cares? What matters is: I wrote today. Did you? More importantly: did you have fun? Good for you. Write it on a Post-it note and slap it on your computer screen. Make sure you use lots of exclamation points. You deserve it.

Dont Make This Huge Writing Mistake!

You can create a great headline, a dynamic first sentence, and a brilliant lead paragraph. But if you can't hold readers during those middle paragraphs, they'll never see your conclusion.

What can you do? Here are seven ways to anchor that wayward reader from your first paragraph to your last:

1. QUESTION - Ask a question in the last sentence of the opening paragraph. Example: "What did the three little pigs learn when they went out on their own?"

2. ANOTHER QUESTION - If you don't ask a question as the last sentence of your opening paragraph, try asking it in the first sentence of a few middle paragraphs. Example: "What did Pig # 1 discover?"

3. BACKGROUND - Bring the reader up-to-date on a problem. Example: "As you might remember from the original fable, the three pigs wandered off in different directions, each with completely different plans."

4. PROMISE - Offer a few specifics in a paragraph, and offer to reveal more details later. Example: "The three pigs each built separate houses, which we'll discuss in detail later."

5. CLARIFY - Show the reader that you're about to explain some previously unrevealed data. Example: "If Pig # 1 had built a stronger house, would he be out of danger?"

6. REMIND - Reinforce points made in earlier paragraphs. Example: "Remember that each pig needed to find a house quickly."

7. LIST - Make a list of items previously discussed. Example: "Yes, the pigs left their original dwelling for three reasons: (a) Etc., etc."

8. INVOLVE THE READER - Ask the reader what he or she would do in similar circumstances. Example: "What would you do if your house fell down, and a wolf began to chase you?"

Bottom line: A transitional paragraph is like a combination road map and compass. It should keep the reader headed in the right direction and simultaneously point toward a goal.

Starting a Freelance Writing Career (or Thoughts About Taking the Plunge)

Nike's ad has taken on new meaning for me of late; "Just do it!" runs through my mind like a mantra. Although my dreams have nothing to do with athletic shoes and little to do with athletics (unless you count the long list of ideas I have developed which revolve around my sons and their activities), I have spent a long time avoiding the one thing I've always wanted to do - write.

Writing has actually been a part of my work life for a very long time. I've written and edited in the business world. I've taught writing to high school students. I've written countless lesson plans, activities, etc. I have never tried to get any of my work published, until now.

Making the decision to write for a living was actually one of the most difficult obstacles I needed to overcome. ("Overcome" is probably too strong. I am still scared to death that I won't be able to pay my mortgage.) I never doubted my ability to write, but I did doubt my ability to write for a living. My former employer helped me make the decision by firing me. (They actually called it a reduction in force, or RIF for short.) After avoiding the application process for weeks, then staring at an online application for close to an hour, I finally had to come to terms with myself and my goals for the future.

While I love teaching, I am tired of the politics that accompany teaching. I can't face it any more. I need to pay my bills and be financially responsible, but part of raising my children involves being a role model. I don't want them to be afraid to take a risk that could help them realize their dreams because they watched their mother play it safe.

Having said that, I must admit that my new found bravery faltered when I wrote two checks totaling $1100.00 for two children to play travel soccer next year. Nevertheless, I developed a game face and hid my fears from everyone. I even fooled myself for a while. As the school year ended, my colleagues began asking me about my plans for the fall. I answered - with confidence that I only partially felt - that I planned to write. After repeating this statement to the tenth person, I began to feel somewhat guilty. After all, I was making it sound as if it were a done deal, when I really had barely started. I had a bunch of "how to" articles stacked in my home office that were conflicting and sometimes confusing. I had not even read some of the articles yet.

Many of my well wishers countered with questions that unintentionally poked holes in my game face. "Write what?" they asked. "For whom?" they asked. The answers to their questions involved explaining the vast quantities of research through which I had only recently begun to sift. I felt my courage failing because I could not adequately explain the process I was only beginning to understand myself. That insidious self-doubt began to erode my courage.

But I persevered. As I plodded through articles about query letters, marketing skills, and copyright I began to see opportunity in the mountains of material.

That opportunity belongs to the writer who can stick it out. As I delve into some of the markets listed online and read about their requirements, I now think: "I can do that!" A torrent of ideas spouts out of me as I work, as I sleep, as I drive car pool. I have several pieces started, a myriad of sticky notes hanging from shelves in my office, and a legal pad with several pages of notes. My game face is back and for the first time it is supported with real confidence.

Looking back on the those first weeks and months, I realize what I have accomplished. I have taken the first step - I made the decision to write for a living. I have learned that writing query letters is the standard and expected practice for pitching ideas to potential markets. I have learned what information should be included in a query letter. I have learned that Writer's Market is the best place to find those markets.

I am now taking the next step: I'm looking for appropriate markets and writing query letters to pitch my ideas. We'll see...

7 Reference Books for Your Desk

I hate to admit this, but I rarely get an original idea. That's bad for a writer.

However, I've got lots of paperback friends who help me sound smarter. They're the seven reference texts I keep on top of my desk. Here they are, and why each one means so much to me.

1. Dictionary - And old teacher once told me, "If you don't know the meaning, look it up." Sound advice. My desk copy is "Webster's New World Dictionary."

2. Thesaurus - I'm always looking for a different way to say things, and this text helps me a lot. It's called "Roget's College Thesaurus."

3. Idiom reference - People often use a common idiom or clichй' to clarify what they say. I keep the "Scholastic Dictionary of Idioms" next to my keyboard.

4. Dictionary of synonyms - The one I use is "The Merriam-Webster Pocket Dictionary of Synonyms."

5. Encyclopedia - To quickly find details on historical figures or products, I consult a great single volume paperback called "The New American Desk Encyclopedia."

6. Quotations - A quote from an expert can add impact to a speech or report. The book I use is "The International Thesaurus of Quotations" by Rhoda Thomas Tripp.

7. Idea generator - Well, this sounds self-serving, but I often use my own book to give me ideas for first paragraphs, transitional sentences, and conclusions. That book is "Words That Stick" by Rix Quinn.

Written Communications - 6 Tips on Language & Tone

In most aspects of business, we will be expected to write a message to a client or customer, in the form of a letter, memo or e-mail. Language and tone in these communications is vital to the relationship with the recipient, and can mean the difference between a sale and a lost prospect. Therefore, we cannot afford to get it wrong. Following are six tips on how to write to a customer or client to ensure the best possible outcome.

1. Use the Correct Tone

The tone of your correspondence should reflect the message that you are trying to put across. Using an inappropriate tone can cause your message to sound frivolous, abrasive, aggressive or rude. For example, when writing a complaint, the tone should not be dismissive or rude, but should concentrate on stating the facts.

2. Be Considerate

Show consideration for the person you are corresponding with. Examples of ways to show consideration are as follows;

 Respond as quickly as possible to correspondence. If you are unable to, at least communicate a brief apology in advance or an explanation. This shows that you value the correspondent.

 Respect the views and positions of the correspondent. If you have a different viewpoint, express it tactfully and resist making any comments that may offend.

 If you should find yourself on the receiving end of a clearly offensive communication, resist the temptation to respond in a similar tone. Take the higher ground, and don't encourage conflict.

3. Be Sincere

In your communications, avoid sounding scripted or rehearsed. Write naturally and as yourself, as you would if you were having a conversation. Show an interest in what the correspondent has to say. But don't be too familiar!

Be Brief

It is likely that your correspondent is a busy person, with a lot to read. Keep your correspondence brief and to the point. Not only will it hold their attention, they will also appreciate your consideration.

Write Simply

Avoid using long-winded, complicated words and phrases. They can confuse the reader, and ruin the effect of your message. Writing simply will convey your message quickly and efficiently.

Check your Details

Before sending your message, check it thoroughly to ensure you have not omitted any important details. Make sure your presentation and content are consistent throughout. Often, your first communication is the one that you'll be best remembered for!

Happy Writing!

Generating Nonfiction Book Titles Without a Hassle

The process of developing a working title for your nonfiction book can be a hassle sometimes. You first have to brainstorm a few titles, and if the results aren't to your liking, you are practically forced to brainstorm more possible titles --- or do you?

One way to shorten this process is to have a book title bank at your fingertips that will include trigger titles, such as the ones listed below:

Techniques for ----

One Way to ----

How to ----

Handbook for -----

Protecting ----

Investing for ----

Saving Your -----

Finding Security in -----

Fixing -----

Getting -----

Each of the sample triggers above has one or more missing words for you to fill in. For example, if you choose the trigger, "Getting ----," you can write, "Getting Richer Your Way," and "Getting Best Results at Work." Of course, a lot will depend on your subject matter and your book's purpose.

But that's not all. You can expand the first title, "Getting Richer Your Way" by adding "Ten Little-Known Techniques That Could Save you a Bundle!" or something like that. Suddenly, brainstorming becomes more productive -- and fun.

In the meantime, keep depositing more trigger titles to your "bank." Browse at the library and bookstore, for example, and take note of the nouns and verbs used in book titles. Remember to browse in the dictionary as well, finding and writing down possible nouns and verbs. Then consider combining one or two of them. For example, one writer turned the word "entreprenuer" into "mompreneur." Playing with words and word combinations may not only give you an interesting title, but may suggest a new angle!

When I Run Out of Ideas

I do on occasion run out of ideas for my column writing. I do this after finishing a huge writing project like a book. I am just plain "written out" and am fresh out of things to say. When this happens, I turn to the news and am rarely disappointed.

This morning, I read a story by Associated Press writer, Carl Hartman, entitled, Smithsonian Finds Scopes Trial Photos. This seemed innocuous. The story, as well as the photos, were... interesting.

What got my "Snit-O-Meter" going was how this reporter, like probably everyone on the face of the earth would report, reported the Scopes Trial as a genuine and bona fide criminal trial that took place.

Would it surprise you to learn that it was not so?

Let me first site two sources you simply must read. The first is an article by Carol Iannone.[1] The second is small book by Phillip E. Johnson, a law graduate of Harvard and The University of Chicago. He was also a law clerk for Chief Justice Earl Warren and taught law for thirty years at University of California at Berkley.

In Johnson's book, Defeating Darwinism by Opening Minds[2], he says:

"The Scopes Trial was not a serious prosecution but a symbolic confrontation engineered to put the town of Dayton, Tennessee on the map. The Tennessee legislature had funded a new science education program and, to reassure the public that science would not be used to discredit religion, had included as a symbolic measure a clause forbidding the teaching of evolution. The governor, who signed the bill, realizing that any prosecution would be an embarrassment, predicted that the law would not be enforced. The American Civil Liberties Union wanted a test case, however, and advertised for a teacher willing to be a nominal defendant in a staged prosecution."[3]

This man never had a chance in hell of going to jail or paying a fine for anything. The Scopes Trial was a hoax.

Now I encourage you to seek out these sources and read them. The small book by Johnson can be purchased cheaply at most bookstores and at Amazon.com. Get it and read it!

But my point in writing about this is NOT to unravel the hoax of the Scopes Trial but to pose an issue that I often bring up in my writings and in my newest, yet-to-be-released book, America's Anti-Mexican Xenophobia (I apologize for that shameless plug for my book-not really! BUY IT!).

It is just beyond the pale that this Associated Press writer would accept, minus the application of a finely tuned "Phony-Baloney Detector", without question that the Scope's Trial was a genuine criminal prosecution. I might add the American public as a whole and most scientists as well to that list.

How is it the Scope's Trial, as well as any other number of ideologically motivated hoaxes (The Gay Agenda movement?) has been accepted and ingrained into the minds of the American people as incontrovertible fact?

Harvard Genetics Professor Richard Lewontin writes of a possible reason (one which I accept as valid):

"We take the side of science in spite of the patent absurdity of some of its constructs, in spite of its failure to fulfill many of its extravagant promises of health and life, in spite of the tolerance of the scientific community for unsubstantiated just-so stories, because we have a priori commitment, a commitment to materialism. It is not that the methods and institutions of science somehow compel us to accept a material explanation of the phenomenal world, but, on the contrary, that we are forced by our a priori adherence to material causes to create an apparatus of investigation and a set of concepts that produce material explanations, no matter how counterintuitive, no matter how mystifying to the uninitiated. Moreover, that materialism is absolute, for we cannot allow a Divine Foot in the door. The eminent Kant scholar Lewis Beck used to say that anyone who could believe in God could believe in anything. To appeal to an omnipotent deity is to allow that at any moment the regularities of nature may be ruptured, that miracles may happen."[4]

Professor Lewontin's quote is probably the most salient explanation for why the Evolution hypothesis or the "I was born that way" Gay Agenda hypothesis seems so certain to elitist insiders and so uncertain to those outside the elite groups. It is the a priori commitment to an ideology first, then to setting about to "prove" their ideology with evidence. These groups are compelled by their ideological a priori commitment to go about creating methodologies of investigation, to produce their desired outcomes, based not on Critical Thinking Skills (Phony-Baloney Detection) but on ideology.

This is why it is so important NOT to live your life according to untested assumptions! You have to develop a finely tuned and razor sharp Phony-Baloney Detection kit that you will pull out to evaluate everything you hear and read-including this author's writings!

Thinking critically is hard work. It takes time and it takes commitment. Nevertheless, please do not doom yourself to living an "a priori" commitment to an ideology first kind of life. Test! Test! Test!

Get busy developing that phony-baloney detection kit today!

In addition, make sure you buy all my books!

[1] http://www.firstthings.com/ftissues/ft9702/articles/iannone.html

[2] Defeating Darwinism by Opening Minds; by Phillip E. Johnson; Intervarsity Press; copyright @1997

[3] Ibid

[4] The Unraveling of Scientific Materialism; by Phillip E. Johnson; http://www.firstthings.com/ftissues/ft9711/articles/johnson.html

Freelance writer, Syndicated Columnist, and book author, Doug Bower, has written a compelling new book titled, AMERICA'S ANTI-MEXICAN XENOPHOBIA. Have you wondered if the Minuteman Project is really on the "up and up"? Have you wondered if they represent all that is good and right with America-paragons of patriotic virtue? Doug Bower may have the answers you've been looking for.

Starting a Freelance Writing Career (or How I Sifted Through the Muck and Found My Way)

So, the decision is final. I am a writer.

Actually, I have always been a person who writes, but I have never applied the term to myself in a professional sense. Having pushed aside my financial fears and gained the requisite self-confidence, I began to surf the net in earnest for information about how to begin a freelance writing career. The vast amount of information was daunting enough, but when I realized how much time and effort would go into an attempt to get published, I almost quit.

Several thoughts are keeping me going. A lot of it has to do with my personal history and the role that writing plays in my life. When I was 8, I left notes around the house asking my parents for an increase in my allowance. When I was in college, I was the nut who took three journalism classes and three literature classes in one semester. When I went to graduate school as an adult with two small children, my ability to write well saved my sanity.

I pushed on. My initial research told me that I first needed to learn about the business of writing because I knew nothing of queries, markets, or copyright. Once I learned what content should be included in a query, writing them was not difficult; however, researching the various markets has been incredibly time consuming. At first, I hit dead ends. I started searching the typical job sites, but most of them did not post freelance work.

Then I came across several subscription sites that claimed to connect freelancers with writing markets. I was concerned that some of these sites might be scams, but after spending several days exploring one site in particular, I had almost decided to subscribe. Before I took the leap, I came across an article which criticized the site. It did not appear to be a scam, but it was enough to validate my initial skepticism. I placed this market source on hold to explore other opportunities.

A few other market postings also begged caution. One in particular sounded like a great opportunity for new writers to get published. I started to complete their online application form until I arrived at the page that asked for my social security number. They claimed that they needed it in order to pay me, but they had not even seen my ideas or any of my writing samples. I cancelled the application and moved on.

Perhaps the biggest shock to my English teacher sensibilities was the listing for "academic writers." I thought: "Great! This I've done." I clicked the button that led to more information and realized that these "markets" were actually students trying to cheat their way through school. Again, I moved on.

Although my early attempts to find writing markets were clearly filled with concern, caution, and a certain degree of paranoia, my experiences thus far have been mainly positive. I found several sites that posted seemingly genuine paying markets. Even if the information does not lead to publication, many of these listings sparked ideas which I can pitch to other markets. Even more important, the generation of ideas has lifted my spirits by making writing for a living seem more realistic.

My biggest morale booster is no secret to most writers. Before purchasing Writer's Market, I knew that it contained market listings and informative articles. I did not know that it contained lists of contests and awards, some of which are designed to assist writers financially while they are writing. I may never win such an award, but somehow, knowing that such a thing exists makes my goals seem more attainable.

Finally, I am almost ready to start submitting queries. The queries are written and effectively target the appropriate markets, but I am still confused about copyright. I'm beginning to fear that my grasp of copyright law is going to become something like my grasp of the offside rule in soccer. My oldest son has just completed his second year playing travel soccer and each time I think I understand offside, something happens that makes me question my understanding. The same holds true for copyright. I understand the concept of first rights and I understand what it means to submit simultaneously. But when a market indicates that it buys first rights and also accepts simultaneous submissions, who gets first rights if two markets opt to purchase the same manuscript? If they both print the story, they can't both have first rights. Can they? Since I do not have the answer, I do not plan to submit queries simultaneously - yet.

The most important lesson I have learned during this journey is that the faith I have in myself and in my aspirations must rise above the confusion and chaos created by the pursuit of the dream.

Should You Hire a Ghostwriter?

Have you heard the term 'ghostwriter' and wondered what they do or who they work with? Although it sounds mysterious, ghostwriting is actually a very simple agreement where an individual or company hires a writer to create a work that will be owned outright by the buyer. The buyer is not required to give credit to the writer and is even allowed to claim authorship.

Many people who are looking to put their knowledge, experience or stories into print find that using a ghostwriter eases the process. The ghostwriter uses his or her talents to put your information or research into an engaging and informative publication. Ghostwriters are frequently used for business writing as well as for the creation of books for publication or for personal use.

Is ghostwriting legal?

Ghostwriting has been around a long time. Some of the most influential leaders have used others to write their speeches or even autobiographies. Ghostwriters do not hold any copyrights to the finished work. This is also known as a 'work-for-hire' arrangement.

Some individuals will list the ghostwriter in the credits or even indicate clearly that the written piece is "by So-and-So as told to So-and-So". This gives credit to the talents of the writer while still giving prominence to the source or creator of the piece. However, this constitutes a very small number of instances and is not required for legal purposes unless agreed to in the contract.

As a special note, ghostwriters are often illegal for use in preparing school papers (in the same manner as plagiarism is an offence). It is also a concern when a legal or medical professional assigns his or her name to a document without having a significant role in its creation or content.

Do YOU need a ghostwriter?

Many small business owners find that time restraints and lack of writing ability eventually lead them to considering the assistance of a ghostwriter. With the development of business on the internet even more individuals need ghostwriting services from time to time.

The internet is based on written information. Special talent is needed to convey your information clearly or to create readable books (or ebooks) for your customers or visitors. By passing this job to a qualified ghostwriter you may save time and increase profits or customer satisfaction by providing your information in a professional and engaging manner.

How much does ghostwriting cost?

Ghostwriting fees can vary dramatically depending on your source. There are several freelance websites where you can post your projects to be bid on by the writers. Users of this service hold differing opinions on the quality of work that can be purchased from these sites. Some individuals will warn you that paying low costs may result in low quality work or service.

That does not mean that you cannot find a ghostwriter for a reasonable fee. Many aspiring writers offer their talents for hire and you may find an excellent writer for a decent price if you shop around. On the other hand, if you are working with a specialized topic you may need to pay more for the services of a writer who has experience in that field.

Many ghostwriters follow similar pricing guidelines as used for hiring an author in the traditional sense. You will find it beneficial to check out several sites for an idea of the cost of your project.

How do you find a ghostwriter?

There are many sources online for finding ghostwriters. Whether you attempt to hire a freelance writer from a bidding site (like elance.com), from a personal website or from a ghostwriting service site, references may be hard to come by because of the nature of the work. You may also find it difficult to view samples for obvious reasons.

The best way to determine if a ghostwriter can fulfill your needs is to read some self-published works by the writer. Examples of style and credibility may be obtained from other published works without the need of testimony from the ghostwriter's clients. If you are working on a large project it is wise to spend some time in correspondence with the writer to discern if you communicate well together.

If you plan on using a ghostwriter on a regular basis you may wish to develop a relationship with a freelancer as opposed to using a ghostwriting service from a company who manages the relationship for you. What you choose to do is ultimately based on your needs and preferences.

You are hiring talent, just as you would when hiring an interior decorator or event planner. Taking the time to find the writer that can fulfill your visions and put help put your thoughts into writing is worth the extra effort.

Writers can Grow to be Comfortable with Criticism

On my first newspaper assignment as a critic, I was well prepared to dish it out. I was less prepared to take it. Imagine my surprise when my witty, well-crafted critique drew a smattering of letters filled with name-calling and nasty words. It stung. Could the critic handle criticism? I discovered that with some emotional discipline and introspection, I could not only handle criticism, I could grow from it. Here's how.

Allow yourself to feel hurt--briefly. It's natural to be shocked and hurt by criticism. Recognize it, feel it but don't allow yourself to wallow in it. Knowing you have a technique for dealing with criticism allows you to put the breaks on hurt feelings as you move on to the next step.

Consider the source. All critics can be divided into three categories. The critic can be a crank, someone that lives in pain and feels the need to spread it around. The critic can be a self-appointed expert. Such people feel they have a duty to point out other people's shortcomings. Or the critic can be a mentor, someone whose thoughtful, objective opinion can help you improve your performance.

Deal with it. If your critic is a crank, recognize that such people attack anyone or anything that draws their attention. Say a prayer for them as you put their remarks through your mental paper shredder. If your critic is a self-appointed expert, consider their motivation. Does it seem they honestly want to help you improve? Or is their purpose to disparage you so they can feel superior? In either case, their criticism may hold a grain of truth. Be open to looking for it. But if you sense your critic needs to drag you down so they can lift themselves up, raise your emotional barriers. Consider any aspect of their criticism that seems valid, but don't allow them to shake your sense of self-worth. Hopefully, your critic is the third type, a mentor, someone whose opinion you can respect. Their criticism is well thought-out and deserves your serious attention. Consider what they say and see if it offers you an opportunity to improve an actual flaw.

Move on. Take what valid points you can from your critic. Decide whether or not you want to use the criticism as an opportunity for self-improvement, then move on. If you find yourself dwelling on criticism, allowing it to drain your energy and confidence, shut the door on it. Visualize your critic, or their letter, framed in a doorway. Imagine yourself shutting the door with a satisfying slam, hearing the click of the lock and walking away. See the door getting smaller and smaller until it disappears in the past. This signals your self on many different levels that you're closing the door on the event and moving on.

Writers of any kind will always be met with criticism. You don't have to like it, but you can refuse to be wounded by it. Learning to handle criticism in a calm and self-confident spirit will help you grow as a writer and as a person.

Passionate About Writing?

I'm a writing fool! 2 book proposals, 1 user's guide, a business technology analysis paper, and a FileMaker Pro 7 application! Can you say, "RedBull?" Actually, my preferred energy drink of choice is Monster. But I'll save my energy drinks discussion for another time.

What I would like to focus on is how similar Writing and Programming are. Both are creative. Both require adhering to some type of structure. Both require that you are aware of who the audience is. And both require discipline and focus! And those who are both writers and programmers are either nuts, or very driven. I haven't quite figured out which category I fit into. Although my wife will place me into the former. ;)

I have discovered over the years that the discipline that I've learned by doing programming has directly applied to my discipline for writing. In both situations, a clear goal has to be established. You have to know where you're going in order to get there. True, there are some writers (specifically in the fiction genre) who can just sit down and write, without having any plan, outline, or goal in mind. But when it comes to non-fiction writing and programming, a plan, outline, and/or goal is an absolute necessity! In programming, it's a specifications document. In non-fiction writing, it's an outline. Both require some analysis and forethought about what the end result is supposed to be.

Once the plan is in place, then the next step is doing the actual work. This is when we discover how passionate we really are about the task at hand. If you're passionate about the project then it's easy to sit down and just start cranking out words. Have you ever gotten up in the middle of the night to go and sit down at the computer and start working? That's passion! (Or one too many energy drinks!) Are you writing code while gazing at your date across the dinner table? That's passion too, but not the kind your date would like. But the point is, that type of passion about a programming or writing project can carry you a long way toward completion.

But what do you do when the steam dies down? I'm talking about those times when you sit down at the computer and just stare at the screen. It happens to all of us. You then start looking for excuses or other things to do. "Humm, my desk is a mess!" There goes a couple hours of organizing the desk and office. "Oh, more email." There's another hour or two, reading and responding to emails. Then there's the lure of web surfing. "I need to do a little research!" Write off another 2 to 4 hours. Next thing you know, you've spent the entire day sitting at your computer but haven't made any progress on your project. What do you do?

Well, go back to thinking about why you're passionate about the project. It could be money - what will you buy when you get paid for the project? Or it could be the accomplishment - being able to say that you've written an application that solved a major problem for your customer. How about a little fame? Anyone who's been in the computer industry for awhile knows who Dan Appleman is. He's just some guy who decided to write a valuable set of books for programmers. Whatever it is that makes you passionate about the project - think on it. Dwell on it! Meditate on it! "Be the ball," as Bill Murry said in the movie, "Caddy Shack." If you saw the movie, you'll know what I mean.

The other way to get there is through discipline and experience. When I started writing my first book, I was very passionate about it - at least through the proposal, outline, and first couple chapters. Then it became that four letter word - "work." The next couple chapters were tough. I had to force myself to get into being productive. Each time I sat down at the computer, it would take me from 30 minutes to an hour just to get back into the swing of things. But, I did do it. I made a schedule for myself. At the time, I was working a full time job. I set my mind to following the schedule and not let anything get in the way. After work, I would grab a light dinner. Then I would take a one hour nap. Then I would get up, sit down at the computer, and crank out words for the next 4 hours. I would do this for at least 4 days a week. It didn't take long for me to be able to just sit down and start writing. The book was completed and I gained a great sense of satisfaction knowing that I had reached a major milestone that all potential writers seek to have - the first completed book!

Thanks to that experience, and the additional writing that I've done since then, I've been able to get myself into the right mental state for writing whenever it is needed. I still work out a plan. But when I sit down to write - I write!

So, next time you take your date or spouse out for dinner - don't write code while you're there. Enjoy the time with your companion and your dinner. Then, when you sit down at the computer to write - just do it! And if you can't, stay there until you do. Eventually, you'll get to the point where the discipline, the passion, and the experience will all come together. And you will have that magic moment that all programmers and writers seek - the perfect flow of creativity for bringing life to your book, story, article, or application.

Keep the passion!

Publication Road

The journey to having my first novel for children published has been riddled with road blocks and shonky bridges. The good news? At every rickety stage I've picked up tips (and anti-tips) which I'm happy to share with everyone...

Read

For me, this was the easy stage! Aspiring writers need to read like maniacs to be aware of other writers' work, both locally and internationally. There is no point writing a killer story if it resembles something already published. Sadly, that means no scar-faced teen wizards named Barry.

Write

Here's a simple equation: the more you write, the better you become at writing. By the time I was ready to be born I'd already completed my first three manuscripts (spent most of the time looking around for somewhere to plug in my laptop). When the doctor smacked me on the backside I squinted at him and went, 'Waaah!' Which of course meant, 'Ah, you must be my agent!' I went on to scrawl home-made comics throughout my childhood before I began writing for surf magazines at age 17. Since then, I've had thousands of articles and pieces of fiction published. A lot were 'hack' stories; a few won me awards and contests. All helped build my writing skills and voice.

Feedback

A local teacher read my first manuscript to his class (thank you, Bob Swoope). The feedback was terrific. One kid enthused, "It's just like Harry Potter, only funnier!" I dined off that compliment for a month.

I'm lucky ten year olds believe payment in Paddle Pops is the industry standard for editors, else I'd be broke by now (well, actually I am broke). I read all my stories to my daughter, her friends, and any young relatives I can bail up. Whenever my juvenile focus groups wander off to the nearest TV, I know the chapter I'm reading needs major reconstruction. Whenever the kids sit glued to their chairs and demand more, I know my story is heading in the right direction (and I've bought the right glue and Paddle Pops).

It's useful to let adults rip into your story as well. Adult writers, that is. I've learned it's best to avoid family members and friends, unless you enjoy making these people flee whenever they see you. Join a local or online critique group instead. Growing elephant-thick skin will also help you through this stage.

Rewrite

Finally, you think your book is ready. It isn't. Time to let the manuscript breathe for a month, before revising it with fresh eyes. Be ruthless. Hack those excess adjectives that editors loathe. Delete every scene that does not sparkle, advance the plot on multiple levels and compel the reader to keep reading.

Rewrite again

As a writer for children, you're not only competing against the mutant slush pile from Hell and other kid's books, but against the internet, computer games and 24 hour cartoon networks. Remember: the modern kid is smarter, more savvy and easily bored than any generation before.

Submitting

Crunch time. When you submit your first manuscript, get stuck straight into writing the second. When your manuscript returns unloved, send another submission out on the same day (or even better, send two). For every five rejections, rewrite. Never surrender.

Over the course of several months, I sent my manuscript to every agent in the country. They all rejected until I was dejected. So I directly targeted publishers instead. I almost fell out of my computer chair when the second one immediately replied. The wonderful Ibis Publishing of Melbourne liked my story so much, they asked me to commit to writing two more in the same series. Truth is, to be published, I would have committed to writing a sequel naked in a bubble in the middle of Pitt Street. Luckily, they didn't. But I still have my bubble.

Pre-publication

Over a year has gone by since my book was accepted. My patient editor Belinda Bolliger has driven me through two more rewrites to add backstory, cull my ellipsis fever and tone down my more extreme jokes. My major character has become less obnoxious and had a sex change from girl to boy. Why? Apparently, girls will read about boys; but boys aren't happy reading about girls.

I originally named my book after the planet of talking horses and mutant chooks at the centre of my story. However, Uponia (too strange) was changed to Planet Horse Fart (too rude) to ZAPP to Planet Horse (too horsey) to Raz James and The Amazing ZAPP Discovery (too vague) to Erasmus James and the Galactic ZAPP Machine (too... wait, that's it!).

The cover art has changed almost as many times while the date of publication has been put back from last Christmas to May to June to September. Fingers crossed on that last one!

It is vital to remain flexible and positive through such changes and delays. Yoga helps. Better to get everything right than to rush out an inferior product. The extra time has also given me time to set up a website, work out a battle plan with the Ibis marketing team Anthony and Paola and watch my hair turn even more grey. Meanwhile, my bank account has nose-dived, but who really needs fancy mod-cons like electricity and food?

On the road

Last month I drove to Sydney to psyche up the Pan Macmillan sales team. I delivered a ten minute standup comedy routine and was as surprised as anyone when the friendly team laughed at my feeble jokes and seemed enthused about selling my book. On the long drive home, I realised this would be but the first of many such promotional trips: to schools, book signings, anything and everything that will help me sell a few more copies and keep doing what I love so much. Then the rain began to bucket and my front tyre blew out. As I bounced into the bush, I realised I was about to experience another first on the scenic detour known as Publication Road.

DC GREEN BIO

DC Green is the author of the soon-to-be-published 'Erasmus James and the Galactic ZAPP Machine', a funny and action-packed tale of friendship, intergalactic zapping, flatulent horses, environmental havoc and bus-sized chooks. An award-winning fiction and non-fiction writer, DC used to travel the world for surf magazines, mainly because he couldn't afford his own air tickets. He lives on the NSW South Coast of Australia with one slightly crazy daughter and three very crazy cats.

Why Manners Maketh the Freelance Writer

Lately I've been noticing an odd trend amongst the freelance writers who contact us every week: rudeness.

First there was the writer who accepted a job found on our boards and forwarded the completed assignment to the employer with the words, "Project attached. Email me payment immediately." No please, no thank you - in fact, no niceties at all.

Needless to say, the employer wasn't impressed (I know because he forwarded the email to me, asking if all of our members were quite so blunt.) He told us that although the writing was of an acceptable standard, and was delivered on time, he wouldn't be using that person again. His reason? He didn't like her manners, simple as that.

Then there was the freelancer who provided us the wrong paypal address for her payment. We paid her, not realizing the address was wrong, and it wasn't until a few days later, when she emailed us again, that we realized what had happened. No problem: We cancelled the first payment and immediately reissued it to the correct address, along with an email explaining what had happened.

In response, we received a tirade of abuse from the freelancer in question, who had received the paypal cancellation notification, and not bothered to read our explanatory email before she decided to get nasty and assume we hadn't paid her. This piece of vitriol was almost instantly followed by a second missive saying "oops, I've just realized that you did pay me after all."

While we were glad that she'd realized her mistake, we were rather less pleased to notice that she made no apology for her first, highly abusive email. Needless to say, this isn't someone we'll be recommending to any other employers in a hurry.

Then there was the person who sent an aggressive email in response to our automatic notification of a new project - a notification which, I hasten to add, she'd signed up to receive. "This is the second email I've received from you today!" she said, "For god's sake, stop emailing me!"

Now, I dare say that all of these freelancers are superb, highly talented writers. Unfortunately, though, I won't be recommending them to anyone, and if their behavior towards us is typical of their behavior towards other employers, I doubt anyone else will either.

The fact is that freelance writing is a business, and it's not just your writing you're selling: it's yourself. No matter how great a writer you are, if you're rude to employers, or difficult to work with, you'll find it very difficult to make a living from it. Above anything else, employers want writers they can work with. Professionals, who won't react to a misunderstanding by lashing out in anger, who won't just demand payment without at least checking that the work is satisfactory, who know how to say "please" and "thank you", and when not to fire off an email that would be better left until the cold light of day.

As the actress Lillian Gish once said, "You can get through life with bad manners, but it's easier with good manners." It applies to freelance writing, just as much as to life itself. And if you don't believe me, try cursing out the next editor who accepts your work, and see how far you get!

Help! I Cant Write!

Writer's Block can strike like a King Cobra, paralyzing every little golden nugget you try to create. What can you do to lick it? Below are some fun suggestions to crack the nut! (write about each prompt for twenty minutes)

1) Take yourself to the local coffee shop and eavesdrop. Write in present tense the overheard conversation.

2) Take a walk in nature. Breathe deeply. While outside, write about: weeds blowing in the breeze, bees buzzing, flowers blooming, leaves rustling, or rain, sleet or ladybugs! Just write in nature.

3) Open the dictionary to any page, pick five random words and incorporate them into a story.

4) Make it fun -- go out for Chinese food-write in response to the fortune cookie

5) Tune into a country western radio station. Using the lyris from a song as prompt, begin writing.

6) Go to the spice rack. Grap a couple of spice containers and put them on the counter. With closed eyes, smell one spice (cinnamon, nutmeg, curry powder) write about the first thing that pops into your mind.

7) Check your local newspaper and write in response to an ad in the personals.

8) Grab the family album. Find a picture and write for twenty minutes. It can be fiction, creative non-fiction or non fiction.

9) Make a list poem-beaches, sand, ocean, periwinkles, starfish, etc., then pick one noun and write for twenty minutes.

10) Maybe it's time for a pity party. Get together with a few other writers and cry over dangling participles!

To Write Successful Business & Academic Communications, Learn the Architecture of a Story

Human beings seem to be born with a gene for telling stories. Stories from our families, our communities, and the media form our worldview and shape our lives. In fact, scientists have discovered that our ability to create stories is intricately connected to our ability to learn. This is because our brains seek to create meaning through relationship, which is what stories do so well.

Our storytelling faculty comes into play not only when we speak, but also when we read, which means that our brains are unconsciously seeking a well-told story in every kind of writing-whether it be a business proposal, an academic essay or the Great American Novel. When a story connects with us, it can have a powerful effect on our thoughts and decisions. When it doesn't connect with us, however, it may leave us confused, bored, or even angry.

The question is: Why do some stories succeed while others do not?

Successful writers understand the architecture of a story

The answer lies in the architecture of a story, which at the most basic level requires a beginning, a middle, and an ending. The beginning needs a way to draw readers into the story and make them want to keep reading. The middle needs to tell the basic parts of the story in some kind of logical order so that readers can follow and understand it. And the ending needs to tie up loose ends, being sure to answer any questions that have been raised.

Successful stories are always targeted at a particular audience and use language and terminology the audience understands. They also use concrete details and strong, active verbs to add color, emotion and energy.

If any of these elements are missing from our written communications, we will confuse our readers at best and completely fail in our purpose at worst.

Let's take a book for example

When I am browsing in a bookstore and pick up a book, I usually look at the first paragraph. If something about the writing "hooks" me, I read further. If it doesn't, I put the book back on the shelf.

If I accidentally pick up a book in Italian--a language I do not know--I put it back immediately because I am not its intended audience. In other words, it literally doesn't "speak" to me!

Once I begin to read the book, I expect the author to lead me skillfully through his story, giving me as much detail as I need to understand and visualize his ideas. Sometimes, however, the author's plot jumps around so much that I have a hard time following it.

Sometimes the author's characters are so vaguely drawn that I can't keep them straight. The result is that I end up not caring about them at all, and I soon forget the whole thing.

Sometimes I get to the end of a book and find that the author has left me hanging, without tying up loose ends and satisfactorily answering my who, what, when, where, why and how questions.

As I experience each of these frustrations, there is a good chance that I will misunderstand what the author is trying to say, lose interest in his message altogether, or start becoming irritated with the author himself.

This is obviously not the kind of reaction any writer wants to engender. If you are writing business or academic communications, and are not a professional novelist, what can you do to ensure that your "story" succeeds?

One possible solution is to write your communication using the Story Spine technique.

Use the Story Spine to build your narrative

This technique, which is described by Kat Koppett in her book Training to Imagine: Practical Improvisational Theatre Techniques to Enhance Creativity, Teamwork, Leadership, and Learning, is especially good at helping writers build their narrative without getting lost. It consists of the following steps:

• Once upon a time...
• Every day...
• But one day...
• Because of that... (Repeat as needed)
• Until finally...
• And ever since then...

"Once upon a time" is your opening. It draws your readers into your communication in some way and introduces your setting and characters. By answering such questions as "Who?" "What?" "Where?" and "When?" it provides the context and sets the stage for your communication.

In the "Everyday" step, you present some background information and further develop your message.

The "But one day" step represents your catalyst. This is where you ask and answer such questions as: "Why is this message/idea important? What is different about it?"

The "Because of that" step represents the heart, or main section, of your story. It presents the consequences that result from your catalyst.

The "Until finally" step is the climax of your communication, where you present your most important points or results. It is what your whole communication has been building up to.

The "And ever since then" step is your conclusion. It is the place you tie up loose ends and leave your reader with a feeling of satisfaction, of completion and understanding.

Concrete details make a story compelling

Ensuring that your story follows a basic structure isn't quite enough, however. You must also provide vivid, concrete details. According to Koppett:

Shakespeare's structure is strong. His "because of that's" flow from one to the other, building in intensity beautifully. But mostly, it is the language Shakespeare uses, the descriptions he employs, the way he develops his characters that makes his work a masterpiece. What makes a story compelling is not just what happens, but how it is related, the specific moments, the images and sensory impressions that are created.

So, again, we come back to our brain's need for meaning and connection. To ensure your writing succeeds, keep in mind that you are, in effect, telling a story. Ask yourself, "Has my story met my audience's needs and expectations?" If you can answer "yes" to this question, your results will show it.

How NOT to Get a Freelance Writing Job

In the business of freelance writing, it's not enough to be good at writing. You also have to be good at finding work - and selling yourself when you do. Persuading a new client to let you write for them, rather than one of the hundreds of other writers out there, can be an art in itself. Here's how not to do it?

Don't give any details about yourself.

When you're applying for a new project, whether it be through the WritingWorld.org jobs board, or in response to a "writers wanted" ad, don't bother giving anything but the most basic of information - your name, and your price. If you absolutely must give a little bit of detail, just stick to something simple like "I can do this". You're a writer, for god's sake! You don't need to explain yourself! The employer will look at your message and just know that you're the right person for the job - even although everyone else who applied sent their resume and writing samples, and gave a list of reasons why they'd be perfect for the job.

Why doesn't this approach work? Well, think about it. If you were in the market for a professional service, would you choose the person who provided examples of their work, client testimonials and other relevant information, or would you pick the person who told you nothing but their price? Even if your quote is the lowest, the employer will still want to be assured that you're capable of doing the job: and trust me, employers don't like to have to coax information out of writers. Nor do they need to. In most cases they'll receive quotes from so many well-qualified candidates that they won't need to chase up the ones who didn't bother to give them a reason to employ them.

Don't bother reading the advert properly.

Just stick to one set speil which you can copy and paste onto every application or quote you send. It doesn't matter if your standard speil talks about what a fabulous copywriter you are and the employer is looking for a proofreader. Again, they'll just know that you're also a trained proofreader. Even if you don't bother to tell them.

Why doesn't it work? Well, as soon as the employer realises that you haven't even read their advert properly, you can forget about that proofreading job. Employers like to think that you're paying attention to them and taking them seriously, not just firing off the same stock message to 100 people per day. It's OK to have a stock message, by the way - but the least you can do is make sure it's relevant to the job you're applying for.

Skip the spellcheck

Obviously you wouldn't do it on an assignment, but when you're giving someone a quote or responding to their job advert, it's perfectly acceptable to forget about spelling and grammar, right?

Wrong.

As a writer, you'll be judged on everything you write. That includes quick emails, IM conversations and, of course, quotes. Poor spelling, lack of punctuation and sloppy grammar marks you out as someone who doesn't care too much about their craft - if, indeed, you have one. Make it perfect every time.

Make your quote ridiculously low

We all know how competitive freelance writing can be. Unless you're willing to work for far less than minimum wage, you'll never persuade anyone to employ you. Make sure your bid is as low as you can make it without offering the employer to pay them for the privilege of writing for them, and they're sure to give you the job! Right?< br />

Um, not necessarily. While there will always be "employers" who aren't too concerned about quality and just want to find the cheapest writer around, to most employers, your low bid says one thing: that you're not very good at what you do, and certainly don't deserve decent compensation for it.

If you're willing to write for a nominal fee for a commercial employer (as opposed to a charity, for example, or a friend), the employer knows right away that you don't make a living doing this. Imagine how many $5 articles you'd need to write every month to pay your mortgage! If you're willing to write for that amount, then, it's clear that you must be pretty much scraping the barrel: so desperate for work that you're only one step away from working for free.

This kind of desperation doesn't inspire confidence: you may well get yourself some work from a certain type of employer, but when someone comes along who's willing to pay more, you'll be missing out on the opportunity to get paid what you deserve.

What's most frightening about this list is that I didn't have to make any of this up. These are all real examples of the kinds of things writers do when applying for work. And trust me: these writers never get the jobs.

Amber McNaught is a freelance writer and editor, and the owner of WritingWorld.org, an online agency for freelance writers, editors and proofreaders.

Writing World also offers a range of service such as proofreading, editing and manuscript appraisal services to new and aspiring writers.

Get Noticed! Eight Tips to Catching an Editors Eye

The first five pages of a novel are critical.

Editors make quick judgments. They don't like to admit it, but they do. Somewhere an editor is sitting in an airless room staring at a pile of manuscripts hoping to strike gold, but doubtful. She wants to get through the toppling pile as quickly as possible. Therefore she is going to look at your manuscript and search for one thing: A reason to say 'no'.

Your goal is not to give her that reason. There are many factors you can't control (whether an editor has had a bad day, or has already accepted a manuscript similar to yours) but there are a few things that may get an editor or agent to stop and read your work. Please understand that these are merely guidelines, don't substitute my judgment for your own. Writing is an art after all.

1. Get the action started. Start your story on the day when something is different. The beginning of your manuscript is not the place for back story. You don't need to explain how the protagonist came to be where he is. You can pepper that information in later on. You only have a few seconds to capture the reader's interest. Routines are boring; change is exciting.

Think about it. If your next-door neighbor always picked up the paper at 7:30 AM, wouldn't you be curious if you still found the paper lying there at 10:30 AM? Or if your boss was always grumpy in the morning then one day came in whistling, wouldn't you want to know why? Your goal is to put a story question in the reader's mind. Intrigue them. How do you do this? Consider these beginnings from different genres:

(Fantasy) "What in the name of cold hells is this?" Sun Wolf held the scrap of unfolded paper between stubby fingers that were still slightly stained with blood. -The Ladies of Mandrigyn by Barbara Hambly

(Young Adult) The paperweight should have been clear, but it was not. -Gallows Hill by Lois Duncan

(Women's Fiction) Jaine Bright woke up in a bad mood. -Mr. Perfect by Linda Howard

(General Fiction) Something was wrong with Paul and Elizabeth's cat, Charlotte. -Publish and Perish by James Hynes

Check your bookshelves for more examples. Get into the habit of seeing what other successful writers do. Learn the tricks of how they draw you into a story.

2. Have tension. If you succeed with number one, you'll probably have tension. Tension doesn't have to be heart-pounding suspense. It could simply be a missed phone call, a strange voice message, a lunch date that should have arrived but didn't. Tension draws a reader deeper into a story. Try to have plenty of it in your first few pages (literary agent Donald Maass suggests you have it on every page, but I'm only focusing on the first five here). Make the reader wonder what will happen next.

3. Grab the reader with your characters. When a reader is sucked into a new world they want to have an idea of whom they will be traveling with. They want someone to root for or somebody to hate. Give the reader a quick sketch of who these people are.

4. Show what is at stake. In your first five pages you have to answer a vital question properly or your manuscript will be shipped back to you. The question is: 'Who cares?' The reader needs to reply 'I do' or your story has failed. Make the stakes high for your protagonist. You get bonus points if you make the stakes high on both a private and public level. For example, if a man wants to get a promotion to make more money, that's nice. We all want to make more money, but I don't really care. If that same man needs the promotion so that he can pay off a rogue hit man he'd hired to kill his wife who he's come to love again?well now that's interesting. Make the reader care by making the stakes count specifically for your protagonist.

5. Describe setting. It doesn't have to be a long, lush description. Many readers don't have the patience for that; however, try to immerse your reader into the world you've created for them. Give them clues as to where the story is set. Whether it is in a London tube station, a marketplace in Kansas or an office in a city you've invented.

6. Foreshadow what is to come. Most stories are circular, they have a beginning, middle and end that all tie together. Hint at how the character will change or won't change. It helps to give your story resonance.

7. Be conscious of pace. This depends on the genre. Lead the reader on the journey at the pace they're used to. A slow moving thriller will be a let down; a fast moving cozy mystery may be confusing. Stories are like music, a reader expects a certain beat depending on the style. Country music has a different rhythm than jazz.

You can mix genres (sci-fi detective or horror romance) but understand the rhythms of both genres so that when readers pick up your book they won't be disappointed. It's likely that one genre will be more prominent than the other. Meet their expectations or better yet exceed them.

8. Write with passion. If you don't care about the story or your characters, no one else will. Put you spirit into it. Make your language come alive on the page. Many editors and agents talk about 'voice'. Basically that means the way a writer tells a story. Stephen King's voice is different than Dean Koontz's; Jennifer Crusie doesn't sound like Jane Heller. Put your own unique spin on the story. That will make it stand out.

I know these guidelines seem like a lot to remember for the first five pages, but it is a competitive market and most successful authors include these elements. You don't have to get it right the first time, rewriting will help you polish your work. But if you want to be on someone's 'to-be-read' pile these guidelines could put you on the top of their list. Good luck!

Use These 3 Editing Tips to Ensure Your Writing Hits the Bull's-Eye

The first step in the writing process is to put your ideas down on paper. Once you have text to work with, the second step is to revise what you have written to make it as clear, accurate and powerful as you can. The final step is to edit your work carefully.

Editing Tip #1: Take a Break

When you have concentrated on your writing for long periods of time, there is a tendency to read what you think is there-not what you have actually written! By taking a break for a few hours (or even a few days), you will return to your work with a fresh mind and fresh eyes. Suddenly you will realize that:

• The rhythm of your sentences and paragraphs is off; either they are too short and choppy or too convoluted and long.
• Some of your ideas are out of place and belong in a different paragraph.
• One of your paragraphs doesn't make any sense!
• You forgot to address a crucial aspect of your topic.
• Some of your data is wrong or missing.
• You have misspelled several words and accidentally omitted others.

Editing Tip #2: Edit at Two Levels: Conceptual and Line-by-Line

Editing is conducted at two levels. First concentrate on the conceptual, or substantive, level to ensure that your ideas are strong, logical and well-organized. Once this step is complete, go through your work line-by-line to check for small details such as spelling, grammar, word choice and punctuation.

Conceptual Editing

When you begin to edit at the conceptual level, try to approach your work as though you were the intended reader instead of the author. In your role as reader, look at the introduction. Is it compelling? Do you clearly understand what the topic, major points and slant of the communication will be?

Then look at the body. Do the ideas flow well, or are they confusing? Are they presented in some kind of logical order? Do concrete details help to paint a clear picture? Are any stray ideas lurking in unrelated paragraphs?

Does this communication seem to be written for you? In other words, do you feel like you are its intended audience, or does the writer fail to explain concepts, terms and acronyms you don't understand? Is the voice of this communication appropriate? Is it too formal? Too informal? Just right?

Did the writer insult your intelligence by repeating the same ideas over and over? Or did the writer present a strong, clear, coherent argument that you understood immediately? Finally, what is your overall impression of this communication (and its writer)? Positive or negative?

This technique of reading what you have written as though you were the intended audience will help you see your communications from a different perspective. Some of what you discover may surprise you. Make any changes that are necessary and then proceed to line editing.

Line Editing

The final step in the editing process is to go through your document line-by-line to check for errors in mechanics (e.g., spelling, grammar, punctuation), word usage and format.

If you included tables or figures, be sure to check that the captions are correct and that you entered the data correctly. Also be sure you have expressed your ideas as succinctly as possible. If you find your sentences are filled with empty, unnecessary words, delete them.

Try This!

If you are having problems "seeing" your errors at the line level, go to the end of your document and read the last sentence. Then read the second to last sentence. Continue working from the end to the beginning until you reach your opening line! This technique keeps your brain from automatically reading what you think you wrote and helps you see what is actually on the page.

A Special Word About Homonyms

The English language has many words, called homonyms, that sound the same but are spelled differently and have different meanings. The four most common sets are: their/they're/there, too/to/two, your/you're, and its/it's.

These are FREQUENTLY used incorrectly! Even when you know the difference between them, it is easy to type the wrong word when you are concentrating on getting your ideas down on paper. Unfortunately, ordinary spell-check programs cannot distinguish between homonyms that are used correctly and those that are used incorrectly. Therefore, always pay special attention to these words when you are conducting a line edit.

Editing Tip #3: Always Spell-Check Your Work

It is amazing how often writers fail to perform this final edit--especially since it is so easy to do! I will agree that spell-check programs attached to word processing software cannot detect homonyms, that they highlight unfamiliar words that are actually spelled correctly, and that the grammar check is frequently just plain wrong.

On the other hand, they do pick up incorrect spacing between words, highlight a few grammar problems correctly, and catch most of your misspelled words. The process doesn't take very long and is easy to perform. In the end, you have nothing to lose by taking this final step and potentially much to gain!