In each of my business relationships, I keep in view that complementary respect and trust be imperative ingredients in my organization with the other individual. If song or both traits do not be, then the relationship shouldn’t proceed any further.
So, what do you do when you get an uncomfortable or unfamiliar passion around working for someone, but you can’t make known your hit on it? Should you continue the concern relationship or transfer on?
I actually cannot reply these questions on the side of you, but I bear well-grounded that in my varied years of working in behalf of or with people that it is fully okay legitimate to stir up on. In other words, if I feel that a transaction relationship is not mutually satisfying, than it is okay to erect it. There are abundance of employers out there and piles of other projects to earn a living on. The that having been said can be said about the other mortal physically: if you push them or they drop you, they devise bump into uncover someone else.
In my notion, you need not contain a specific or solid rationale either. On occasion you drink a gut response to a exact stand out while other times there may be something give the undertaking that obviously goes against your principles or just doesn’t participate in articulately with you. No proceeding, entirely end the affair relationship and move on.
How you drifting the relationship is up to you. If you hunger for to except a door open, weighty the person that you are hustling with other projects is fine. If you thirst for to block out the door, you can inform them specifically why you no longer thirst for to work benefit of this person.
In all cases, age your words with graciousness, but don’t waffle and certainly don’t rat lies. You can’t worry about what others judge devise about you; to do so is a emaciate of time and compel certainly brunt your cleverness to unfold revitalized and solid vocation relationships down the line.
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You know? When you publish a book and send it out into the world, it’s like giving birth to a baby. Everyone checks out your baby. Is it breath-taking? Does it have ten toes and ten fingers? Is it pink and sweet or does it look like an extra from “Alien?” We writers are baring our souls, our deepest thoughts, and our feelings lay open like a cavernous wound. We can’t hide anymore. They know us inside and out. Now they see our baby, and they get to pick it to pieces, bit by bit, until the only thing left is a fuzzy blanket.
Oh, hell, we know that and go right on writing, don’t we? It’s in our DNA. We can’t help ourselves, we’re masochists.
When I started this whole book-writing process, I had full intentions of finding an agent and/or a traditional publisher; they’d do all the work while I sat back and listened to “Ca-ching, Ca-ching.” However my journey to that end has been long and stress-filled and I ended up doing just the opposite…I’d kept a daily journal while living in Thailand in the 90s. When I returned to the States, I copied my journal onto a floppy and had it printed, spiral-bound, and mailed it out to friends and family so they could read about all my trials and tribs while abroad. One of the friends who read it insisted that I make a book out of it.
“You know,” she said, “like the book ‘A Year in Provence.’” I immediately ran out and bought the book and was amazed at the problems that the author had endured in a short year. I just knew that if his book sold, then mine would also, however, life got in the way of living and I put it aside.
I joined some creative writing classes a few years later, and with encouragement from my peers I began the long road of putting the journal into book form. In 2003, when I finally thought I’d finished it, I entered it into the Southern California Writers Conference in San Diego. While there, I read chapters from my story in the Read and Critique groups and the attendees laughed in all the right places and even clapped, (I’d hoped it wasn’t because they were happy I’d finished). At the end of the conference I was notified that I’d won the Best Nonfiction award for my story and an agent asked for my manuscript. Wow! That just doesn’t happen unless they love it! I knew I was ready for the Pulitzer.
Then I began to panic. What if it isn’t perfect? I had talked to a “book doctor” at the conference who advised me that my story “…needed some conflict. Who really cares about a housewife who’s having a good time in Thailand? Give them a reason to turn the page.” Okay, that’s what I’ll do. There certainly was plenty of conflict in my life in Thailand, but I’d left it out; it was painful to relive and I wanted it to be a humorous book. I emailed the agent and told her I wasn’t ready. Take your time, she’d said. It’s not time sensitive.
So began the journey of “weaving” the conflict into my story. It was the hardest thing I’d ever done. It was three years before I felt it was good enough to be a real book. But, those three years were not only spent rewriting. I took online writing classes and signed up at the local college for creative writing classes, I attended a critique group every week, putting my chapters up to their scrutiny as they tore it apart and helped put it back together. The rest of the time I was editing my life away. But as Stephen King says in his book On Writing: edit, edit and edit. And when you think it’s perfect, edit some more. My husband had a name for my constant editing: “Paralysis by analysis.”
When I felt I had everything in place, I looked for professional editing. I first paid the book doctor $500 to tell me that it needed help. He didn’t give me any, just told me it needed it. I found a line-editor in Canada, who did a great job, and then I hired a freelance editor; total for both $600; quite inexpensive in today’s editing market.
During those three years, I also did a lot of reading on the publishing world; agents, print-on-demand (PODs) and off-set printing companies. I attended conferences specifically on “How to get published.” The more I heard and read, the more I thought: From all the conferences I’d attended, the agent panels were the most disillusioning. I learned that agents don’t want you if you’ve not been published, and publishers don’t want you if you’ve not been published, or don’t have an agent, who doesn’t want you either. Who needs ‘em?
Publishers don’t want you if you don’t have a “platform!” A what? To my dismay I learned that I needed to have my own buying public. There was no publisher that was going to run out and sell my book for me, pay for my cross-country book signings and hotel rooms, unless of course I was a King or a Grisham or a Joyce Carol Oates. Then of course, there’s the eighteen month wait for the book to appear on the shelves after the publisher accepts it (if the publisher doesn’t decide to pull the plug at the last minute), and don’t forget the two years that it takes the agent to shop around for a publisher who might decide to pull the plug at the last minute. Who has that long? I don’t even buy green bananas anymore.
Wow! I remember my table mates and I frowning as we listened to the dire answers of this panel of agents and publishers. So how do we get published? Well, we have two options so it seemed: 1) have an agent living next door who loves your home cooked brownies or has a crush on your husband, or 2) know a publisher whose kid mows your lawn or has a crush on you. Not living in New York was going to be a definite drawback. Should I move? Okay, how about a POD? I was fortunate to have a friend who is a small press publisher of railroad books. He offered to put my manuscript into a Quark Express PDF file (which is the format printers prefer). He did an incredible job putting it together for me. He felt that if I had the print setup taken care of, I could approach a POD and save some money.
I signed up for the POD classes at the conferences I attended, where they explained everything I needed to know about their business ─ except how they kept most of the author’s money while they got big and rich and the author got $3.09 per book. Okay, well, $3.09 a book is not that bad. Maybe I could make it. But, wait, I had to pay them to print my book, and then pay them to buy my book back from them; too many “thems” going on here. Something didn’t compute. Maybe I should chuck the book and go into the POD business.
Well, I succumbed. I bought a book called The Fine Print of Self Publishing by Mark Levine, an attorney, then sat down to do some homework. After going over all the PODs he listed with a fine-tooth calculator, I realized that I could pay as much as $30,000 to one such POD group, but hey, my books would be free. How generous of them. Or, I could choose a POD group charging as low as $299, but I’d still have to buy my own books back at about $8.00 each.
I finally settled on a firm I’ll call “Dewey Cheatem & Howe” (name changed to protect the guilty), and thought I’d finally get on with this damn book printing. They sent me a sample of their work that was done beautifully. I signed on the dotted line, waited three more weeks and then my author’s copy was delivered. And there it sat. On my desk. Opened to the first page, which I couldn’t read. I started bawling. Where is my baby? The font was so garbled that it was illegible. There was a space after every capital letter and the other letters were so piled on each other you couldn’t make out the words.
When I’d used all the Kleenex in my desk drawer, I called them. Of course, no one was on the other end, save for the automated voice of their mailboxes. But at least I got rid of my postpartum anger. I cried and said very imperiously, “HOLD THE PRESSES! I will not accept this book. I will call Visa (of course they already had my money) and stop payment and …” I felt like an inner tube impaled on a sharp rock. Then I called my friend, the publisher. “Of course you can do this on your own. You have the file, just find a good printing company.”
I inquired around and found out that I could get my book printed overseas at half the cost of stateside. I began to get phone numbers and surfed websites. There were some good deals to be made overseas; however, the problem was I needed a broker. So after the broker took his cut, and the shipping charges were added, a stateside printer looked better. Plus, the thought of having a problem and not being able to connect at once with your printer was worrisome.
I searched the Internet and found many websites where you could input the details of your book, number of pages, size of book, print run, etc., and within a week I got a bid from ten printing companies. After picking one printer (not the cheapest), I felt we had a fit. I spoke to the owner, who offered to throw in a hundred free books, which might have had something to do with my decision. He checked out my website while we were speaking, loved the site and the look of my book and of course, he had me. He also offered storage and order fulfillment. Now, all I had to do was put our house on the market and clear out our 401K.
I know what you’re thinking. Sure, maybe she has it, but not everyone can come up with that much money. Yes, you can if you want to. We took an equity line on our home and as the money comes rolling in, I’ll be making payments on the equity line. We authors must be optimists. Really! If you don’t believe in your book, who will?
I ran off my own bookmarks and saved a few hundred dollars. I used the cover of the book, wrote a short synopsis on the back, and had 500 printed. I have handed out those bookmarks on airplanes and in airports; Seattle, Palm Desert, San Diego, Portugal, New York, Australia, New England… well maybe not personally, but I’ve given them to people who live in those places and they were happy to have them and said they’d pass them on. I’ve handed them out in restaurants to women sitting around me; two of them bought my book right on the spot. My friends call me “A self-promoting slut.”
I have to leave you now, as that’s where I am in this wonderful world of the written word, where the writing was easy… now comes the hard part ─ marketing!
You know? When you publish a book and send it out into the world, it’s like giving birth to a baby. Everyone checks out your baby. Is it breath-taking? Does it have ten toes and ten fingers? Is it pink and sweet or does it look like an extra from “Alien?” We writers are baring our souls, our deepest thoughts, and our feelings lay open like a cavernous wound. We can’t hide anymore. They know us inside and out. Now they see our baby, and they get to pick it to pieces, bit by bit, until the only thing left is a fuzzy blanket.
Oh, hell, we know that and go right on writing, don’t we? It’s in our DNA. We can’t help ourselves, we’re masochists.
When I started this whole book-writing process, I had full intentions of finding an agent and/or a traditional publisher; they’d do all the work while I sat back and listened to “Ca-ching, Ca-ching.” However my journey to that end has been long and stress-filled and I ended up doing just the opposite…I’d kept a daily journal while living in Thailand in the 90s. When I returned to the States, I copied my journal onto a floppy and had it printed, spiral-bound, and mailed it out to friends and family so they could read about all my trials and tribs while abroad. One of the friends who read it insisted that I make a book out of it.
“You know,” she said, “like the book ‘A Year in Provence.’” I immediately ran out and bought the book and was amazed at the problems that the author had endured in a short year. I just knew that if his book sold, then mine would also, however, life got in the way of living and I put it aside.
I joined some creative writing classes a few years later, and with encouragement from my peers I began the long road of putting the journal into book form. In 2003, when I finally thought I’d finished it, I entered it into the Southern California Writers Conference in San Diego. While there, I read chapters from my story in the Read and Critique groups and the attendees laughed in all the right places and even clapped, (I’d hoped it wasn’t because they were happy I’d finished). At the end of the conference I was notified that I’d won the Best Nonfiction award for my story and an agent asked for my manuscript. Wow! That just doesn’t happen unless they love it! I knew I was ready for the Pulitzer.
Then I began to panic. What if it isn’t perfect? I had talked to a “book doctor” at the conference who advised me that my story “…needed some conflict. Who really cares about a housewife who’s having a good time in Thailand? Give them a reason to turn the page.” Okay, that’s what I’ll do. There certainly was plenty of conflict in my life in Thailand, but I’d left it out; it was painful to relive and I wanted it to be a humorous book. I emailed the agent and told her I wasn’t ready. Take your time, she’d said. It’s not time sensitive.
So began the journey of “weaving” the conflict into my story. It was the hardest thing I’d ever done. It was three years before I felt it was good enough to be a real book. But, those three years were not only spent rewriting. I took online writing classes and signed up at the local college for creative writing classes, I attended a critique group every week, putting my chapters up to their scrutiny as they tore it apart and helped put it back together. The rest of the time I was editing my life away. But as Stephen King says in his book On Writing: edit, edit and edit. And when you think it’s perfect, edit some more. My husband had a name for my constant editing: “Paralysis by analysis.”
When I felt I had everything in place, I looked for professional editing. I first paid the book doctor $500 to tell me that it needed help. He didn’t give me any, just told me it needed it. I found a line-editor in Canada, who did a great job, and then I hired a freelance editor; total for both $600; quite inexpensive in today’s editing market.
During those three years, I also did a lot of reading on the publishing world; agents, print-on-demand (PODs) and off-set printing companies. I attended conferences specifically on “How to get published.” The more I heard and read, the more I thought: From all the conferences I’d attended, the agent panels were the most disillusioning. I learned that agents don’t want you if you’ve not been published, and publishers don’t want you if you’ve not been published, or don’t have an agent, who doesn’t want you either. Who needs ‘em?
Publishers don’t want you if you don’t have a “platform!” A what? To my dismay I learned that I needed to have my own buying public. There was no publisher that was going to run out and sell my book for me, pay for my cross-country book signings and hotel rooms, unless of course I was a King or a Grisham or a Joyce Carol Oates. Then of course, there’s the eighteen month wait for the book to appear on the shelves after the publisher accepts it (if the publisher doesn’t decide to pull the plug at the last minute), and don’t forget the two years that it takes the agent to shop around for a publisher who might decide to pull the plug at the last minute. Who has that long? I don’t even buy green bananas anymore.
Wow! I remember my table mates and I frowning as we listened to the dire answers of this panel of agents and publishers. So how do we get published? Well, we have two options so it seemed: 1) have an agent living next door who loves your home cooked brownies or has a crush on your husband, or 2) know a publisher whose kid mows your lawn or has a crush on you. Not living in New York was going to be a definite drawback. Should I move? Okay, how about a POD? I was fortunate to have a friend who is a small press publisher of railroad books. He offered to put my manuscript into a Quark Express PDF file (which is the format printers prefer). He did an incredible job putting it together for me. He felt that if I had the print setup taken care of, I could approach a POD and save some money.
I signed up for the POD classes at the conferences I attended, where they explained everything I needed to know about their business ─ except how they kept most of the author’s money while they got big and rich and the author got $3.09 per book. Okay, well, $3.09 a book is not that bad. Maybe I could make it. But, wait, I had to pay them to print my book, and then pay them to buy my book back from them; too many “thems” going on here. Something didn’t compute. Maybe I should chuck the book and go into the POD business.
Well, I succumbed. I bought a book called The Fine Print of Self Publishing by Mark Levine, an attorney, then sat down to do some homework. After going over all the PODs he listed with a fine-tooth calculator, I realized that I could pay as much as $30,000 to one such POD group, but hey, my books would be free. How generous of them. Or, I could choose a POD group charging as low as $299, but I’d still have to buy my own books back at about $8.00 each.
I finally settled on a firm I’ll call “Dewey Cheatem & Howe” (name changed to protect the guilty), and thought I’d finally get on with this damn book printing. They sent me a sample of their work that was done beautifully. I signed on the dotted line, waited three more weeks and then my author’s copy was delivered. And there it sat. On my desk. Opened to the first page, which I couldn’t read. I started bawling. Where is my baby? The font was so garbled that it was illegible. There was a space after every capital letter and the other letters were so piled on each other you couldn’t make out the words.
When I’d used all the Kleenex in my desk drawer, I called them. Of course, no one was on the other end, save for the automated voice of their mailboxes. But at least I got rid of my postpartum anger. I cried and said very imperiously, “HOLD THE PRESSES! I will not accept this book. I will call Visa (of course they already had my money) and stop payment and …” I felt like an inner tube impaled on a sharp rock. Then I called my friend, the publisher. “Of course you can do this on your own. You have the file, just find a good printing company.”
I inquired around and found out that I could get my book printed overseas at half the cost of stateside. I began to get phone numbers and surfed websites. There were some good deals to be made overseas; however, the problem was I needed a broker. So after the broker took his cut, and the shipping charges were added, a stateside printer looked better. Plus, the thought of having a problem and not being able to connect at once with your printer was worrisome.
I searched the Internet and found many websites where you could input the details of your book, number of pages, size of book, print run, etc., and within a week I got a bid from ten printing companies. After picking one printer (not the cheapest), I felt we had a fit. I spoke to the owner, who offered to throw in a hundred free books, which might have had something to do with my decision. He checked out my website while we were speaking, loved the site and the look of my book and of course, he had me. He also offered storage and order fulfillment. Now, all I had to do was put our house on the market and clear out our 401K.
I know what you’re thinking. Sure, maybe she has it, but not everyone can come up with that much money. Yes, you can if you want to. We took an equity line on our home and as the money comes rolling in, I’ll be making payments on the equity line. We authors must be optimists. Really! If you don’t believe in your book, who will?
I ran off my own bookmarks and saved a few hundred dollars. I used the cover of the book, wrote a short synopsis on the back, and had 500 printed. I have handed out those bookmarks on airplanes and in airports; Seattle, Palm Desert, San Diego, Portugal, New York, Australia, New England… well maybe not personally, but I’ve given them to people who live in those places and they were happy to have them and said they’d pass them on. I’ve handed them out in restaurants to women sitting around me; two of them bought my book right on the spot. My friends call me “A self-promoting slut.”
I have to leave you now, as that’s where I am in this wonderful world of the written word, where the writing was easy… now comes the hard part ─ marketing!
Most people in the writing world talk about the three levels of rejection–form, personal, rewrite–but I’ve discovered seven types (after over 200 rejections before being published and about hundred after, I should know). Learning how to analyze rejection is a helpful skill for any writer because you’ll learn what to ignore, what to consider, and what will put you on the right track or, as the case may be, off of it.
Here are the seven types of rejections that may find their way in your email or mailbox:
1) No response. The agent or editor doesn’t send you anything. I find these ones most annoying. You wait in anticipation, hoping, praying for something either in the mail or online. Nothing. Six months past. Still nothing.
2) Form rejection. These are the ones that start Dear…fill in the name. They tell you that your work isn’t right for them and wish you better luck elsewhere. There’s no feedback. You should toss these rejections immediately. But be warned, form rejections are easy to get if you don’t follow directions: submitting to the wrong magazine or publisher, a wrong topic, wrong manuscript format, or writing in crayon or invisible ink. To avoid form rejections, study the magazine or publisher’s criteria for submissions to make sure you’re giving them something they’ll want (i.e. a clean manuscript that addresses the needs of their readers) and not a missive of “Why I Should be Published by You.”
3) Multiple choice. These agents or editors have gotten creative and made a list of reasons they’re rejecting your work because a) they have something similar, b) the quality of your work doesn’t meet their standards and/or, c) they think you’re completely without talent and hope you’ll never query them again. Sometimes they’ll check one, sometimes they’ll check all three. This is still a form rejection because it’s too general to give you any real advice; however, you at least get an idea of what they’re looking for. But then again, if number three is selected it is best ignored because it’s just an opinion.
4) Personal note. These are nice, except when they’re mean. A nice personal note can provide support like, “Good job, but needs work.” A mean note on the other hand can be devastating like, “This is awful” written in blood red ink on the corner of your query. When an agent or editor takes the time to put “Not bad” on the corner of your query take it as the sign of encouragement that it is. Ignore the nasty ones. But even if they don’t tell you why your work is being rejected, you’re heading in the right direction. Getting a good or bad personal note indicates your style. It is my experience that it’s better to get some kind of response rather than just a form rejection. Why? Because that’s how readers will be. Some will hate your work. Some will love it. Receiving a response, especially a personal note, lets you know that you’re hitting buttons and that’s a good thing.
5) The critique. Most aspiring authors expect this type of rejection, but editors and agents don’t owe you this. They get hundreds of queries and manuscripts a week and they can’t critique all of them. If you do receive one consider yourself fortunate that someone has taken the time to tell you why they’re rejecting your work. They may be wrong, but at least you know why. Remember, they are taking a risk by sending you bad news. The form rejection is popular because many editors and agents have suffered the wrath of rejected authors who will bombard their offices with letters arguing why they think they critique was wrong. Don’t be one of those authors. Take what you can from the critique then move on.
6) Try again. This type of rejection is close to a personal note, but it’s never mean. They are saying that what you submitted isn’t right for them, but they’re curious to see more. Make sure you follow up.
7) Rewrite request. This type of response can make most writers jump for joy. The editor is interested and is offering hints on how to gain their favor. This is good news, of course, only if you agree with the suggested changes. Unfortunately, this is still a rejection and there is no guarantee that making the changes will result in a sale. However, the most important lesson to learn from this type of rejection is that you have caught the interest of an editor and it’s a relationship you should nurture.
No matter what type of response you get, ‘close’ is still ‘no.’ There is no gray area in publishing. You are either offered a contract or not. However, as I’ve outlined above, look at the type of rejection before you burn it. When you get varying rejections like: ‘I hate the character, but love the plot’ and ‘I love the character, but hate the plot’ you’re on your way. Why? Because whoever is reading your work is stating personal preference instead of offering a common complaint. That will be what makes your style unique.
Most writers loathe rejections and for some their careers never survive the pain of getting them. You don’t want this to happen to you. You now have the skills to sift through your rejections and never fear them again.
Most people in the writing world talk about the three levels of rejection–form, personal, rewrite–but I’ve discovered seven types (after over 200 rejections before being published and about hundred after, I should know). Learning how to analyze rejection is a helpful skill for any writer because you’ll learn what to ignore, what to consider, and what will put you on the right track or, as the case may be, off of it.
Here are the seven types of rejections that may find their way in your email or mailbox:
1) No response. The agent or editor doesn’t send you anything. I find these ones most annoying. You wait in anticipation, hoping, praying for something either in the mail or online. Nothing. Six months past. Still nothing.
2) Form rejection. These are the ones that start Dear…fill in the name. They tell you that your work isn’t right for them and wish you better luck elsewhere. There’s no feedback. You should toss these rejections immediately. But be warned, form rejections are easy to get if you don’t follow directions: submitting to the wrong magazine or publisher, a wrong topic, wrong manuscript format, or writing in crayon or invisible ink. To avoid form rejections, study the magazine or publisher’s criteria for submissions to make sure you’re giving them something they’ll want (i.e. a clean manuscript that addresses the needs of their readers) and not a missive of “Why I Should be Published by You.”
3) Multiple choice. These agents or editors have gotten creative and made a list of reasons they’re rejecting your work because a) they have something similar, b) the quality of your work doesn’t meet their standards and/or, c) they think you’re completely without talent and hope you’ll never query them again. Sometimes they’ll check one, sometimes they’ll check all three. This is still a form rejection because it’s too general to give you any real advice; however, you at least get an idea of what they’re looking for. But then again, if number three is selected it is best ignored because it’s just an opinion.
4) Personal note. These are nice, except when they’re mean. A nice personal note can provide support like, “Good job, but needs work.” A mean note on the other hand can be devastating like, “This is awful” written in blood red ink on the corner of your query. When an agent or editor takes the time to put “Not bad” on the corner of your query take it as the sign of encouragement that it is. Ignore the nasty ones. But even if they don’t tell you why your work is being rejected, you’re heading in the right direction. Getting a good or bad personal note indicates your style. It is my experience that it’s better to get some kind of response rather than just a form rejection. Why? Because that’s how readers will be. Some will hate your work. Some will love it. Receiving a response, especially a personal note, lets you know that you’re hitting buttons and that’s a good thing.
5) The critique. Most aspiring authors expect this type of rejection, but editors and agents don’t owe you this. They get hundreds of queries and manuscripts a week and they can’t critique all of them. If you do receive one consider yourself fortunate that someone has taken the time to tell you why they’re rejecting your work. They may be wrong, but at least you know why. Remember, they are taking a risk by sending you bad news. The form rejection is popular because many editors and agents have suffered the wrath of rejected authors who will bombard their offices with letters arguing why they think they critique was wrong. Don’t be one of those authors. Take what you can from the critique then move on.
6) Try again. This type of rejection is close to a personal note, but it’s never mean. They are saying that what you submitted isn’t right for them, but they’re curious to see more. Make sure you follow up.
7) Rewrite request. This type of response can make most writers jump for joy. The editor is interested and is offering hints on how to gain their favor. This is good news, of course, only if you agree with the suggested changes. Unfortunately, this is still a rejection and there is no guarantee that making the changes will result in a sale. However, the most important lesson to learn from this type of rejection is that you have caught the interest of an editor and it’s a relationship you should nurture.
No matter what type of response you get, ‘close’ is still ‘no.’ There is no gray area in publishing. You are either offered a contract or not. However, as I’ve outlined above, look at the type of rejection before you burn it. When you get varying rejections like: ‘I hate the character, but love the plot’ and ‘I love the character, but hate the plot’ you’re on your way. Why? Because whoever is reading your work is stating personal preference instead of offering a common complaint. That will be what makes your style unique.
Most writers loathe rejections and for some their careers never survive the pain of getting them. You don’t want this to happen to you. You now have the skills to sift through your rejections and never fear them again.
An important question for any artist is: How can I built a career and simultaneously be true to myself? It’s an important question, and during the twenty years I’ve taught writing, hundreds of students have expressed the belief that success and personal integrity are mutually exclusive.
The Lifewriting
An important question for any artist is: How can I built a career and simultaneously be true to myself? It’s an important question, and during the twenty years I’ve taught writing, hundreds of students have expressed the belief that success and personal integrity are mutually exclusive.
The Lifewriting
So you’ve made the decision to publish your own community magazine, but what now? Where do you go for advice, information and above all, inspiration?
Despite its growing popularity, the business of publishing local community magazines is not covered to any great extent on the internet and there are very few web sites where you can get informal advice and communicate with like-minded people. Unlike normal publishing, the business of publishing local community magazines is very often the domain of individuals working alone for much of the time, and it can become a solitary existence.
Basically, there are two types of local community magazines favoured by aspiring local publishers. The first comprises booklets, usually in A5 size, containing local trade and business advertisements, and this type of magazine is generally distributed around your local area free of charge, with income being made from advertising revenue alone.
There are several franchise opportunities available for this type of community magazine which can prove to be a great way to get started as almost everything you will require is included in the package, including software, advertisement templates and on-going support. The drawback to this type of opportunity is the initial cost of your investment, which can be as high as several thousand pounds. A number of companies now offer local community magazine publishing franchises and a search on the internet will enable you to obtain further information from those readily available.
The second type of local community magazine offers a much more personal reflection on your community, comprising the recollections of local people and a study of your town’s local history, which are compiled into a saleable product. It is unlikely that you will find a franchise opportunity available for this type of magazine and if you decide to go along this path then much of the groundwork will have to be done by yourself. However, in terms of overall interest, this type of magazine will offer much more appeal to your readers.
Establishing a local community magazine featuring the recollections of people from within your home community along with studies of your town’s local history can be accomplished with very little financial investment. It is possible to begin printing your magazines from home using a suitable laser printer until you have established a circulation sufficient to meet the cost of commercial printing. Even if you opt for commercial printing from the outset your initial investment could be relatively small.
The main difference between these two very different types of magazines is that one is distributed free of charge, while the second has to be marketed and sold, although as we have already learned, the second type of magazine produces a very saleable product.
A magazine based primarily on local advertising can be highly lucrative but the competition can be intense as there are already a large number of similar publications in circulation and you may well find yourself competing against large-scale organisations. On the other hand, a magazine featuring personal recollections will generally have very little, if any, competition.
Whichever option you choose there is a fair amount of work to be done in order to become established. You must either contact local businesses and sell your advertising space or you must obtain interesting accounts of your town for publication. As always, getting started is the most difficult part.
In terms of appeal among your intended audience, the more personal community magazine is easily the better option and can soon generate sufficient interest to ensure that once you have obtained content to begin publishing, additional content will be submitted directly to you by your readers.
It must be borne in mind that a magazine based on advertising can also incorporate features providing local interest, and in much the same way, a magazine featuring personal recollections can include local trade and business advertising as a source of supplementary income.
Publishing local community magazines can either be simply a business or a very enjoyable and extremely satisfying business - but that is for you to decide.
So you’ve made the decision to publish your own community magazine, but what now? Where do you go for advice, information and above all, inspiration?
Despite its growing popularity, the business of publishing local community magazines is not covered to any great extent on the internet and there are very few web sites where you can get informal advice and communicate with like-minded people. Unlike normal publishing, the business of publishing local community magazines is very often the domain of individuals working alone for much of the time, and it can become a solitary existence.
Basically, there are two types of local community magazines favoured by aspiring local publishers. The first comprises booklets, usually in A5 size, containing local trade and business advertisements, and this type of magazine is generally distributed around your local area free of charge, with income being made from advertising revenue alone.
There are several franchise opportunities available for this type of community magazine which can prove to be a great way to get started as almost everything you will require is included in the package, including software, advertisement templates and on-going support. The drawback to this type of opportunity is the initial cost of your investment, which can be as high as several thousand pounds. A number of companies now offer local community magazine publishing franchises and a search on the internet will enable you to obtain further information from those readily available.
The second type of local community magazine offers a much more personal reflection on your community, comprising the recollections of local people and a study of your town’s local history, which are compiled into a saleable product. It is unlikely that you will find a franchise opportunity available for this type of magazine and if you decide to go along this path then much of the groundwork will have to be done by yourself. However, in terms of overall interest, this type of magazine will offer much more appeal to your readers.
Establishing a local community magazine featuring the recollections of people from within your home community along with studies of your town’s local history can be accomplished with very little financial investment. It is possible to begin printing your magazines from home using a suitable laser printer until you have established a circulation sufficient to meet the cost of commercial printing. Even if you opt for commercial printing from the outset your initial investment could be relatively small.
The main difference between these two very different types of magazines is that one is distributed free of charge, while the second has to be marketed and sold, although as we have already learned, the second type of magazine produces a very saleable product.
A magazine based primarily on local advertising can be highly lucrative but the competition can be intense as there are already a large number of similar publications in circulation and you may well find yourself competing against large-scale organisations. On the other hand, a magazine featuring personal recollections will generally have very little, if any, competition.
Whichever option you choose there is a fair amount of work to be done in order to become established. You must either contact local businesses and sell your advertising space or you must obtain interesting accounts of your town for publication. As always, getting started is the most difficult part.
In terms of appeal among your intended audience, the more personal community magazine is easily the better option and can soon generate sufficient interest to ensure that once you have obtained content to begin publishing, additional content will be submitted directly to you by your readers.
It must be borne in mind that a magazine based on advertising can also incorporate features providing local interest, and in much the same way, a magazine featuring personal recollections can include local trade and business advertising as a source of supplementary income.
Publishing local community magazines can either be simply a business or a very enjoyable and extremely satisfying business - but that is for you to decide.
May
15
Getting a manuscript published has never been easier; marketing and selling books has never been harder. Authors who pursue the smallest place for their Independent book on the shelf of a traditional bookseller is wasting valuable time and resources.
The six largest publishers in the world, all based in New York (five owned by foreign corporations), tightly controls the traditional world of retail bookselling. They pay an enormous price for prime retail space for all their titles. Space that is not only cost prohibitive, but space that also carries a huge financial risk for the successful Independent author.
Even if that retail shelf space was within the marketing budget of most Independent publishers or authors, the risk in returned product, shipping and handling charges, advertising allowances, and other assorted fees could bankrupt even the savviest small company.
Marketing is about finding ways to reach your audience with minimal cost and maximum exposure. Finding readers interested in your book is the essence of marketing. Why then would any Independent author concentrate on scratching out even the tiniest of space in the traditional world of bookselling?
The key for the Independent author to reach a global audience is to become a part of a growing movement, developing a community that will provide an online platform to market books and authors. A place where a global audience can easily find books not found in the typical neighborhood bookstore.
The only way to successfully market Independent titles to readers on a global scale is via the Internet with the creation of a single location for these books. The creation of an Independent marketplace on the web would substantially increase the exposure, availability, and eventual sales of these books worldwide.
I’m a 25-year veteran of New York publishing who became tired of the old model for bookselling. I love books, admire writers, and felt there had to be a better way to introduce new writers to readers. My goal is to help create a marketplace for Independent titles. Anyone involved with the Independent author marketplace cannot help but recognize the enormous opportunity for marketing and selling these titles to readers worldwide.
When I began speaking to writing groups and at writing seminars I quickly realized that an opportunity existed for the sale of Independent books. If an online marketplace could be developed that would present those titles and their authors in the right format to readers around the globe, the chances for success would increase substantially. An online platform representing a million Independently published titles would be an enormous advantage for the consumer, not to mention the author and small publisher.
Traditional publishers send authors on book tours to meet their audience and hopefully create a personal connection. Without the benefit of a book tour an Independent author can do the same by utilizing inexpensive audio and video. This would be the single most cost effective way for the Independent author to expand their readership. The technology exists, we just need to take advantage of the opportunities.
Let us join together to change the face of publishing and become a part of the new wave in Independent publishing; we will establish a voice for the Independent author.