I would like to wish
Dyanne Davis
Sean Young
Sylvia Hubbard
A Happy Birthday
May the Lord bless you with you many more years
and may all your birthday wishes come true.
Have a great day.
Saturday, September 01, 2007
Panel Discussion: Why you need a publicist?
COME INSIDE AND MEET
Pam Perry, Marlive Harris, Kathy Carlton Willis, Rebeca Seitz
Pam Perry, Marlive Harris, Kathy Carlton Willis, Rebeca Seitz
Panel Discussion: Marketing
COME INSIDE AND MEET
LaShaunda C. Hoffman, Dyanne Davis, Shelia Goss, Dee Stewart, Electa Rome Parks, Dara Girard, Ayn Hunt, Sylvia Hubbard, Cheryl Robinson, Andrea Jackson,
LaShaunda C. Hoffman, Dyanne Davis, Shelia Goss, Dee Stewart, Electa Rome Parks, Dara Girard, Ayn Hunt, Sylvia Hubbard, Cheryl Robinson, Andrea Jackson,
L. Martin Johnson Pratt, Debra Owsley
WORKSHOP: How to Get Booked on Radio Talk Shows
WORKSHOP: How to Get Booked on Radio Talk Shows - Host: Cheryl Robinson
Radio Talk Show Exposure Sells Books! It is the most powerful PR vehicle to jump-start a media campaign and can separate you from thousands of new authors and their books by getting you noticed by the buying public.
In this workshop you will learn:
How to kick-off a coast-to-coast or international publicity campaign
How to impress a producer
How to create a "buzz" for your book
How to create a 15-second sound bite about your book
How to get a talk show interview
How to reach America's urban markets without leaving home
How to create fans and dedicated readers
How much "free publicity" would cost if you had to pay for it
What the difference is between a best-seller and a bargin-bin dweller
What the Benefits are of Using Talk Radio
How two Best-Selling Authors sold 9 million books in three years
Take Action and Separate Yourself from tens of thousands of new Authors by signing up for this workshop!
http://www.justaboutbookstalkshow.com/
Introduction:
There are literally tens of thousands of new books released every year. As more and more titles enter into the market, each author needs to take immediate action if he or she wants to be separated from the majority and get noticed by the buying public. When it comes to book publicity, it’s a fiercely competitive world out there.
What is the Most Powerful Vehicle to Use for PR
RADIO TALK SHOW INTERVIEWS—One interview can jump-start a media campaign for your book. And it can get the author more business and build a personal fortune by selling more books.
The Facts About Radio
According to a recent survey by Statistical Research Inc., 96% of the US population listens to the radio at least once a week and 75% listens EVERY DAY … more than any other media. So, Talk Show Interview time is worth even more than ad time.
Why? Because people pay more attention to the talk shows than the commercials.
Understanding Radio Talk Shows
What is The Biggest Mistake Most Authors Make?
They do a twenty-city tour and think they are finished promoting their book.
What is the difference between a best-seller and a bargain-bin dweller?
Media Publicity.
Is Your Book a Best-kept Secret?
What Are the Benefits for an Author Using Radio Talk Shows?
You can tap into the unlimited availability of radio publicity.
You will have a captive audience of thousands…even millions…of listeners.
You can be promotional of your book.
You can do the interviews on the phone from anywhere for free—the radio station calls you.
You can make your book stand out from the other books.
It is easier to get booked on radio than any other venue.
More sold books, since Talk Shows are rebroadcast many times!
Why Should You Use Radio Talk Show Interviews to Promote Your Book?
You have more control over the content of the interview than television or print.
You can mention your title, your website, your contact information and your buying information several times. (Repetition, Repetition and more Repetition.)
You can promote to millions of people with one interview!
You can sell books—long after the original show is off air.
You can get both your name and book title in front of the public.
Your name and book title will eventually stick in the listener’s head.
Why Book Radio Talk Shows?
Talk Radio offers tremendous exposure, both with traditional and Internet radio stations.
You can kick-off a coast-to-coast publicity campaign on traditional radio.
You can kick-off an international publicity campaign on Internet radio.
Your book promotion should include interviews on Talk Shows to build a huge demand for your books.
You get to talk at length about your book and expertise as an author.
You don’t have to be a professional speaker.
Remember: It is the talk show host’s job to make you sound good and to keep the show moving. Statistics show that 65% of all talk show guests are authors and shows need guests!
What Can Booking a Talk Show Interview Do for You?
Create a “buzz” for your book.
Create fans and dedicated readers.
Get you in touch with individual readers and book clubs.
Help you reach urban markets without leaving home.
How to Get Booked on a Talk Show
Talk Show Producers want to attract listeners and boost ratings. They are always looking for that “special” guest.
Always send a complimentary copy of your book. It may cost you now, but it will pay in the long run. If they already have your book, they will call you first.
Impress the producer with a pitch letter and a media kit and/or a press release. It is the key that opens doors to talk show interviews. (Hard copy or Electronic)
Call or email the producer of the talk show yourself and pitch your book directly. Your publicist or agent is busy with other clients/books.
When talking to the Host, have a smile on your face. They can hear it in your voice. Be enthusiastic. Your conversation with the Host is a mini-interview.
Impress the producer with a clever hook. You know the special slant that your book has to offer.
Really impress the producer with a one-page teaser, which includes book title, related issues, and 5 suggested questions to get the host interested in your book. You have done most of the work for the Talk Show Host. If they have an opening or a cancellation, they will call you.
Ask about themes and tell the Host how you will fit in.
If you are not a perfect fit for this Talk Show, don’t panic. Talk Show Hosts talk to each other and make suggestions to their colleagues.
Remember the name of the Host and use it throughout the interview. You will be asked to return.
Create a 15-second sound bite about your book and have it memorized. This is especially good if you only get a 10- or 15-minute talk show spot. For Example: The life of a Negro League baseball player, segregation and a missed opportunity to play Major League baseball is combined with Negro League trivia, facts, and a list of Negro League teams and surviving players—a wealth of baseball information.
TIP #1/ Stay Current
Follow the news. What are people talking about? What is the media discussing? What is the buzz? Why is this important? Because, in case you haven’t noticed, talk radio is all about current events. Current events in politics, sports, weather, health, and social issues. So, how does your book tie-in to current events? When you know what’s current, you can package your message to fit the news…making you an attractive guest for a talk show. Also, monitor the talk radio arena. Take time to listen to some local and/or national talk shows, hear what they’re talking about and get a feel for the public audience.
TIP #2/ Tie-Ins To The News
As you follow the hottest stories in the news, think of ways you can tie the message of your book into them. Look for controversy or big names, big money or even relationship issues… These are always tantalizing topics for many talk show hosts (and their listeners). Developing a good angle for your book that’s newsworthy means you might get on the air with your novel.
TIP #3/ Pitch Your Topic, Not Your Book or Yourself
As you develop your message, keep in mind that radio hosts are interested in what you can do for their listeners, not what they can do for you. They want an interview, not an infomercial for your book. So, when pitching to hosts and producers, put emphasis on the issue you want to talk about on the air, rather than on your book. The fact that you’ve authored a book gives you “credibility,” so be wise when pitching your cause. There’s no need to worry, once on the air, you’ll be given plenty of opportunity to plug your book during the interview. But a word of caution, don’t overdue it.
“I had one well-known author come on my talk show and he used it as an hour-long infomercial. He was a good author, but his last book was also an infomercial, not a sequel to his first best seller. You guessed it, I will never have him on my show ever again. And I told all of my colleagues about his arrogance.”
TIP #4/ The Right Press Release Formula
Nothing is more important than the press release or pitch letter. It’s your key to opening the media’s door. The quality of your press release has everything to do with your success in getting booked as a Talk Show guest. You want to make sure your headline is enticing. It must grab the Host’s attention, first. The text of your release should elaborate on the subject matter and what the “on-air” conversation will be about. It is always good to include a couple of intriguing or provocative quotes. Also include a short, but impressive bio, and 5 to 10 questions you would like the host to ask you. They may or may not use your questions, but you gave them incite into your book.
There’s plenty more to learn, but the information in this workshop can help jump-start you into the world of talk radio. If you want to know more, ask me about Media Training Classes.
“This is how to get booked on Radio Talk Shows. This is how successful PR agents do it, this is how successful authors do it, and this is how I do it. I am looking forward to your workshop questions.”
Cheryl Robinson
www.JustAboutBooksTalkShow.com
Radio Talk Show Exposure Sells Books! It is the most powerful PR vehicle to jump-start a media campaign and can separate you from thousands of new authors and their books by getting you noticed by the buying public.
In this workshop you will learn:
How to kick-off a coast-to-coast or international publicity campaign
How to impress a producer
How to create a "buzz" for your book
How to create a 15-second sound bite about your book
How to get a talk show interview
How to reach America's urban markets without leaving home
How to create fans and dedicated readers
How much "free publicity" would cost if you had to pay for it
What the difference is between a best-seller and a bargin-bin dweller
What the Benefits are of Using Talk Radio
How two Best-Selling Authors sold 9 million books in three years
Take Action and Separate Yourself from tens of thousands of new Authors by signing up for this workshop!
http://www.justaboutbookstalkshow.com/
Introduction:
There are literally tens of thousands of new books released every year. As more and more titles enter into the market, each author needs to take immediate action if he or she wants to be separated from the majority and get noticed by the buying public. When it comes to book publicity, it’s a fiercely competitive world out there.
What is the Most Powerful Vehicle to Use for PR
RADIO TALK SHOW INTERVIEWS—One interview can jump-start a media campaign for your book. And it can get the author more business and build a personal fortune by selling more books.
The Facts About Radio
According to a recent survey by Statistical Research Inc., 96% of the US population listens to the radio at least once a week and 75% listens EVERY DAY … more than any other media. So, Talk Show Interview time is worth even more than ad time.
Why? Because people pay more attention to the talk shows than the commercials.
Understanding Radio Talk Shows
What is The Biggest Mistake Most Authors Make?
They do a twenty-city tour and think they are finished promoting their book.
What is the difference between a best-seller and a bargain-bin dweller?
Media Publicity.
Is Your Book a Best-kept Secret?
What Are the Benefits for an Author Using Radio Talk Shows?
You can tap into the unlimited availability of radio publicity.
You will have a captive audience of thousands…even millions…of listeners.
You can be promotional of your book.
You can do the interviews on the phone from anywhere for free—the radio station calls you.
You can make your book stand out from the other books.
It is easier to get booked on radio than any other venue.
More sold books, since Talk Shows are rebroadcast many times!
Why Should You Use Radio Talk Show Interviews to Promote Your Book?
You have more control over the content of the interview than television or print.
You can mention your title, your website, your contact information and your buying information several times. (Repetition, Repetition and more Repetition.)
You can promote to millions of people with one interview!
You can sell books—long after the original show is off air.
You can get both your name and book title in front of the public.
Your name and book title will eventually stick in the listener’s head.
Why Book Radio Talk Shows?
Talk Radio offers tremendous exposure, both with traditional and Internet radio stations.
You can kick-off a coast-to-coast publicity campaign on traditional radio.
You can kick-off an international publicity campaign on Internet radio.
Your book promotion should include interviews on Talk Shows to build a huge demand for your books.
You get to talk at length about your book and expertise as an author.
You don’t have to be a professional speaker.
Remember: It is the talk show host’s job to make you sound good and to keep the show moving. Statistics show that 65% of all talk show guests are authors and shows need guests!
What Can Booking a Talk Show Interview Do for You?
Create a “buzz” for your book.
Create fans and dedicated readers.
Get you in touch with individual readers and book clubs.
Help you reach urban markets without leaving home.
How to Get Booked on a Talk Show
Talk Show Producers want to attract listeners and boost ratings. They are always looking for that “special” guest.
Always send a complimentary copy of your book. It may cost you now, but it will pay in the long run. If they already have your book, they will call you first.
Impress the producer with a pitch letter and a media kit and/or a press release. It is the key that opens doors to talk show interviews. (Hard copy or Electronic)
Call or email the producer of the talk show yourself and pitch your book directly. Your publicist or agent is busy with other clients/books.
When talking to the Host, have a smile on your face. They can hear it in your voice. Be enthusiastic. Your conversation with the Host is a mini-interview.
Impress the producer with a clever hook. You know the special slant that your book has to offer.
Really impress the producer with a one-page teaser, which includes book title, related issues, and 5 suggested questions to get the host interested in your book. You have done most of the work for the Talk Show Host. If they have an opening or a cancellation, they will call you.
Ask about themes and tell the Host how you will fit in.
If you are not a perfect fit for this Talk Show, don’t panic. Talk Show Hosts talk to each other and make suggestions to their colleagues.
Remember the name of the Host and use it throughout the interview. You will be asked to return.
Create a 15-second sound bite about your book and have it memorized. This is especially good if you only get a 10- or 15-minute talk show spot. For Example: The life of a Negro League baseball player, segregation and a missed opportunity to play Major League baseball is combined with Negro League trivia, facts, and a list of Negro League teams and surviving players—a wealth of baseball information.
TIP #1/ Stay Current
Follow the news. What are people talking about? What is the media discussing? What is the buzz? Why is this important? Because, in case you haven’t noticed, talk radio is all about current events. Current events in politics, sports, weather, health, and social issues. So, how does your book tie-in to current events? When you know what’s current, you can package your message to fit the news…making you an attractive guest for a talk show. Also, monitor the talk radio arena. Take time to listen to some local and/or national talk shows, hear what they’re talking about and get a feel for the public audience.
TIP #2/ Tie-Ins To The News
As you follow the hottest stories in the news, think of ways you can tie the message of your book into them. Look for controversy or big names, big money or even relationship issues… These are always tantalizing topics for many talk show hosts (and their listeners). Developing a good angle for your book that’s newsworthy means you might get on the air with your novel.
TIP #3/ Pitch Your Topic, Not Your Book or Yourself
As you develop your message, keep in mind that radio hosts are interested in what you can do for their listeners, not what they can do for you. They want an interview, not an infomercial for your book. So, when pitching to hosts and producers, put emphasis on the issue you want to talk about on the air, rather than on your book. The fact that you’ve authored a book gives you “credibility,” so be wise when pitching your cause. There’s no need to worry, once on the air, you’ll be given plenty of opportunity to plug your book during the interview. But a word of caution, don’t overdue it.
“I had one well-known author come on my talk show and he used it as an hour-long infomercial. He was a good author, but his last book was also an infomercial, not a sequel to his first best seller. You guessed it, I will never have him on my show ever again. And I told all of my colleagues about his arrogance.”
TIP #4/ The Right Press Release Formula
Nothing is more important than the press release or pitch letter. It’s your key to opening the media’s door. The quality of your press release has everything to do with your success in getting booked as a Talk Show guest. You want to make sure your headline is enticing. It must grab the Host’s attention, first. The text of your release should elaborate on the subject matter and what the “on-air” conversation will be about. It is always good to include a couple of intriguing or provocative quotes. Also include a short, but impressive bio, and 5 to 10 questions you would like the host to ask you. They may or may not use your questions, but you gave them incite into your book.
There’s plenty more to learn, but the information in this workshop can help jump-start you into the world of talk radio. If you want to know more, ask me about Media Training Classes.
“This is how to get booked on Radio Talk Shows. This is how successful PR agents do it, this is how successful authors do it, and this is how I do it. I am looking forward to your workshop questions.”
Cheryl Robinson
www.JustAboutBooksTalkShow.com
THANK YOU
Thank you for attending this week online conference. I hope you had fun and learn a lot.
Please make sure to fill out the survey. Your opinions helps us improve the conference and offer workshops you want to attend.
http://sormag.blogspot.com/2007/09/survey-2007.html
If you enjoyed the conference please make a donation. Every dollar helps us to continue offering informative events. You can make a donation online on the blog or at http://paypal.com/
send to shadesofromance@mail.com
or contact me at sormag@yahoo.com for mailing address. We accept checks/money orders.
As you know postage is a lot higher and everyday we receive more books to send out for review. A five dollar donation will send out four books. Ten dollars will send out 10 books. Thank you in advance for your support, without you there’s no SORMAG.
The conference will stay online for the rest of the year, so feel free to stop by and read the posts. Tell your friends what they missed.
Congrats to the writers who manuscripts were requested during our online pitches. We thank the editors for their time. I know soon, I’ll be hearing they sold.
I will be checking the posts to see who posted the most comments during the conference. I have a nice prize for you.
Don’t forget to check the blog to see if you won a prize. If I don’t hear from you by Friday next week, all unclaimed prizes will be donated to someone else.
A BIG THANK YOU to all the writers who participated or donated a prize to this conference. Without you, there would be no conference. Thank you for sharing your wisdom.
We offer the conference every other year, so see you in 2009. Until then, happy reading and writing.
See ya on the net,
LaShaunda
SORMAG Online Conference Coordinator
Please make sure to fill out the survey. Your opinions helps us improve the conference and offer workshops you want to attend.
http://sormag.blogspot.com/2007/09/survey-2007.html
If you enjoyed the conference please make a donation. Every dollar helps us to continue offering informative events. You can make a donation online on the blog or at http://paypal.com/
send to shadesofromance@mail.com
or contact me at sormag@yahoo.com for mailing address. We accept checks/money orders.
As you know postage is a lot higher and everyday we receive more books to send out for review. A five dollar donation will send out four books. Ten dollars will send out 10 books. Thank you in advance for your support, without you there’s no SORMAG.
The conference will stay online for the rest of the year, so feel free to stop by and read the posts. Tell your friends what they missed.
Congrats to the writers who manuscripts were requested during our online pitches. We thank the editors for their time. I know soon, I’ll be hearing they sold.
I will be checking the posts to see who posted the most comments during the conference. I have a nice prize for you.
Don’t forget to check the blog to see if you won a prize. If I don’t hear from you by Friday next week, all unclaimed prizes will be donated to someone else.
A BIG THANK YOU to all the writers who participated or donated a prize to this conference. Without you, there would be no conference. Thank you for sharing your wisdom.
We offer the conference every other year, so see you in 2009. Until then, happy reading and writing.
See ya on the net,
LaShaunda
SORMAG Online Conference Coordinator
In Memory Of
Katherine D. Jones
Aug 17 1965 - May 17 2007
I would like to dedicate this conference to the memory of Katherine D. Jones. I met Katherine at a conference she was an aspiring writer dreaming of publication. She became a contributer to the magazine and I was too excited to be able to promote her book when she debut.
She was a loyal participant of the conference. We'd send emails back in forth talking about what we liked and what we'd learned. I really missed her this year, because I know she had a lot of wisdom to share.
Life is so short, please remember to tell those you love you love them. Hug more and be kind to other, because you never know.
I miss you Katherine, I know you’re in heaven sharing your books. Till we meet again, I will make sure your memory lives on.
Visit Katherine's site and learn more about this kindred spirit
If you have memories of Katherine, please feel free to share them here.
WINNERS- DAY 6
WINNERS
Stephaine Worth
Devon Vaughn Archer
Yolanda
Michelle Larks
Cheryl Robinson
Jill Nelson
Abigail
Betty Griffin
Celine Chatillion
Marisa Monteil
Linda Beed
LaConnie
Karen Duval
Carmen
Stacy Boyd
Edwardo Jackson
Projectr.ea.d
Dara Girad
Roxann Rustand
Monica Harris
Leigh Michaels
Margo Candela
Doorprize winners please pick from the list below for your prize. First come first serve, send me three choice just incase first isn't available - sormag@yahoo.comPlease make sure you send the email you registered with to claim prize.
BOOK - My Husband's Girlfriend
Cydney Rax
The Street Life Series
Kevin M. Weeks
These Are My Confessions
Electa Rome Parks
WHO WILL HEAR MY SCREAMS (2)
Anna Dennis
THE PUREST OF PAIN(2)
Anna Dennis
Special sneak preview of ONCE UPON A PROJECT
Bettye Griffin
Book By Dyanna Davis (2)
Love's Treacherous Terrain
Shoba Mano
Email course on Writing for Anthologies
Dena Dyer
Keepin' It Tight
Shani Greene-Dowdell
HEALING THE BREACH
Rosalind Stormer
EVER WONDERFUL
Kim Louise
Free 1-hour Author
Interview on Just About Books Radio Talk Show
Donated by Cheryl Robinson, Host of Just About Books Talk Show
Author Series eBooklet, "How to Get Booked on Radio Talk Shows and Sell Books"
Donated by Cheryl Robinson, Host of Just About Books Talk Show
Author Series eBooklet, "Radio Interview Tips for Savvy Authors"
Donated by Cheryl Robinson, Host of Just About Books Talk Show
Author Series eBooklet, "How to Write Great Query Letters and Pitch Letters"
Donated by Cheryl Robinson, Host of Just About Books Talk Show
Author Series eBooklet, "How to Create the Perfect Media Kit"
Donated by Cheryl Robinson, Host of Just About Books Talk Show
UNDERNEATH IT ALL
Margo Candela
The Aura of Love
Kathy J Marsh
Stephaine Worth
Devon Vaughn Archer
Yolanda
Michelle Larks
Cheryl Robinson
Jill Nelson
Abigail
Betty Griffin
Celine Chatillion
Marisa Monteil
Linda Beed
LaConnie
Karen Duval
Carmen
Stacy Boyd
Edwardo Jackson
Projectr.ea.d
Dara Girad
Roxann Rustand
Monica Harris
Leigh Michaels
Margo Candela
Doorprize winners please pick from the list below for your prize. First come first serve, send me three choice just incase first isn't available - sormag@yahoo.comPlease make sure you send the email you registered with to claim prize.
BOOK - My Husband's Girlfriend
Cydney Rax
The Street Life Series
Kevin M. Weeks
These Are My Confessions
Electa Rome Parks
WHO WILL HEAR MY SCREAMS (2)
Anna Dennis
THE PUREST OF PAIN(2)
Anna Dennis
Special sneak preview of ONCE UPON A PROJECT
Bettye Griffin
Book By Dyanna Davis (2)
Love's Treacherous Terrain
Shoba Mano
Email course on Writing for Anthologies
Dena Dyer
Keepin' It Tight
Shani Greene-Dowdell
HEALING THE BREACH
Rosalind Stormer
EVER WONDERFUL
Kim Louise
Free 1-hour Author
Interview on Just About Books Radio Talk Show
Donated by Cheryl Robinson, Host of Just About Books Talk Show
Author Series eBooklet, "How to Get Booked on Radio Talk Shows and Sell Books"
Donated by Cheryl Robinson, Host of Just About Books Talk Show
Author Series eBooklet, "Radio Interview Tips for Savvy Authors"
Donated by Cheryl Robinson, Host of Just About Books Talk Show
Author Series eBooklet, "How to Write Great Query Letters and Pitch Letters"
Donated by Cheryl Robinson, Host of Just About Books Talk Show
Author Series eBooklet, "How to Create the Perfect Media Kit"
Donated by Cheryl Robinson, Host of Just About Books Talk Show
UNDERNEATH IT ALL
Margo Candela
The Aura of Love
Kathy J Marsh
WINNERS - DAY 5
WINNERS
Ayn Hunt
criss
Sylvia Hubbard
Rose
Nikki Arana
Vanessa Johnson
Marilynn Griffith
Karen
G. Miki
Kimberly
Anna Dennis
Sandra
Alethea P
Kathy Marsh
Marlo S
Treasures Antique Store
Susan May Warren
Koko Brown
Tia McCollors
Barbara Custer
Joylynn Jossel
Shaun Williams
Roberta DeCaprio
Doorprize winners please pick from the list below for your prize. First come first serve, send me three choice just incase first isn't available - sormag@yahoo.comPlease make sure you send the email you registered with to claim prize.
1 one year subscriptions Hope for Women magazine
LaTara Ham-Ying
http://www.hopeforwomenmag.org/
The Aura of Love
Kathy Marsh
Bag Lady
Alethea M Pascascio
Ladies' Night Out (2)
Electa Rome Parks
lavish lines/luscious lies - Poetry
Saadia Ali Aschemann
Donated by Diane Dorce
Autographed galley of “Paige's Web”
Sheila M. Goss
WHO WILL HEAR MY SCREAMS (2)
Anna Dennis
THE PUREST OF PAIN(2)
Anna Dennis
IF THESE WALLS COULD TALK
Bettye Griffin
Special sneak previews of ONCE UPON A PROJECT
Bettye Griffin
Book By
L.A. Banks
Prodigal Child in e-book format
Shoba Mano
The Object of Love(2)
Sharon Cullars
A Serial Affair
Natalie Dunbar
CHEMISTRY
Kim Louise
UNDERNEATH IT ALL
Margo Candela
The Aura of Love
Kathy J Marsh
Ace of Hearts- by Jean Holloway, Romantic Suspense
Donated by Diane Dorce
Family Ties
Sylvia Hubbard
Ayn Hunt
criss
Sylvia Hubbard
Rose
Nikki Arana
Vanessa Johnson
Marilynn Griffith
Karen
G. Miki
Kimberly
Anna Dennis
Sandra
Alethea P
Kathy Marsh
Marlo S
Treasures Antique Store
Susan May Warren
Koko Brown
Tia McCollors
Barbara Custer
Joylynn Jossel
Shaun Williams
Roberta DeCaprio
Doorprize winners please pick from the list below for your prize. First come first serve, send me three choice just incase first isn't available - sormag@yahoo.comPlease make sure you send the email you registered with to claim prize.
1 one year subscriptions Hope for Women magazine
LaTara Ham-Ying
http://www.hopeforwomenmag.org/
The Aura of Love
Kathy Marsh
Bag Lady
Alethea M Pascascio
Ladies' Night Out (2)
Electa Rome Parks
lavish lines/luscious lies - Poetry
Saadia Ali Aschemann
Donated by Diane Dorce
Autographed galley of “Paige's Web”
Sheila M. Goss
WHO WILL HEAR MY SCREAMS (2)
Anna Dennis
THE PUREST OF PAIN(2)
Anna Dennis
IF THESE WALLS COULD TALK
Bettye Griffin
Special sneak previews of ONCE UPON A PROJECT
Bettye Griffin
Book By
L.A. Banks
Prodigal Child in e-book format
Shoba Mano
The Object of Love(2)
Sharon Cullars
A Serial Affair
Natalie Dunbar
CHEMISTRY
Kim Louise
UNDERNEATH IT ALL
Margo Candela
The Aura of Love
Kathy J Marsh
Ace of Hearts- by Jean Holloway, Romantic Suspense
Donated by Diane Dorce
Family Ties
Sylvia Hubbard
SURVEY 2007
Thank you for participating in this year's online conference. We hope you enjoyed it and gain new knowledge.
Please take a moment to take this survey. You opinion is important to us. Copy and paste your answers in the comments or send to sormag@yahoo.com
Did you enjoy the conference?
On a scale of 1-10, how would you rate it?
How was your blogging experience?
What did you not like about the conference?
How often did you visit the conference?
Which days did you enjoy the most?
Which workshop was the most helpful?
Which workshop was the least helpful?
What would you like to see in future conferences?
How can we improve the conference?
Why did you choose not to have a critique done?
Why did you choose not to pitch your manuscript?
Should we offer these two services again?
If you have any suggestions or more comments, please list them.
Please take a moment to take this survey. You opinion is important to us. Copy and paste your answers in the comments or send to sormag@yahoo.com
Did you enjoy the conference?
On a scale of 1-10, how would you rate it?
How was your blogging experience?
What did you not like about the conference?
How often did you visit the conference?
Which days did you enjoy the most?
Which workshop was the most helpful?
Which workshop was the least helpful?
What would you like to see in future conferences?
How can we improve the conference?
Why did you choose not to have a critique done?
Why did you choose not to pitch your manuscript?
Should we offer these two services again?
If you have any suggestions or more comments, please list them.
Friday, August 31, 2007
DAY SIX – THE BUSINESS OF WRITING
Welcome to the sixth day of the conference.
To enter the rooms, click on the links.
Conference Rules (please read first before entering rooms)
How The Conference Works
Did you miss a day?
Panel: Meet the Agent - Tee C. Royal - Literary agent, Tamala Murray - Literary agent
Panel Discussion: Motivation - Dyanne Davis, Nikki Arana, J. S. Hawley, Dara Girard, Stefanie Worth, Yolanda Brunson-Sarrabo, Rhonda Jackson Joseph, Andrea Jackson, Marilynn Griffith, DeRon Smith
Workshop: Submitting - Host: Dyanne Davis
Workshop: The Naked Writer - Host: G. Miki Hayden
**Please remember to post your questions by 4pm central time.**
PROMOTION Room
MIX AND MINGLE Room
Prayer Room
PRIZE WINNERS
DAY5
Day 4
Day 3
DAY 2
DAY 1
Don't forget to win a prize you have to leave a comment in one of the rooms. This includes you lurkers, can't win if you don't post.
*I suggest you write your comment in word then cut and paste that way you don't lose it.
If you have any problems, send an email to sormag@yahoo.com
ENJOYING THE CONFERENCE?
To enter the rooms, click on the links.
Conference Rules (please read first before entering rooms)
How The Conference Works
Did you miss a day?
Panel: Meet the Agent - Tee C. Royal - Literary agent, Tamala Murray - Literary agent
Panel Discussion: Motivation - Dyanne Davis, Nikki Arana, J. S. Hawley, Dara Girard, Stefanie Worth, Yolanda Brunson-Sarrabo, Rhonda Jackson Joseph, Andrea Jackson, Marilynn Griffith, DeRon Smith
Workshop: Submitting - Host: Dyanne Davis
Workshop: The Naked Writer - Host: G. Miki Hayden
**Please remember to post your questions by 4pm central time.**
PROMOTION Room
MIX AND MINGLE Room
Prayer Room
PRIZE WINNERS
DAY5
Day 4
Day 3
DAY 2
DAY 1
Don't forget to win a prize you have to leave a comment in one of the rooms. This includes you lurkers, can't win if you don't post.
*I suggest you write your comment in word then cut and paste that way you don't lose it.
If you have any problems, send an email to sormag@yahoo.com
ENJOYING THE CONFERENCE?
Panel: Meet the Agent
COME INSIDE AND MEET
Tee C. Royal - Literary agent, Tamala Murray - Literary agent
Panel Discussion: Motivation
COME INSIDE AND MEET
Dyanne Davis, Nikki Arana, J. S. Hawley, Dara Girard, Stefanie Worth, Yolanda Brunson-Sarrabo, Rhonda Jackson Joseph, Andrea Jackson, Marilynn Griffith, DeRon Smith
Dyanne Davis, Nikki Arana, J. S. Hawley, Dara Girard, Stefanie Worth, Yolanda Brunson-Sarrabo, Rhonda Jackson Joseph, Andrea Jackson, Marilynn Griffith, DeRon Smith
Workshop: Submitting
Allow me to introduce myself. My name is Dyanne Davis and so far I have eight published romances under that name. I am now also using my initials in my newly released vampire series. F. D. Davis . I have done numerous workshops and have a local cable show, The art of Writing. I started the show and give workshops because when I first began I made a ton of mistakes. There were a lot of things I didn't know. My intent is to help any and all writers with things that I think are important to them. Believe me I have not learned it all yet and as I continue to learn I will continue to share. Some of the information I'm going to give have come from other sources and other than things that I found on Writers Digest website (links) I have obtained permission for sharing. (copyright and all that.) LOL.
Read through and any questions we can discuss them. Remember no question is a stupid question. If I don't know the answer I will do my best to get it for you. I hope you enjoy the workshop and find it helpful.
Terms that Every Writer Should Know
Acceptance: Even after a contract is signed between author and publisher, the editor still has to "accept" the final version of the manuscript. After acceptance, the publisher can proceed with publication and release the author's agreed upon advance.
Advance: The amount of money the publisher pays the author up-front upon acceptance of the manuscript for publication. Typically, the book's sales must "earn out" the advance before the author is paid any additional monies.
Agent: The author's representative in business dealings with the publisher.
ARC: Advance Review Copy of your book. Distributed to reviewers before book is released.
Author's Voice: The unique use of words, phrases, and writing techniques that places an author's "stamp" on their work. It is recognizable to the reader, even if they don't know who the author is. Prime example of author's "voice" vs. "style": Stephen King and Dean Koontz. Similar style, but very different author voices.
Back Cover Copy: The few paragraphs "blurbed" on the back of a book to give the reader a quick sketch of what the book's about.
Characterization: The author's ability to populate their stories with unique, individual people who are living and breathing to the reader. When two people have a conversation in a novel, the reader should be able to know who is saying what, without the name tags, based on how well the author has developed the character.
Conflict: The driving force of most fiction. Plot without conflict is nothing more than a "journal" of events.
Distributor: Large company that warehouses books from the publishers and distributes them to the booksellers.
Editor: The representative of the publishing house who evaluates your work, and can make decisions on purchasing it. The editor stays with the author through the publication process, recommending revisions, giving final approval over the manuscript before acceptance.
Galleys: The line-edited, copy-edited version of your manuscript before it goes to print. Last chance for minor corrections, but no major overhauls should occur at this point.
Goal: Your character's most desired objective.
Hook: A device for grabbing reader's attention.
IRIS: The color photo-quality image of the book's cover art, spine and back cover copy.
Joint Accounting: The process where a publisher combines the sales of different books by one author in a royalty statement, requiring each book's advance to "earn out" before any additional royalties are paid on any other book
Manuscript: The typed version of your book.
Motivation: The reason your character is struggling so hard to achieve his or her goal.
Pacing: The speed at which the writer moves the reader through the story. Long passages of narrative slow pacing, while dialogue exchanges speed pacing. Note: The pacing of the book is not the same as the time covered in the story.
Partial: A set number of chapters (typically 3) requested by the publisher to evaluate a proposal.
POV: Point of View- whose head are you in during the scene? Most novels today are written in 3rd person (he saw, she did) vs. 1st person (I saw, I did) and most are in past tense (he did, she was) vs. present tense (he does, she is).
Print Run: The number of copies of the book the publisher will print for distribution. Typically a first-time author's print run is pre-determined according to the publisher's expectations for the book, while a more established author will have previous sales records to help determine the run.
Proposal: A package put together for the editor, including a synopsis of your book, plus a partial of the actual manuscript. Generally, first-time authors will only sell on complete manuscript, while subsequent sales are made on proposal.
Publisher: Company that purchases manuscript, prints it, and offers it for sale to the public.
Query: A brief (1 page) letter to an editor, pitching yourself and your manuscript. Should read something like a "back cover blurb" to succinctly grasp the essence of your work and make the editor want to read the synopsis.
Reserves: The amount of money the publisher "holds back" from an author's royalties, based on the assumption that booksellers will strip and return unsold books.
Rights: In a contract, typically the publisher is "buying" the ability to control the author's work for a set amount of time and for set purposes. Some contracts include rights for a number of years, for publication in various forums including print, print on demand, e-publishing. Some even include film rights, meaning the publisher has purchased the ability to negotiate with a Hollywood producer to film your story on your behalf, for a pre-determined percentage
Royalties: The money the author makes on a book. Typically, an agreed upon percentage of the cover price, based on book sales.
Scene: The key moments showing the characters progression through their story.
Sequel: A transition to link scenes, gives character the opportunity to react to what just happened and to prepare for what will happen in the next scene.
Synopsis: A brief (1 page per 10,000 ms. words) description of the plot of your book. Should be written in present tense, with as few character names as possible, should cover the turning points in your book and should include no dialogue. Designed to engage the editor's interest in your story, the synopsis should resolve all plot questions and must never leave an editor "hanging."
Tag: A device used by the author to let the reader know which character is speaking.
Turning Point: The times in your book when your characters change direction. The plot builds, your characters act or react to what is going on, and something occurs to send them in an unforeseen direction, bringing the reader along with them.
The Art of Writing
Writing Basics
What is a Synopsis?
Syn·op.sis - A brief outline or general view, as of a subject or written work; an abstract or a summary. [Late Latin, from Greek sunopsis, general view]
I. Synopsis ~
A. How to write a synopsis
Make sure your synopsis explains everything about your story. This isn't the place to 'leave them wanting more. The synopsis should be exciting and fast-paced to hold the editor/agent's interest. Tell the synopsis as if you were relating the story to a friend. Give an overview of the story, leaving out all the unimportant details.
Questions to ask and answer: Who are the characters?
What do they want and why can't they have it? Those are points to include no matter the genre.
If there's humor in the book, keep some of it for the synopsis. Use your "voice". The most important aspect of any synopsis is to show the characters' conflicts, external and internal. An editor wants to know if the conflict is strong enough to carry an entire novel.
Put the two characters and their internal conflicts right up front as a set-up. Then follow with their external conflict. Boil your book down to the characters, conflicts and motivations. If you're describing too much of what happens, rather than why, you're going to lose a busy editor's interest.
Internal conflict:
Start the first one or two paragraphs with a hook blurb. Then focus on the emotional conflict of your
Hero/Heroine. Don't include secondary characters unless absolute necessary, and just a brief mention at that. Keep it as brief as possible. Read the back covers of some of your favorite novels for your hook blurb.
Try to open with a hook sentence. Use active verbs and try to use words like "must" instead of "wants to" if a character MUST do something it's more compelling. Try to keep it in your own voice also. You're giving an overall view of what your story is about. Brief, catchy, and attention getting.
B. What's the proper synopsis length?
The length of the synopsis depends on what your targeted publishing house requires. Check before sending.
II. Submissions - First Impressions Do Last
A. Proper Manuscript format
1" Margins all the way around
Double spaced
25 lines per page
Easily read font - most common are Times New Roman 12 pt font & Courier New 12 pt font
Header with name, address, phone number, email address, website and page number
Chapters start midway down page
B. Word Counts
1. Is there a standard way to count words?
There are basically two methods: the page count method and the computer generated word count.
2. Computer word count:
On MS Word: Click Tools. Then Word Count.
On Word Perfect: Click File, Properties, Information Tab.
3. Page count method:
Once you have 25 lines per page (see below), each page should roughly contain 250 words.
Count the number of pages you have, multiply that by 250 and you'll have your word count
4. How do I get 25 lines per page?
ON MS WORD: Click Format. Click Paragraph. Click the Index/Spacing Tab. Under
spacing: Click on the Line Spacing drop down box. Select Multiple. A number will appear in
the box next to the drop down box. Highlight the number and input 1.9. Click OK. Then you'll have 25 lines per page.
2. Writing the query
1. How important are query letters?
The query letter opens the door. You want to sound like you know what you're talking about. Make sure the agent/editor WANTS something like yours. Make sure your query letter- in one sentence if possible- grabs the editor's attention. If you can't write a coherent, professional and catchy query, you may lose the editor/agent's interest before they even get around to looking at your story.
2. Who and How to Query?
Most publishers and agents have guidelines available for contact. You can find them at the RWA website for ones that are approved. Now you can goggle almost anyone so if you don't find what you're looking for on RWA site goggle the house you're looking for. Sometimes publishing houses have samples or tips available.
If you don't have an agent, make sure the publisher accepts unagented queries.
3. What Should I Include With My Query?
The query should be set up as follows:
HOOK -- your one-sentence log-line.
BLURB -- the condensed version of a back cover blurb
MARKET -- the tone, sub genre, length of your manuscript and what readership it might
appeal to
YOU -- one paragraph bio.
Different agents and editors prefer different methods. Some prefer just a letter, others prefer a short synopsis with the letter. Still others will accept sample chapters. If you're unsure based on their guidelines, call their office and double-check.
The necessities to include: the book you're pitching, maybe how long you've been writing and writing and affiliations.
If you don't have writing credentials, mention what you do for a living if it's pertinent to the
book Your "pitch" paragraph should include the major characters (hero and heroine), their goal,motivation and the conflict.
If you've won a contest or have experience relevant to your book, include that in a query, too. RWA membership is helpful.
Paragraph 1. The hook. A statement that catches the eye and intrigues the reader.
Paragraph 2. Three to five lines that summarize the story.
Paragraph 3. What it is, genre or subgenre, word count, the
audience it will appeal to.
Paragraph 4. Any biographical information that pertains to your novel. A line or two mentioning any contests, etc. you've won. Another line saying that you've enclosed a SASE, self addressed stamped postcard.
Most editors would also prefer a letter that has been addressed to them personally, not "to whom it may concern." Never give them a reason to put the page down.
No matter what, never make negative comments about other books in your comparison. This is a definite turn-off to most editors or agents. End the query with an offer to send your proposal to them at their request. Do not include comments made by friends or family about your manuscript. Keep it professional at all times. the title of the manuscript, its length, if it's finished, and what subgenre it falls into (historical, paranormal, The second paragraph should explain ( in only a few:) In the last paragraph, include any writing related credits you have. Have you been published in any other way? Newsletters? Magazines? Newspapers? Also include any respected writing organizations you are involved with (RWA for example) and any work you've done for it/them.
Close your letter with a thank you. And always include a SASE.
3. Examples of queries
Dear Editor/Agent:
I am seeking representation for my completed romance all about the art of writing, which is approximately 95,000 words and is ready for submission.
My first published work, The Color of trouble has garnered excellent reviews including The Emma Award. My second book the Wedding gown was chosen as a book club pick for black expressions, a subsidiary of Doubleday book club. I am currently a member of two critique groups, and the current president of the Windy City chapter of RWA. Please visit my website www.Dyannedavis. com for indications regarding my willingness to promote my work and actively participate in the marketing process.
Upon your request, I would be delighted to provide you with the partial or full manuscript for your consideration. I would like to thank you for your time and have enclosed a sase for your reply.
Sincerely
Dyanne Davis
Example from my agent's website on things that can help improve the quality of your manuscript.
3 SEAS LITERARY AGENCY
"Sailing you one port closer to your dreams"
How To Improve Your Manuscript Submission
IN GENERAL:
Use double-spacing and one-inch margins on all four sides. A 12-point Courier font is preferred by most editors.
Header: Your manuscript needs a header on each page. It should include the title, the author's name and the page number. (Note: If you prefer, the page number can be inserted at the bottom of the page.)
Because editors prefer to receive manuscripts that aren't bound, think what would happen if your 300-page manuscript fell off an editor's desk and lay scattered all over the floor. If there were no page numbers on the manuscript, the editor might reject it because you weren't professional enough to put page numbers on it.
Make sure your entire book flows smoothly. Try to eliminate any scattered thoughts. Avoid overuse of flashbacks.
A slow-moving beginning turns off agents and editors. Write a beginning hook to suck the reader in. Use action rather than narrative.
Sometimes there's too much information thrown into the first three chapters which bogs
down an otherwise great manuscript. The information in the first few chapters must be necessary to the story. The correct pacing is essential.
A rushed ending. As a writer comes to the end of the manuscript, it's easy to finish fast. The danger may be that the ending comes much too soon. The pacing at the end of the manuscript has to match the rest of the book.
The climax is resolved too easily. Be sure to tie up all loose ends that have drifted throughout your story.
Double-check for grammatical errors, such as misspelled or repeated words and sentence structure.
Using unusual words more than once in your entire manuscript. A reader will remember them and be pulled out of the story if you repeat them.
COMMON MANUSCRIPT ERRORS:
The improper use of the word -- its. It's is NOT possessive. It's means: It is. (A contraction) Never, never is an apostrophe used in its to show possession.
Correct: Its paw. Its nose. Its leg. Its house.
Incorrect: It's paw. It's nose. It's leg. It's house. You are saying: It is paw. It is nose. It is leg. It is house.
* * *
Commas: A compound sentence is made up of two independent sentences (they stand alone). Each contain a subject (noun or pronoun) and a predicate (a verb). Use a comma when they are joined by and, but, or, or nor.
Correct: We (subject) went (predicate) to the store, and we (subject) bought (predicate) a loaf of bread.
Exception: You do not need a comma if the sentence is short.
A simple sentence is made up of an independent clause and a dependent clause. A dependent clause contains only a verb (no subject) and is dependent on the independent clause (see above) in the sentence for the subject. The independent clause stands alone. (It would make a separate sentence if used by itself.)
Correct: We (subject) went (predicate) to the store and bought (predicate) a loaf of bread. (Notice how the dependent clause depends on the independent clause for the subject of the sentence.)
Exception: If the author wishes to separate or accentuate the dependent clause, it is perfectly fine to add a comma. Also, if you is understood in what looks like a dependent clause, a comma is needed.
* * *
The 2001 rule for use of the word: too.
Correct: We went to the circus too.
Incorrect: We went to the circus, too.
* * *
Toward is preferred over towards.
* * *
Sentences beginning with if, when, although, before, after, where, etc., must have a comma at the end of the clause.
Correct: When we go to Florida, we will go swimming.
Correct: Before we go to the movie, we'll have dinner somewhere nice.
Correct: If he goes, I'm staying home.
Incorrect: When the time comes I'll probably change my mind.
* * *
Overuse of the word: that
Read, and then read again, all sentences which contain the word "that." Many, many times "that" can be omitted, or the word "which" can be substituted. Sometimes, however, "that" is necessary and must remain in the sentence.
That not needed: I'm certain that you understand everything I'm trying to say.
Better way: I'm certain you understand everything I'm trying to say.
NOTE: Only by reading the sentence out loud and concentrating on it, will you be able to delete all unnecessary usage of the word, that. HINT: Use the "find" for locating all of the times you used "that" in your manuscript.
* * *
Contractions: Sprinkle contractions throughout your manuscript in dialog, inner monologue and narrative. You will notice how the words flow better immediately. NOTE: We talk using contractions, therefore, your characters should too.
Too stiff: "I am going to leave now," she said. "And when I come back, you had better have all your work finished. If you do not, then we will not go to the movie."
Better way: "I'm going to leave now," she said. "And when I come back, you'd better have all your work finished. If you don't, then we won't go to the movie." (Sounds natural.)
* * *
Name Dropping: Be sure not to keep repeating a character's name over and over in a paragraph or even on a page. When more than one character appears in a scene, it's sometimes necessary to repeat names.
Bad: Susan jumped off the sofa and lunged for the phone. Susan caught it on the second ring. It had to be Harry calling. Susan couldn't wait to tell him her exciting news.
Better: Susan jumped off the sofa and lunged for the phone. She caught it on the second ring. It had to be Harry calling. She couldn't wait to tell him her exciting news.
NOTE: The above examples are very basic. Read different pages of your manuscript and see how many times you use the character's name. Then substitute she/he in place of the proper name. You'll be amazed at how much better it flows.
* * *
DIALOGUE IS NOT CONVERSATION
There is no room for bad dialogue in a good manuscript. Example:
"Hi, how are you today?"
"I'm fine. How are you?"
"Better today. I was sick yesterday."
"That's too bad. I'm glad you're better.
"I've gotta go now. Bye."
"Bye."
NOTE: The above is conversation, not dialogue.
Dialogue's only purpose is to move the story along. If it doesn't, and it sounds like conversation, DELETE IT. Try not to have a character answer a question directly. It's better to answer a question with a question or to refer to something else.
* * *
Purple Prose: Being redundant. Incorrect sentence structure. These are all bad.
Using too many adjectives and adverbs. Strong writing demands strong nouns and verbs. A verb can be either active or passive. Always choose "active" voice whenever possible.
A noun is put to best use when it paints a definite picture of what you're trying to say.
Example: The black and white spotted (all adjectives) dog jumped to his seat on the big, red, noisy (all adjectives) truck.
Better: The Dalmatian jumped to his seat on the fire truck.
Note how the use of the word, "Dalmatian," paints a vivid picture in your mind. You know instantly what the writer is trying to show you.
* * *
Use past tense, unless you're writing literary fiction.
* * *
Viewpoints: It's difficult to develop your characters when you use 1st person viewpoint because you can't get inside any of their heads except the character telling the story. Consider this before starting to write in this viewpoint.
3rd person viewpoint is better. However, beginning writers have a tendency to jump around into everyone's viewpoint. If you're a best selling author, you can rewrite all the rules. If you're not, the best way to develop your characters is stay in one or two viewpoints throughout your manuscript.
A "camera" viewpoint does not allow you to develop your characters either. It's very distracting to be in the main character's head, and all of a sudden, you realize the writer, without warning, has tossed you inside someone else's head. Sometimes it's even a secondary character. And the biggest "no-no" of all is when the writer gets inside everyone's head that appears in the scene.
Pick one viewpoint and stick with it. Your writing will be stronger, and your characters will breathe. Change viewpoints only when it's important to the story. It is common for the hero and heroine's viewpoints to be used in romance books.
BE PROFESSIONAL! MAKING A SALE DEPENDS ON IT!
NOTE: The opinions in this section are those of 3 Seas Literary Agency. Another agent or editor may disagree with some or all of them.
Read through and any questions we can discuss them. Remember no question is a stupid question. If I don't know the answer I will do my best to get it for you. I hope you enjoy the workshop and find it helpful.
Terms that Every Writer Should Know
Acceptance: Even after a contract is signed between author and publisher, the editor still has to "accept" the final version of the manuscript. After acceptance, the publisher can proceed with publication and release the author's agreed upon advance.
Advance: The amount of money the publisher pays the author up-front upon acceptance of the manuscript for publication. Typically, the book's sales must "earn out" the advance before the author is paid any additional monies.
Agent: The author's representative in business dealings with the publisher.
ARC: Advance Review Copy of your book. Distributed to reviewers before book is released.
Author's Voice: The unique use of words, phrases, and writing techniques that places an author's "stamp" on their work. It is recognizable to the reader, even if they don't know who the author is. Prime example of author's "voice" vs. "style": Stephen King and Dean Koontz. Similar style, but very different author voices.
Back Cover Copy: The few paragraphs "blurbed" on the back of a book to give the reader a quick sketch of what the book's about.
Characterization: The author's ability to populate their stories with unique, individual people who are living and breathing to the reader. When two people have a conversation in a novel, the reader should be able to know who is saying what, without the name tags, based on how well the author has developed the character.
Conflict: The driving force of most fiction. Plot without conflict is nothing more than a "journal" of events.
Distributor: Large company that warehouses books from the publishers and distributes them to the booksellers.
Editor: The representative of the publishing house who evaluates your work, and can make decisions on purchasing it. The editor stays with the author through the publication process, recommending revisions, giving final approval over the manuscript before acceptance.
Galleys: The line-edited, copy-edited version of your manuscript before it goes to print. Last chance for minor corrections, but no major overhauls should occur at this point.
Goal: Your character's most desired objective.
Hook: A device for grabbing reader's attention.
IRIS: The color photo-quality image of the book's cover art, spine and back cover copy.
Joint Accounting: The process where a publisher combines the sales of different books by one author in a royalty statement, requiring each book's advance to "earn out" before any additional royalties are paid on any other book
Manuscript: The typed version of your book.
Motivation: The reason your character is struggling so hard to achieve his or her goal.
Pacing: The speed at which the writer moves the reader through the story. Long passages of narrative slow pacing, while dialogue exchanges speed pacing. Note: The pacing of the book is not the same as the time covered in the story.
Partial: A set number of chapters (typically 3) requested by the publisher to evaluate a proposal.
POV: Point of View- whose head are you in during the scene? Most novels today are written in 3rd person (he saw, she did) vs. 1st person (I saw, I did) and most are in past tense (he did, she was) vs. present tense (he does, she is).
Print Run: The number of copies of the book the publisher will print for distribution. Typically a first-time author's print run is pre-determined according to the publisher's expectations for the book, while a more established author will have previous sales records to help determine the run.
Proposal: A package put together for the editor, including a synopsis of your book, plus a partial of the actual manuscript. Generally, first-time authors will only sell on complete manuscript, while subsequent sales are made on proposal.
Publisher: Company that purchases manuscript, prints it, and offers it for sale to the public.
Query: A brief (1 page) letter to an editor, pitching yourself and your manuscript. Should read something like a "back cover blurb" to succinctly grasp the essence of your work and make the editor want to read the synopsis.
Reserves: The amount of money the publisher "holds back" from an author's royalties, based on the assumption that booksellers will strip and return unsold books.
Rights: In a contract, typically the publisher is "buying" the ability to control the author's work for a set amount of time and for set purposes. Some contracts include rights for a number of years, for publication in various forums including print, print on demand, e-publishing. Some even include film rights, meaning the publisher has purchased the ability to negotiate with a Hollywood producer to film your story on your behalf, for a pre-determined percentage
Royalties: The money the author makes on a book. Typically, an agreed upon percentage of the cover price, based on book sales.
Scene: The key moments showing the characters progression through their story.
Sequel: A transition to link scenes, gives character the opportunity to react to what just happened and to prepare for what will happen in the next scene.
Synopsis: A brief (1 page per 10,000 ms. words) description of the plot of your book. Should be written in present tense, with as few character names as possible, should cover the turning points in your book and should include no dialogue. Designed to engage the editor's interest in your story, the synopsis should resolve all plot questions and must never leave an editor "hanging."
Tag: A device used by the author to let the reader know which character is speaking.
Turning Point: The times in your book when your characters change direction. The plot builds, your characters act or react to what is going on, and something occurs to send them in an unforeseen direction, bringing the reader along with them.
The Art of Writing
Writing Basics
What is a Synopsis?
Syn·op.sis - A brief outline or general view, as of a subject or written work; an abstract or a summary. [Late Latin, from Greek sunopsis, general view]
I. Synopsis ~
A. How to write a synopsis
Make sure your synopsis explains everything about your story. This isn't the place to 'leave them wanting more. The synopsis should be exciting and fast-paced to hold the editor/agent's interest. Tell the synopsis as if you were relating the story to a friend. Give an overview of the story, leaving out all the unimportant details.
Questions to ask and answer: Who are the characters?
What do they want and why can't they have it? Those are points to include no matter the genre.
If there's humor in the book, keep some of it for the synopsis. Use your "voice". The most important aspect of any synopsis is to show the characters' conflicts, external and internal. An editor wants to know if the conflict is strong enough to carry an entire novel.
Put the two characters and their internal conflicts right up front as a set-up. Then follow with their external conflict. Boil your book down to the characters, conflicts and motivations. If you're describing too much of what happens, rather than why, you're going to lose a busy editor's interest.
Internal conflict:
Start the first one or two paragraphs with a hook blurb. Then focus on the emotional conflict of your
Hero/Heroine. Don't include secondary characters unless absolute necessary, and just a brief mention at that. Keep it as brief as possible. Read the back covers of some of your favorite novels for your hook blurb.
Try to open with a hook sentence. Use active verbs and try to use words like "must" instead of "wants to" if a character MUST do something it's more compelling. Try to keep it in your own voice also. You're giving an overall view of what your story is about. Brief, catchy, and attention getting.
B. What's the proper synopsis length?
The length of the synopsis depends on what your targeted publishing house requires. Check before sending.
II. Submissions - First Impressions Do Last
A. Proper Manuscript format
1" Margins all the way around
Double spaced
25 lines per page
Easily read font - most common are Times New Roman 12 pt font & Courier New 12 pt font
Header with name, address, phone number, email address, website and page number
Chapters start midway down page
B. Word Counts
1. Is there a standard way to count words?
There are basically two methods: the page count method and the computer generated word count.
2. Computer word count:
On MS Word: Click Tools. Then Word Count.
On Word Perfect: Click File, Properties, Information Tab.
3. Page count method:
Once you have 25 lines per page (see below), each page should roughly contain 250 words.
Count the number of pages you have, multiply that by 250 and you'll have your word count
4. How do I get 25 lines per page?
ON MS WORD: Click Format. Click Paragraph. Click the Index/Spacing Tab. Under
spacing: Click on the Line Spacing drop down box. Select Multiple. A number will appear in
the box next to the drop down box. Highlight the number and input 1.9. Click OK. Then you'll have 25 lines per page.
2. Writing the query
1. How important are query letters?
The query letter opens the door. You want to sound like you know what you're talking about. Make sure the agent/editor WANTS something like yours. Make sure your query letter- in one sentence if possible- grabs the editor's attention. If you can't write a coherent, professional and catchy query, you may lose the editor/agent's interest before they even get around to looking at your story.
2. Who and How to Query?
Most publishers and agents have guidelines available for contact. You can find them at the RWA website for ones that are approved. Now you can goggle almost anyone so if you don't find what you're looking for on RWA site goggle the house you're looking for. Sometimes publishing houses have samples or tips available.
If you don't have an agent, make sure the publisher accepts unagented queries.
3. What Should I Include With My Query?
The query should be set up as follows:
HOOK -- your one-sentence log-line.
BLURB -- the condensed version of a back cover blurb
MARKET -- the tone, sub genre, length of your manuscript and what readership it might
appeal to
YOU -- one paragraph bio.
Different agents and editors prefer different methods. Some prefer just a letter, others prefer a short synopsis with the letter. Still others will accept sample chapters. If you're unsure based on their guidelines, call their office and double-check.
The necessities to include: the book you're pitching, maybe how long you've been writing and writing and affiliations.
If you don't have writing credentials, mention what you do for a living if it's pertinent to the
book Your "pitch" paragraph should include the major characters (hero and heroine), their goal,motivation and the conflict.
If you've won a contest or have experience relevant to your book, include that in a query, too. RWA membership is helpful.
Paragraph 1. The hook. A statement that catches the eye and intrigues the reader.
Paragraph 2. Three to five lines that summarize the story.
Paragraph 3. What it is, genre or subgenre, word count, the
audience it will appeal to.
Paragraph 4. Any biographical information that pertains to your novel. A line or two mentioning any contests, etc. you've won. Another line saying that you've enclosed a SASE, self addressed stamped postcard.
Most editors would also prefer a letter that has been addressed to them personally, not "to whom it may concern." Never give them a reason to put the page down.
No matter what, never make negative comments about other books in your comparison. This is a definite turn-off to most editors or agents. End the query with an offer to send your proposal to them at their request. Do not include comments made by friends or family about your manuscript. Keep it professional at all times. the title of the manuscript, its length, if it's finished, and what subgenre it falls into (historical, paranormal, The second paragraph should explain ( in only a few:) In the last paragraph, include any writing related credits you have. Have you been published in any other way? Newsletters? Magazines? Newspapers? Also include any respected writing organizations you are involved with (RWA for example) and any work you've done for it/them.
Close your letter with a thank you. And always include a SASE.
3. Examples of queries
Dear Editor/Agent:
I am seeking representation for my completed romance all about the art of writing, which is approximately 95,000 words and is ready for submission.
My first published work, The Color of trouble has garnered excellent reviews including The Emma Award. My second book the Wedding gown was chosen as a book club pick for black expressions, a subsidiary of Doubleday book club. I am currently a member of two critique groups, and the current president of the Windy City chapter of RWA. Please visit my website www.Dyannedavis. com for indications regarding my willingness to promote my work and actively participate in the marketing process.
Upon your request, I would be delighted to provide you with the partial or full manuscript for your consideration. I would like to thank you for your time and have enclosed a sase for your reply.
Sincerely
Dyanne Davis
Example from my agent's website on things that can help improve the quality of your manuscript.
3 SEAS LITERARY AGENCY
"Sailing you one port closer to your dreams"
How To Improve Your Manuscript Submission
IN GENERAL:
Use double-spacing and one-inch margins on all four sides. A 12-point Courier font is preferred by most editors.
Header: Your manuscript needs a header on each page. It should include the title, the author's name and the page number. (Note: If you prefer, the page number can be inserted at the bottom of the page.)
Because editors prefer to receive manuscripts that aren't bound, think what would happen if your 300-page manuscript fell off an editor's desk and lay scattered all over the floor. If there were no page numbers on the manuscript, the editor might reject it because you weren't professional enough to put page numbers on it.
Make sure your entire book flows smoothly. Try to eliminate any scattered thoughts. Avoid overuse of flashbacks.
A slow-moving beginning turns off agents and editors. Write a beginning hook to suck the reader in. Use action rather than narrative.
Sometimes there's too much information thrown into the first three chapters which bogs
down an otherwise great manuscript. The information in the first few chapters must be necessary to the story. The correct pacing is essential.
A rushed ending. As a writer comes to the end of the manuscript, it's easy to finish fast. The danger may be that the ending comes much too soon. The pacing at the end of the manuscript has to match the rest of the book.
The climax is resolved too easily. Be sure to tie up all loose ends that have drifted throughout your story.
Double-check for grammatical errors, such as misspelled or repeated words and sentence structure.
Using unusual words more than once in your entire manuscript. A reader will remember them and be pulled out of the story if you repeat them.
COMMON MANUSCRIPT ERRORS:
The improper use of the word -- its. It's is NOT possessive. It's means: It is. (A contraction) Never, never is an apostrophe used in its to show possession.
Correct: Its paw. Its nose. Its leg. Its house.
Incorrect: It's paw. It's nose. It's leg. It's house. You are saying: It is paw. It is nose. It is leg. It is house.
* * *
Commas: A compound sentence is made up of two independent sentences (they stand alone). Each contain a subject (noun or pronoun) and a predicate (a verb). Use a comma when they are joined by and, but, or, or nor.
Correct: We (subject) went (predicate) to the store, and we (subject) bought (predicate) a loaf of bread.
Exception: You do not need a comma if the sentence is short.
A simple sentence is made up of an independent clause and a dependent clause. A dependent clause contains only a verb (no subject) and is dependent on the independent clause (see above) in the sentence for the subject. The independent clause stands alone. (It would make a separate sentence if used by itself.)
Correct: We (subject) went (predicate) to the store and bought (predicate) a loaf of bread. (Notice how the dependent clause depends on the independent clause for the subject of the sentence.)
Exception: If the author wishes to separate or accentuate the dependent clause, it is perfectly fine to add a comma. Also, if you is understood in what looks like a dependent clause, a comma is needed.
* * *
The 2001 rule for use of the word: too.
Correct: We went to the circus too.
Incorrect: We went to the circus, too.
* * *
Toward is preferred over towards.
* * *
Sentences beginning with if, when, although, before, after, where, etc., must have a comma at the end of the clause.
Correct: When we go to Florida, we will go swimming.
Correct: Before we go to the movie, we'll have dinner somewhere nice.
Correct: If he goes, I'm staying home.
Incorrect: When the time comes I'll probably change my mind.
* * *
Overuse of the word: that
Read, and then read again, all sentences which contain the word "that." Many, many times "that" can be omitted, or the word "which" can be substituted. Sometimes, however, "that" is necessary and must remain in the sentence.
That not needed: I'm certain that you understand everything I'm trying to say.
Better way: I'm certain you understand everything I'm trying to say.
NOTE: Only by reading the sentence out loud and concentrating on it, will you be able to delete all unnecessary usage of the word, that. HINT: Use the "find" for locating all of the times you used "that" in your manuscript.
* * *
Contractions: Sprinkle contractions throughout your manuscript in dialog, inner monologue and narrative. You will notice how the words flow better immediately. NOTE: We talk using contractions, therefore, your characters should too.
Too stiff: "I am going to leave now," she said. "And when I come back, you had better have all your work finished. If you do not, then we will not go to the movie."
Better way: "I'm going to leave now," she said. "And when I come back, you'd better have all your work finished. If you don't, then we won't go to the movie." (Sounds natural.)
* * *
Name Dropping: Be sure not to keep repeating a character's name over and over in a paragraph or even on a page. When more than one character appears in a scene, it's sometimes necessary to repeat names.
Bad: Susan jumped off the sofa and lunged for the phone. Susan caught it on the second ring. It had to be Harry calling. Susan couldn't wait to tell him her exciting news.
Better: Susan jumped off the sofa and lunged for the phone. She caught it on the second ring. It had to be Harry calling. She couldn't wait to tell him her exciting news.
NOTE: The above examples are very basic. Read different pages of your manuscript and see how many times you use the character's name. Then substitute she/he in place of the proper name. You'll be amazed at how much better it flows.
* * *
DIALOGUE IS NOT CONVERSATION
There is no room for bad dialogue in a good manuscript. Example:
"Hi, how are you today?"
"I'm fine. How are you?"
"Better today. I was sick yesterday."
"That's too bad. I'm glad you're better.
"I've gotta go now. Bye."
"Bye."
NOTE: The above is conversation, not dialogue.
Dialogue's only purpose is to move the story along. If it doesn't, and it sounds like conversation, DELETE IT. Try not to have a character answer a question directly. It's better to answer a question with a question or to refer to something else.
* * *
Purple Prose: Being redundant. Incorrect sentence structure. These are all bad.
Using too many adjectives and adverbs. Strong writing demands strong nouns and verbs. A verb can be either active or passive. Always choose "active" voice whenever possible.
A noun is put to best use when it paints a definite picture of what you're trying to say.
Example: The black and white spotted (all adjectives) dog jumped to his seat on the big, red, noisy (all adjectives) truck.
Better: The Dalmatian jumped to his seat on the fire truck.
Note how the use of the word, "Dalmatian," paints a vivid picture in your mind. You know instantly what the writer is trying to show you.
* * *
Use past tense, unless you're writing literary fiction.
* * *
Viewpoints: It's difficult to develop your characters when you use 1st person viewpoint because you can't get inside any of their heads except the character telling the story. Consider this before starting to write in this viewpoint.
3rd person viewpoint is better. However, beginning writers have a tendency to jump around into everyone's viewpoint. If you're a best selling author, you can rewrite all the rules. If you're not, the best way to develop your characters is stay in one or two viewpoints throughout your manuscript.
A "camera" viewpoint does not allow you to develop your characters either. It's very distracting to be in the main character's head, and all of a sudden, you realize the writer, without warning, has tossed you inside someone else's head. Sometimes it's even a secondary character. And the biggest "no-no" of all is when the writer gets inside everyone's head that appears in the scene.
Pick one viewpoint and stick with it. Your writing will be stronger, and your characters will breathe. Change viewpoints only when it's important to the story. It is common for the hero and heroine's viewpoints to be used in romance books.
BE PROFESSIONAL! MAKING A SALE DEPENDS ON IT!
NOTE: The opinions in this section are those of 3 Seas Literary Agency. Another agent or editor may disagree with some or all of them.
Workshop: The Naked Writer
THE NAKED WRITER
The Naked Writer is actually the title of my book that came out last year. The book has little to do with the business of writing, except that to engage in this business (that is, to sell), we must write well—and correctly. The book covers grammar, punctuation, and other essential writing style issues, and is both meant to be read and to be referred to, frequently. The excerpt below relates to writing in an economical style.
Yet because today is about the business of writing per se, I’ve added an article (not from this book) that explains how to query agents by email. Read through article one, please, and then, the second piece is for dessert. Bon appetite.--gmh
A Penny a Word—You Pay
GMH: What common style mistake bugs you the most?
Phyllis Grann, vice-chair, Random House, New York: The use of unnecessary words.
Writers being paid by the word say that instead of “bang,” they might write “bang, bang, bang” for gunshots. That’s really a joke—sort of. While often the length of a story or article is fixed by guidelines, and a flat fee is paid, sometimes writers do get paid by the word, even today. But any writer imagining that adding unnecessary words to a piece is a good idea isn’t the writer who is going to sell the story or article. And that’s the long of way of saying that the best writing is economical writing. How many words should the story or article be? As many as telling the story takes, but not a single word more.
Instead of being paid a penny a word, five cents a word, or a dollar a word—and all these are legitimate current pay scales, to be sure—imagine that you will have to pay for every word you put on the page. Use what you need, but be a little bit parsimonious in your word use. Like every good householder or starving artist, consider your budget.
Keep in mind, too, that most publishers aren’t looking for a first book that runs 160,000 words, because they have to account for printing costs, paper prices, and the storage charge for maintaining inventory in a warehouse somewhere. Thus the words allotted to a just hatched author won’t be unlimited.
And if you’re seeking to market pieces to a magazine or newspaper, start on the abbreviated side in that realm as well. Try placing a letter to the editor, then sell small fillers until the editors know your name and see that you have some command of the language along with a few ideas worth setting into type.
As for your short story lengths, make your short fiction reasonably short. An editor trying to fill a magazine with a variety of pieces for an issue isn’t really likely to buy a 10,000 word story—again, especially from an author whose name isn’t a draw.
So when counting words in a work, less may actually be more, but, really, use all the words that you need in order to write the piece optimally. As a matter of style, though, ditch the words not required to express the ideas, and be properly clear and rhythmical while you’re at it.
Here are some examples:
Extra words: But I wanted to get an idea of the lay of the land.
Trimmed: But I wanted to get the lay of the land.
As you write, as well as when you edit your own writing, you need to stay alert for words that aren’t required and to cull them out. This is still another automatic mental habit you want to form as a writer.
Extra words: “We are waiting for only two more people at our table, so why don't you have a seat?”
Trimmed: “We’re waiting for only two more, so please join us.”
Express the idea. And when writing fiction, express the idea as the character would. But rarely will you need to go on at great length.
Extra words: His headlights reflecting off the wet pavement made it difficult to spot all the potholes, and his unmarked department vehicle bounced uncomfortably along.
Trimmed: His unmarked vehicle bounced along the wet blacktop, making him curse.
One thing we want to think about when writing is how much description a bit of business actually deserves. How important, for instance, is the setting? How important are the details? If the setting and details aren’t important, then don’t include a lot of extras. We’re living in an age of impatient readers. Cut back on description; sketch in background material.
On the other hand, you might want to include very specific details, such as the name of a street or an area of the city, even the make of the car. Details help to fill in the picture and to add color, while not actually taking that many words. Do we think the writer who created the above knows Detroit? No. Specific details will make our readers trust us more.
Pithy but with detail: His unmarked DPD vehicle bounced over the wet blacktop alongside Kronk Recreation Center, making him curse.
Okay, two Detroiters—what did I say wrong? Email me at gmh3@nyc.rr.com for your (small) prize. Only two! I’m going broke here.
Where’s the Beef?
In addition to being efficient in wording, let’s try packing both our articles and our fiction with interesting information. If you don’t have that, even in fiction, you don’t have anything. You have air. If you give us only air (a lot of nothing), at least give us blank pages where we can rest our eyes. Don’t bother us with the dinning nuisance of more words in an overly wordy universe.
Too gabby: I’m Finally Out of School—Now What? is designed to provide down-to-earth, helpful advice as you begin this next phase of your life. Many of the subjects we’ll cover are things most people out in the world take for granted, but you might not yet have encountered the reality of having to deal with such everyday circumstances.
Cut to the chase: I’m Finally Out of School—Now What? will cover many aspects of everyday life that people living on their own for the first time will need to understand.
Don’t equivocate
The best writing is forceful and direct, but often writers are so eager to pinpoint an exact concept—90 percent of this, but 10 percent of that—that they water down the sentence by equivocating.
Wishy washy: He had seemingly disappeared into thin air.
Direct: He had disappeared into thin air.
The reader knows he didn’t actually disappear into thin air, but that something untoward probably happened to him. Yes, I just equivocated by the use of the word “probably,” and that’s because he might have engineered his own disappearance. I’m not entirely against equivocation, you see, but I want to bring the consideration to mind.
Often we use extra words to waffle on one point or another. We might ask ourselves if we really should introduce that wiggle room for a statement, diminishing the strength of the idea and the sentence itself.
Here’s the bonus for reading the above. Don’t cheat, guys.
Want to Query by Email? Ahhh, Yes.
Seventy-five percent of all Americans are online. Some of us are online 75 percent of the time.
Many agents prefer to hear initially from authors via email. They like email inquiries for the same reason authors like them—ease of use. Agents who receive email queries can respond quickly while in the office. But usually they prefer to carry partials and full manuscripts home at night or to their summer beach house in the Hamptons (that’s a sort of joke based on a common misperception, since not all agents or editors earn enough money for those fabled long summer weekends).
Most writers prefer to query by way of email. Certainly it’s cheaper. Of course not all agents want email queries and something can be said about a paper query, which makes a nicer presentation, especially if you use a decent sheet of paper for the letter rather than the usual white bulk.
If you want to query by email, check the agent webpage first, or a listing in something like The Literary Marketplace to see if the agency will take an email pitch. (Try http://www.agentquery.com for information on agent preferences, too.) You should keep track of outgoing and incoming on these email queries and if you don’t get a response after a few weeks, try sending the query by way of snail mail. Or you can take the lack of reply as a signal that the agent has no interest. If that’s your approach, you don’t even have to track your responses. I know that sounds terrible, but, at the same time, if you aren’t good at the bookkeeping end, this is a legitimate way to do business when you’re sending more than a handful of email queries.
I’m friendly with an agent who doesn’t use email, and I must say, if I want to contact her quickly just to say a word or two, her not having email access is pretty inconvenient. If she were my agent, I wouldn’t care for that at all. Not that the agent’s use of email is a guarantee that any particular agent will answer you, even if you’ve signed with him. Agents ignore emails as well as phone calls when they feel like it. However, if they do respond, email is simply easier, and that’s why some authors will only sign with an author’s rep who feels comfortable with email communication, and who takes initial email queries.
However, someone pointed out to me that just because an agent doesn’t take an email query doesn’t mean she doesn’t use email to communicate with her actual clients, so at some point during your conversation with an agent, after a snail mail initial contact, you might ask. Or, in fact, some snail mail inquiries will be responded to by email—so include your email address.
And be aware that numerous agencies actually refuse snail mail queries—they’ll say so on their websites, if that’s the case.
Another thing you can do with email queries is to ask for a “read receipt” so that you at least know if the agent opened the email and looked. I personally don’t respond to “read receipts,” but that’s because I generally answer my email pretty speedily and don’t want to be bothered first acknowledging receipt.
Another benefit of email queries is that many times replies will come very quickly—that very day, possibly. Even an offer of representation can come within a day or two if the agent is really interested and will take the manuscript in electronic form. Someone told me, in fact, that in getting his book deal with a mainstream publisher, he never printed out a single page of paper. Not only did his agent respond electronically, so did the editor.
Sometimes if the agent or publisher will accept a submission of the actual writing by email, he/she will ask for a PDF file—that is, a file created by Adobe Acrobat. What you can do is go to Adobe.com and get your file turned into a PDF file as a free offer. Otherwise, you can buy the program outright, which is a bit expensive, or lease the program on a yearly basis.
Actually, more and more agents have been requesting emailed files of partials and many prefer PDF files, since they can’t be changed, and this sort of assures the story won’t be “stolen” (which it won’t be, anyway). Another reason for this format is that the editor may want to read on a PDA or laptop, and she may prefer reading in PDF.
You can also go to a search engine and ask for "free conversion to PDF" to find other software that converts files unto PDF.
Other than that, if you’re asked to cut and paste some of your writing into the email, you might want to save your word processing document as plain text and then cut and paste from there to avoid format oddities. Another way to approach this cut and paste problem is to switch off the html setting on your email. Save the email as a draft. Open it again and make corrections. Strange things can happen to email as it transmits and you want to make the material as readable as possible.
One agent tells me she answers all her email queries, but that if a spam blocker is on, she won’t take another step to get her response through to the author. What should you do if you’re the author with the aggressive spam blocker on your email? Set up an email address with Yahoo or Hotmail and do all your agent mailing from that address. That should work.
For a free PDF program, go to http://www.thesimpledollar.com/2006/12/01/30-essential-pieces-of-free-and-open-software-for-windows/
G. Miki Hayden teaches at the Writer’s Digest online school. She’s an award winning fiction writer who has been praised by the NYTimes. Miki writes about writing in The Naked Writer and a prior well-received book, Writing the Mystery.
WINNERS - DAY 7
Doorprize winners please pick from the list below for your prize. First come first serve, send me three choice just incase first isn't available - sormag@yahoo.comPlease make sure you send the email you registered with to claim prize.
Gift Basket
Dyanne Davis
RAWSISTAZ Advertising
-- Top Shelf Ad (3)
-- Side Bar Ad
-- BlackBookReviews.net Ad (4)Donated by Tee C. Royal
WINTER PARK
Angela Winters
The Street Life Series
Kevin M. Weeks
These Are My Confessions
Electa Rome Parks
52 Broad Street – Urban drama
Diane Dorce
WHO WILL HEAR MY SCREAMS (2)
Anna Dennis
THE PUREST OF PAIN(2)
Anna Dennis
Prodigal Child in e-book format
Shoba Mano
CHEMISTRY
Kim Louise
The Aura of Love
Kathy J Marsh
Gift Basket
Dyanne Davis
RAWSISTAZ Advertising
-- Top Shelf Ad (3)
-- Side Bar Ad
-- BlackBookReviews.net Ad (4)Donated by Tee C. Royal
WINTER PARK
Angela Winters
The Street Life Series
Kevin M. Weeks
These Are My Confessions
Electa Rome Parks
52 Broad Street – Urban drama
Diane Dorce
WHO WILL HEAR MY SCREAMS (2)
Anna Dennis
THE PUREST OF PAIN(2)
Anna Dennis
Prodigal Child in e-book format
Shoba Mano
CHEMISTRY
Kim Louise
The Aura of Love
Kathy J Marsh
Thursday, August 30, 2007
DAY FIVE – SELF PUBLISHING
Welcome to the fifth day of the conference.
To enter the rooms, click on the links.
Conference Rules (please read first before entering rooms)
How The Conference Works
Did you miss a day?
Panel Discussion: Self Publishing - Shani Greene-Dowdell, Anna Dennis, Alethea M Pascascio, Barbara Williams, Evelyn Palfrey, Rose Beavers, Dara Girard, Carmen Leal, Rhonda Jackson Joseph, Linda Beed
Do you have a self published book?
**Please remember to post your questions by 4pm central time.**
PROMOTION Room
MIX AND MINGLE Room
Prayer Room
PRIZE WINNERS
Day 4
Day 3
DAY 2
DAY 1
Don't forget to win a prize you have to leave a comment in one of the rooms. This includes you lurkers, can't win if you don't post.
*I suggest you write your comment in word then cut and paste that way you don't lose it.
If you have any problems, send an email to sormag@yahoo.com
ENJOYING THE CONFERENCE?
To enter the rooms, click on the links.
Conference Rules (please read first before entering rooms)
How The Conference Works
Did you miss a day?
Panel Discussion: Self Publishing - Shani Greene-Dowdell, Anna Dennis, Alethea M Pascascio, Barbara Williams, Evelyn Palfrey, Rose Beavers, Dara Girard, Carmen Leal, Rhonda Jackson Joseph, Linda Beed
Do you have a self published book?
**Please remember to post your questions by 4pm central time.**
PROMOTION Room
MIX AND MINGLE Room
Prayer Room
PRIZE WINNERS
Day 4
Day 3
DAY 2
DAY 1
Don't forget to win a prize you have to leave a comment in one of the rooms. This includes you lurkers, can't win if you don't post.
*I suggest you write your comment in word then cut and paste that way you don't lose it.
If you have any problems, send an email to sormag@yahoo.com
ENJOYING THE CONFERENCE?
WINNER - DAY 4
WINNERS
Dave
Dyanne
Shopgurl
Fabulous 40
Patricia W
Lacricia
Pam
Andrea
Sean Young
Rudelle
Makasha
Shoba
Ty
Sherryle Jackson
Linda Wattley
Stormi
Beverly
The write stuff
Latessa
Vsmith
Doorprize winners please pick from the list below for your prize. First come first serve, send me three choice just incase first isn't available - sormag@yahoo.comPlease make sure you send the email you registered with to claim prize.
1 one year subscriptions Hope for Women magazine
LaTara Ham-Ying
http://www.hopeforwomenmag.org/
2 copies of
Veil of Fire
Marlo Schalesky
The Pastors' Wife Does Cry" (2) Christian Memoir
Donated by Rose Beavers
A Hole in My Heart (2) Christian/teens and adults
Donated by Rose Beavers
Reclaiming Nick
Susan May Warren
Happily Ever After
Susan May Warren
Restitution
MaryLu Tyndall
Business Unusual
Linda F. Beed
Book by
Tricia Goyer
Be Encouraged
Lynn Emery
Book by
Michelle Lark
The Father's Voice(2)
Joanna Bradford
First Mates(2)
www.ceceliadowdy.com
Reluctant Burglar
Jill Nelson
Reluctant Runaway
Jill Nelson
Doorprize winners please pick from the list below for your prize. First come first serve, send me three choice just incase first isn't available - sormag@yahoo.comPlease make sure you send the email you registered with to claim prize.
1 one year subscriptions Hope for Women magazine
LaTara Ham-Ying
http://www.hopeforwomenmag.org/
2 copies of
Veil of Fire
Marlo Schalesky
The Pastors' Wife Does Cry" (2) Christian Memoir
Donated by Rose Beavers
A Hole in My Heart (2) Christian/teens and adults
Donated by Rose Beavers
Reclaiming Nick
Susan May Warren
Happily Ever After
Susan May Warren
Restitution
MaryLu Tyndall
Business Unusual
Linda F. Beed
Book by
Tricia Goyer
Be Encouraged
Lynn Emery
Book by
Michelle Lark
The Father's Voice(2)
Joanna Bradford
First Mates(2)
www.ceceliadowdy.com
Reluctant Burglar
Jill Nelson
Reluctant Runaway
Jill Nelson
Panel Discussion: Self Publishing
COME IN AND MEET
Shani Greene-Dowdell, Anna Dennis, Alethea M Pascascio, Barbara Williams, Evelyn Palfrey, Rose Beavers, Dara Girard, Carmen Leal, Rhonda Jackson Joseph, Linda Beed
Wednesday, August 29, 2007
DAY FOUR – WRITING FOR THE LORD
Welcome to the fourth day of the conference.
To enter the rooms, click on the links.
Conference Rules (please read first before entering rooms)
How The Conference Works
Did you miss a day?
Panel Discussion: Inspirational Writing - CBA vs ABA - Dee Stewart, Nikki Arana, Marilynn Griffith, Susan May Warren, Marlo Schalesky, Shelia Lipsey, Cecelia Dowdy, Stacy Hawkins Adams, Tia McCollors
Panel: Meet the Editor - Joylynn M. Jossel - Executive Editor Urban Christian
Karen Ball - Senior Acquisitions Editor, FictionB&H Publishing Group
Workshop: The Spiritual Thread: Bondage or Blessing? - Host: Susan May Warren
Workshop: Children’s Writing: The Basics
Workshop: Tips for Pleasing an Editor
**Please remember to post your questions by 4pm central time.**
PROMOTION Room
MIX AND MINGLE Room
Prayer Room
PRIZE WINNERS
DAY3
DAY 2
DAY 1
Don't forget to win a prize you have to leave a comment in one of the rooms. This includes you lurkers, can't win if you don't post.
*I suggest you write your comment in word then cut and paste that way you don't lose it.
If you have any problems, send an email to sormag@yahoo.com
ENJOYING THE CONFERENCE?
To enter the rooms, click on the links.
Conference Rules (please read first before entering rooms)
How The Conference Works
Did you miss a day?
Panel Discussion: Inspirational Writing - CBA vs ABA - Dee Stewart, Nikki Arana, Marilynn Griffith, Susan May Warren, Marlo Schalesky, Shelia Lipsey, Cecelia Dowdy, Stacy Hawkins Adams, Tia McCollors
Panel: Meet the Editor - Joylynn M. Jossel - Executive Editor Urban Christian
Karen Ball - Senior Acquisitions Editor, FictionB&H Publishing Group
Workshop: The Spiritual Thread: Bondage or Blessing? - Host: Susan May Warren
Workshop: Children’s Writing: The Basics
Workshop: Tips for Pleasing an Editor
**Please remember to post your questions by 4pm central time.**
PROMOTION Room
MIX AND MINGLE Room
Prayer Room
PRIZE WINNERS
DAY3
DAY 2
DAY 1
Don't forget to win a prize you have to leave a comment in one of the rooms. This includes you lurkers, can't win if you don't post.
*I suggest you write your comment in word then cut and paste that way you don't lose it.
If you have any problems, send an email to sormag@yahoo.com
ENJOYING THE CONFERENCE?
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Welcome To SORMAG's Blog
About Me
- LaShaunda
- I believe in promoting authors and their books. Let me introduce you and your books to online readers.
I'm also a happily married mother of three who's trying to break into the Christian writing field. The writing road can be rocky.
I’m available for:
Online promotion coaching
Lectures
Seminars
Freelancing
Contact me at:lchwriter@gmail.com