3 things you need to earn notices, publish, and write

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sailing-boat-640There are three assets anyone needs for a career in books. See, you’ll craft a writing career out of your writing life. First you have a writing life, personal and intimate and regular. Then you move on to a writing career. Maybe not full-time, but you consider it your primary work.

The three assets are publicity, patience, and practice. Whether you choose to work with a publisher, a coach, or an editor—or strive to become one—those are three essentials. But no matter where you’re at in your career as a writer, using these three tools is crucial to finding the Joy of Writing. Sailing at the center of your journey of joy is help.

As you move into your career as a writer you’ll need publicity. At first that will be earning attention for your own work or the writing of your colleagues. Getting fluent with Twitter and Facebook and Instagram, mapping the landscape of book review websites, plumbing publicity portals like BookBub and Bookbuzz— it’s all essential to publishing yourself. However, in time, you might be inclined to form a publishing venture, at first limited to yourself and few fellow writers.

Publishing can become the province of writers when they collaborate on its business. The flavor of the business day is to corral experienced writers with popular backlists of books, and then get these authors the money they deserve. After all, traditional publishing’s payouts are changing. An author in this kind of boutique press will learn the publicity world to succeed at this venture. Such boutique publishers might even discover more great books, ones that couldn’t find a publisher, and build careers for the undiscovered authors. Very nice work indeed. Getting notice for good work is the heart of publishing.

That leads us to another kind of help: assisting creativity. This is the aid which demands patience. While an author is building skills and polishes their own books, there are opportunities to reach out and help other writers. You might be doing beta reads for your friends’ full drafts, or even catching typos in a late-stage revision of a book. Given enough of this patient work, you may hear a calling to coach writers—that’s where the asset of patience pays off. Coaches guide writers to develop books and edit the text. The level of accountability for a coach can feel greater than one for a classroom teacher. Students pass, they fail, they rate a teacher up or down in surveys: that’s what’s at stake while teaching. Sometimes a teacher only gets three or four hours in front of 30 writers and never sees their writing.

In contrast, during coaching the author will look a coach in the eye (if they use FaceTime, or they meet in a coffee shop) and say things like “Explain why I can’t have three first-person points of view for this cozy mystery.” A coach takes a breath and does their best–and later evaluates the writer’s next set of pages to see if the advice helped the author. That counsel is powered by the talent of the author and that writer’s willingness to put in the hours. You must become the hard-working author who loves to put your early efforts well behind you. Plenty of teaching happens via email and Track Changes.

Of course practice, the third asset, helps everything improve. Practice makes doing the work easier, too. (Okay, at least you don’t need as much effort to finish a section or an assignment.) In the beginning of an editor’s career the books take longer to edit well. After a decade or two of reading the writing of others and then making it better, everyone’s time is better used. The editor returns drafts with development notes sooner. An editor who can coach will have seen more styles, as well as become more practiced at preserving a writer’s tone and voice.

fathers-day-buzzNear the end of the movie Genius, the legendary editor Max Perkins expresses the editor’s worry. “We might not be making these books better,” he says. “We might just be making them different.” Your editor is your collaborator in writing, an art that people believe is solitary work. Lately a few publishers have begun to give an editor a credit on the book. Buzz Bissinger’s memoir Father’s Day is called An Eamon Dolan Book, right out on the back cover. Eamon is Bissinger’s editor, collaborating with him on three books so far. Buzz gives him fulsome praise in the acknowlegements.

With Eamon as fastidious editor and wordsmith (some chapters had more of his comments than they did my own words), what began as an earnest and rudderless first draft became a book.

An Eamon Dolan Book sounds like “A Steven Spielberg Film.” It’s Buzz’s book, yes. The collaboration was powered by publicity, patience, and practice. The first feels like magic when it works. But it’s earned by applying the other two in order to create something worthy of public notice. Buzz admits his fine memoir was rudderless, but at least it was moving. Patience helped him steer the story. Practice, of course, was the wind in his sails.

Discount training: worth all you won’t pay for it

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plasticflowersI have an old friend who’s embarking on a new book. His first, in fact, although he’s been writing for his business for many years. A book demands more of a writer than an article, of course. I brought more than 20 years of journalism editing and writing to my first day of creating fiction. Making a 4,000-word article is not enough experience to create an 80,000-word book. You can’t just create 20 stories and stitch them together. You need to practice skills you might not have polished yet.

The same kind of calculation is part of choosing a coach or a class for your writing. People go to the gym and pay $30 for a hour with a trainer. Ask them to pay more than $50 for a writing coaching session, and some will point to Udemy on the Web. “It’s just $40 for 35 modules of writing. I can do that.” Ah, the Web, the great discounter of all learning.

There’s been a revolution in buying and selling services. As writers, we now can choose the world over for our writing lessons. Coaching, too, if your coach provides you 1:1 time. Some of the lessons come from far away, places where English is not the common language. But it’s not just the native language that matters. Mistaking coaching for such instruction is commonplace. Instruction is only as good as the practice it triggers. If a $40 Udemy course doesn’t require you to write and turn in for an evaluation, you’re not going to pay for all of that expertise which reveals what you know—and what you still need to master.

“Why should I care about getting graded?” you might say. “I never liked that part of school anyway.” To avoid all that grading, we then audited courses instead of taking the tests. College systems didn’t discount tuition for audited courses, though. Remember, right alongside you were students working to prove they learned the lessons. Submitting work. Hearing evaluations. Seeing where you misunderstood, so you can master the skills.

I’m making a series of Write Skills videos this year. Just about one a week is my goal, and you invest about 4 minutes watching each one. When you finish each, you’ll have one more tool in your writing belt. Write Skills are free, but you won’t get your practicing afterward evaluated. (If you don’t have a plan for practice, you’re not growing your skills. Short lessons, yes. Longer practice.) That’s what coaching does, or sitting in a real class in-person, or online. You measure your training through evaluated practice. You won’t have to pay for that training when you buy a $40 writing course. You might be paying later on, though, when your writing hasn’t seemed to improve as much as you desired.

Desire drives genuine growth. It’s worth the investment to build a book that people will finish reading and remember. Other kinds of books are everywhere, of course. They’re set aside unfinished, or leave an impression that no writer wants. Whether you’re creating your first work, or just the latest, all of us need to keep growing our craft. I like to think of discount training like plastic flowers. They look great. But if you want the aroma of a genuine bouquet, then an arranger working with the fresh stuff gives you what you really desire.

Stepping Out to the Self Published Steps

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Your editor is your coach, guiding you through creative choices

Second in a Series

In my previous installment on this topic, I broke the process of self publishing into a dozen steps. The first four are essential, but they’re not exclusive to self-publishing. You must have a book ready to publish if you’re going to become your own publisher. Practicing steps 1-4 delivers a book to your laptop. (And don’t worry, I’m coming back around to the articles about these first four creative steps.) But the writing starts to become a self-published book, what the industry calls a title, at Step 5: Working with an independent editor.

Editors are everywhere, from low-ball outlets like Skillpages to the spin-off businesses that Writer’s Digest promotes. You will be auditioning your choice of an editor to make your book better. You can start with story development, after you’ve set down your initial draft that you offer for an assessment. A good development editor — sometimes called a substantive editor — will give you notes on plot, structure, pacing, and especially character motives.

Creative Coaching Series

Creative Coaching Series

It’s very difficult to do this process for yourself. And while your workshopping group will give you a lot of help, they’re often not able to see the whole work and devote the time to it that any book needs. Unless you’re just extending the scope of characters who’ve already been welcomed by readers in a prior book you’ve published, development is key.

How do you hire an editor? For me, it was as simple as looking in the classified ad pages of The Writer magazine. There, Jill Dearman had a 4-line ad that promoted her services, available by the page. I contacted her by email, then summarized my book for her so she could see what kind of story she was working on. You want a good match of interest in your subject from the editor, along with a feeling of trust you’ll have in their competency and professionalism.

If this sounds like choosing a doctor, it certainly felt that way to me. You’re looking for references, as well as evidence that the editor’s work has led to published books. Membership in the Association of Independent Editors is one marker, but that’s a fee-only membership with no certification. It’s not as simple as looking for a stamp of approval.

But this is a coach you are hiring — and you will know when you have right mix of pressure and praising coming from this pro. More