Readers want the taste, teh flavour of the real thing. To know what is was like to be where that other person was. Read these stories as true as if they had happened to us.
1. Making the real come alive
3 skills - emotional response (love, revenge, ambition, guilt, grief), careful selection of detail and authenticity of setting.
2. Establishing place
After readers glimpse true feelings of the writer's heart, take reader by the hand and place him or her in the setting where the story unfolds.
Let the reader know who the antagonists are, where they come from, who the rivals are of the people on this farm, pageant or rodeo.
3. Layering in the details
After getting the reader to that porch, Cow Palace etc, and they know how the author feels about being there, who are the bad guys and good guys, old v. young ones, our team v. theirs), the last step is to select from the action that follows the specific, revealing details that will show the place best. Let the reader see best what there is to see from his ringside seat. The damp hands before the fight? The nockout? The dark hall afterward? All 3? But not every action and reactin in between.
Differences between fiction and non-fiction. The plot in fiction, writer must invent facts readers will believe. In NF, writer has all the facts and has to arrange them into a plot for the readers. But for both, the ultimate question the reader will ask: Does it ring true?
Friday, May 1, 2009
Sunday, September 9, 2007
Trends: Writers, Editors Say Adios to SASEs
Poets & Writers Jan/Feb 2007
Trends: Writers, Editors Say Adios to SASEs Neil Baker
UK IMPRINT ATTRACTS DEBUT AUTHORS
www.macmillannewwriting.com
No advance, No agent, non-negotiable terms from major publisher
First-time writer
Accepts only complete, word-perfect novels (edited and proof-read).
e.g Michael Stephen Fuchs, The Manuscript, positive review in UK April 2007
It is not vanity publishing. Only way for debut writer to get into print.
Writers do get higher-than-normal royalty: 20% of net receipts.
Publisher gets global rihts with proceeds from any rights sale shared 50:50 with the author
An option to buy the author's next novel on the same terms.
the manuscript must be finished. Macmillan will assign an editor. First novel. Submit by e-mail. Non negotiable , no need agent. Majority likes the deal.
21 debut writers have signed. Ranges across genres. UK, INdia, African mid 20s to over 60 years old.
e.g. Roger Moriss, Taking Comfort, first 3 months Morris sold 1,804 copies, earning US$4,000 in royalties, according to hisblog. Authors Guild in UK, average is US$9,500 annually.
Lack of an advance NOT a significant issue to debut authors.
The standard royalty rate for a book bought by a major publisher is 10% of the retail price of the book on first 5,000 copies sold, 12.5% on next 5,000 sold and 15% for all copies.
Trends: Writers, Editors Say Adios to SASEs Neil Baker
UK IMPRINT ATTRACTS DEBUT AUTHORS
www.macmillannewwriting.com
No advance, No agent, non-negotiable terms from major publisher
First-time writer
Accepts only complete, word-perfect novels (edited and proof-read).
e.g Michael Stephen Fuchs, The Manuscript, positive review in UK April 2007
It is not vanity publishing. Only way for debut writer to get into print.
Writers do get higher-than-normal royalty: 20% of net receipts.
Publisher gets global rihts with proceeds from any rights sale shared 50:50 with the author
An option to buy the author's next novel on the same terms.
the manuscript must be finished. Macmillan will assign an editor. First novel. Submit by e-mail. Non negotiable , no need agent. Majority likes the deal.
21 debut writers have signed. Ranges across genres. UK, INdia, African mid 20s to over 60 years old.
e.g. Roger Moriss, Taking Comfort, first 3 months Morris sold 1,804 copies, earning US$4,000 in royalties, according to hisblog. Authors Guild in UK, average is US$9,500 annually.
Lack of an advance NOT a significant issue to debut authors.
The standard royalty rate for a book bought by a major publisher is 10% of the retail price of the book on first 5,000 copies sold, 12.5% on next 5,000 sold and 15% for all copies.
4. Literary Journalists: How to Get On Their Radar
Poets & Writers Jan/Feb 2007
Jen A Miller
1/3 of 320,000 editors & writers working in the US are freelancers searching for the next great story. Writes about an author more than once. e.g. author profile for a large newspaper, a trend piece aabout the book for a regional magazine and Q&A with the writer for a lifestyle Web site - during the week of a book's publication.
author-freelancer connection fruitful for both parties. Who we are, what we do, what we're looking for, and when
UNDERSTAND WHAT WE DO
a review, an author profile and a trend piece.
KNOW WHERE TO FIND US
Read bylines. Skim back issues of magazines.
Freelancer not listed on masthead, staff writers,
local library, read blogs and Web sites for names of freelancers. 2 popular sites are Bookslut.com - book related stories and reviews
and online Salon - publishes a handful of book stories every week.
MBToolBox, a resource page for freelancers operated bby Mediabistro.com --- Claire Zulkey blogs there. Will oblige as long as they can share a tale about their book that will help others.
Enter a name into search engine...
Send a note to editor for freelancer's contact info.
KNOW HOW TO APPROACH US
Send a professional pitch and make it personal and simple.
Answer questions in a timely manner.
DON'T ALWAYS RELY ON YOUR PUBLICIST.
Authors do need to follow up. photocopy a sample from your advance copy and mail it to the writer.
KNOW WHAT WE WRITE.
Do your homework.
Electronic databases such as LexisNexis most helpful. Buy articles about freelancer's writings.
KNOW OUR CALENDARS
Give time to read (about 4 months before publication).
KNOW WE'RE NOT PERFECT
We work with you, not for you. Keep that in mind when dealing with us.
BUILD A RELATIONSHIP
Author collegial, makes our jobs easier. Let me know about 2nd book and in good time.
Time and energy in writing a book, finding a publisher, you need somebody to read it. Freelance writers can be key players in finding the audience.
Jen A Miller
1/3 of 320,000 editors & writers working in the US are freelancers searching for the next great story. Writes about an author more than once. e.g. author profile for a large newspaper, a trend piece aabout the book for a regional magazine and Q&A with the writer for a lifestyle Web site - during the week of a book's publication.
author-freelancer connection fruitful for both parties. Who we are, what we do, what we're looking for, and when
UNDERSTAND WHAT WE DO
a review, an author profile and a trend piece.
KNOW WHERE TO FIND US
Read bylines. Skim back issues of magazines.
Freelancer not listed on masthead, staff writers,
local library, read blogs and Web sites for names of freelancers. 2 popular sites are Bookslut.com - book related stories and reviews
and online Salon - publishes a handful of book stories every week.
MBToolBox, a resource page for freelancers operated bby Mediabistro.com --- Claire Zulkey blogs there. Will oblige as long as they can share a tale about their book that will help others.
Enter a name into search engine...
Send a note to editor for freelancer's contact info.
KNOW HOW TO APPROACH US
Send a professional pitch and make it personal and simple.
Answer questions in a timely manner.
DON'T ALWAYS RELY ON YOUR PUBLICIST.
Authors do need to follow up. photocopy a sample from your advance copy and mail it to the writer.
KNOW WHAT WE WRITE.
Do your homework.
Electronic databases such as LexisNexis most helpful. Buy articles about freelancer's writings.
KNOW OUR CALENDARS
Give time to read (about 4 months before publication).
KNOW WE'RE NOT PERFECT
We work with you, not for you. Keep that in mind when dealing with us.
BUILD A RELATIONSHIP
Author collegial, makes our jobs easier. Let me know about 2nd book and in good time.
Time and energy in writing a book, finding a publisher, you need somebody to read it. Freelance writers can be key players in finding the audience.
Tuesday, August 7, 2007
Books- Connecting with Teen Readers. Tips, Titles and Tools
1. Connecting with Reluctant Teen Readers. Tips, Titles and Tools. Patrick Jones, Maureen Hartman, Patrcia Taylor.
NLB 7th floor 028.5
2006
Contents
Preface
Acknowledgements
From the Authors (3 names)
Part I. TIPS THAT WORK
1. Who Are Reluctant Readers?
1.1 Who Are Reluctant Teen Readers
1.2 What Are the Characteristics of Dependent Readrs
1.3 Are Male Readers Reluctant Readers? Why? Is it True?
1.4 Girls who don't choose to read.
1.5 Can an Honour Student be a Reluctant Reader?
2. Why Are They Reluctant to Read?
2.1 Why Should Teens Read for Pleasure?
2.2 Why Don't Teens Like to Read?
2.2a Survey
2.2b Teens Speak Out
2.2c Interview
2.2d Findings
2.2e Research Reports
2.3 What Are the oher Factors that Explain Why Many Teens Choose Not to Read for Pleasure?
2.4 What Are the Four Levels of Reading?
3. How Can We Help?
3.1 What's the Single Most Important Thing about Working with Reluctant Teen Readers?
3.2 What are the Top Techniques for Teachers Working with Reluctant Teen Readers?
3.3 How Do We guide Reluctant Teen Readers through required Reading?
Teacher/Librarians
Parents Role in Motivating R R?
3.6 Library Programs
Summer Reading Clubs that offer incentives for reading
3.6a Summer Reading Success Stories Pg. 62
4. What Kinds of Books Work?
Part II. TITLES THAT WORK
Fiction
Nonfiction
Graphic Novels and Comics
Other Lists
Part III. TOOLS THAT WORK
Booktalking 101
Four Basic Booktalk Styles
Sample Booktalks---Our Fifty Greatest Hits
Reading Survey
Bibliography
Afterword by Alex Flinn
Title Index
Subject Index
Author Index
About the Authors
NLB 7th floor 028.5
2006
Contents
Preface
Acknowledgements
From the Authors (3 names)
Part I. TIPS THAT WORK
1. Who Are Reluctant Readers?
1.1 Who Are Reluctant Teen Readers
1.2 What Are the Characteristics of Dependent Readrs
1.3 Are Male Readers Reluctant Readers? Why? Is it True?
1.4 Girls who don't choose to read.
1.5 Can an Honour Student be a Reluctant Reader?
2. Why Are They Reluctant to Read?
2.1 Why Should Teens Read for Pleasure?
2.2 Why Don't Teens Like to Read?
2.2a Survey
2.2b Teens Speak Out
2.2c Interview
2.2d Findings
2.2e Research Reports
2.3 What Are the oher Factors that Explain Why Many Teens Choose Not to Read for Pleasure?
2.4 What Are the Four Levels of Reading?
3. How Can We Help?
3.1 What's the Single Most Important Thing about Working with Reluctant Teen Readers?
3.2 What are the Top Techniques for Teachers Working with Reluctant Teen Readers?
3.3 How Do We guide Reluctant Teen Readers through required Reading?
Teacher/Librarians
Parents Role in Motivating R R?
3.6 Library Programs
Summer Reading Clubs that offer incentives for reading
3.6a Summer Reading Success Stories Pg. 62
4. What Kinds of Books Work?
Part II. TITLES THAT WORK
Fiction
Nonfiction
Graphic Novels and Comics
Other Lists
Part III. TOOLS THAT WORK
Booktalking 101
Four Basic Booktalk Styles
Sample Booktalks---Our Fifty Greatest Hits
Reading Survey
Bibliography
Afterword by Alex Flinn
Title Index
Subject Index
Author Index
About the Authors
Wednesday, July 11, 2007
Invention, transfer,efficiency and innovation
Invention, transfer, efficiency, and innovation: 21st-century learning abilities can be taught. Source: Teacher Librarian June 2007.
To produce learners able to compete globally. Learners are taught desirable qualities. These are inventiveness (developing novel ideas and being creative), transfer (applying learning to new situations), efficiency (doing better and more work in less time), and innovation (developing new ways for solving problems).
To teach an inventive learning experience, ask students to invent explanations of relationships or a formula that may apply to a lesson with data sets. Solving a problem through systems thinking, higher-level thinking and creativity become part of the inventive thinker's thinking.
The teacher should not criticise the wide spectrum of opinions on an issue, charts or groupings of data. Have students defend their opinions. Finally give students a unique problem to solve where the technique taught may be one key in the solution to the problem.
To produce learners able to compete globally. Learners are taught desirable qualities. These are inventiveness (developing novel ideas and being creative), transfer (applying learning to new situations), efficiency (doing better and more work in less time), and innovation (developing new ways for solving problems).
To teach an inventive learning experience, ask students to invent explanations of relationships or a formula that may apply to a lesson with data sets. Solving a problem through systems thinking, higher-level thinking and creativity become part of the inventive thinker's thinking.
The teacher should not criticise the wide spectrum of opinions on an issue, charts or groupings of data. Have students defend their opinions. Finally give students a unique problem to solve where the technique taught may be one key in the solution to the problem.
Sunday, July 8, 2007
1. July 8, 2007
S.U.C.C.E.S.S
Black Enterprise May 2007
BOOK: Made to Stick: Why Some Ideas Suvive and others Die (Random House), Chip Heath and Dan Health.
Sticky ideas don't happen by chance: creating or spotting them is a skill that can be learned and mastered.
Use 6 principles to deliver message that are impossible to ignore or forget.
1. Simple: Determine the core, single most important thing and then share it.
2. Unexpected: Get attention with surprise and hold attention through interest.
3. Concrete: Help people understand, coordinate and remember. Provide a solild context.
4. Credible: Help people agree and believe by readily offering statistics and/or testable credentials and convincing details.
5. Emotional: Make peoople care through the power of association or appeal to their identity and self-interest.
6. Stories: Get people to act by either telling them how to act (stimulation) or giving them the energy to act (inspiration).
Kowing how to generate good sticky ideas can enrich, empower and enable you to maximise your potential as an effective communicator.
S.U.C.C.E.S.S
Black Enterprise May 2007
BOOK: Made to Stick: Why Some Ideas Suvive and others Die (Random House), Chip Heath and Dan Health.
Sticky ideas don't happen by chance: creating or spotting them is a skill that can be learned and mastered.
Use 6 principles to deliver message that are impossible to ignore or forget.
1. Simple: Determine the core, single most important thing and then share it.
2. Unexpected: Get attention with surprise and hold attention through interest.
3. Concrete: Help people understand, coordinate and remember. Provide a solild context.
4. Credible: Help people agree and believe by readily offering statistics and/or testable credentials and convincing details.
5. Emotional: Make peoople care through the power of association or appeal to their identity and self-interest.
6. Stories: Get people to act by either telling them how to act (stimulation) or giving them the energy to act (inspiration).
Kowing how to generate good sticky ideas can enrich, empower and enable you to maximise your potential as an effective communicator.
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