Following a lead that educational writing is a buoyant market I have made a pitch at a publisher who has expressed an interest and wants to have my first draft finished by mid March. It's going to be tight.
I did a lot of research into the market and it is still providing opportunities to writers. Educational writing currently comes in many shapes and sizes. Some educational writers pen books for companies like Scholastic Teaching Resources, Libraries Unlimited, Wright Group, and Enslow Publishers. There is also the opportunity to create lesson plans, testing passages, and even captions for illustrations in encyclopaedias. Some work for developmental houses that contract with educational publishers. Experienced education writers receive book contracts from editors without even pitching ideas.
It seems that educational writing is lucrative, especially during a time when many freelance writers are struggling to find jobs, and publishers aren’t handing out as many contracts. The education writing market is still providing writers with opportunities. Several experienced writers claim this is how they got started, and claim educational writing is a great career—even without a teaching degree.
Definitely worth a go.
Tuesday, January 15, 2013
Sunday, January 13, 2013
Self-Publishing Scams to Avoid
1. Flattery
Reliable publishers don’t butter you up to gain your business. Beware publishers will play on your emotional heartstrings and tell you that your work is perfect and ready for publication as it stands. phrases to look out for are — “You deserve to be published” or “You have worked so hard, and we intend to share your voice with the world."
2. Promises, promises, promises...
When a self-publisher says, “We’ll get your book into every bookstore,” you might think your novel being on the shelves of every WHSmiths and Waterstones. But in reality at best this means your book will be llisted in every bookstore’s computer database. Customers can only buy it if a customer requests it.
3. Ineffective marketing
Most author services companies (which print your book on demand when one is ordered) and self-publishers offer all-inclusive packages that bundle printing and binding with editing, proofreading, sales, distribution, publicity and shipping. It’s easy to assume that the more services you buy, the more success you’ll have. Unfortunately, the “professional marketing materials” you receive may just be boilerplate press releases that journalists will ignore or a brief listing in a catalog that book buyers trash.
Remember marketing and publicity charges are one of the main ways these businesses make money.
4. Gobbledygook contracts
Self-publishing contracts are filled confusing terminology such as “author profit,” “royalty” and “net payment."
Before you sign anything, ask questions. How will you get paid? How often? How much? And when? Will you be paid based on the book’s cover price? Are returns (unsold books) taken into account? Get answers in writing and added to your contract before you sign.
5. Copyright tricks
Some publishers like to play: They tell you how difficult and expensive it is to obtain an International Standard Book Number (ISBN) and/or a copyright, then offer to “help you” with those piddly details. But an ISBN, which identifies a title for tracking and sales, actually is easy to obtain. You can purchase your own. I have bought an ISBN number for my writing group anthology, and if I can do it, anyone can.
Reliable publishers don’t butter you up to gain your business. Beware publishers will play on your emotional heartstrings and tell you that your work is perfect and ready for publication as it stands. phrases to look out for are — “You deserve to be published” or “You have worked so hard, and we intend to share your voice with the world."
2. Promises, promises, promises...
When a self-publisher says, “We’ll get your book into every bookstore,” you might think your novel being on the shelves of every WHSmiths and Waterstones. But in reality at best this means your book will be llisted in every bookstore’s computer database. Customers can only buy it if a customer requests it.
3. Ineffective marketing
Most author services companies (which print your book on demand when one is ordered) and self-publishers offer all-inclusive packages that bundle printing and binding with editing, proofreading, sales, distribution, publicity and shipping. It’s easy to assume that the more services you buy, the more success you’ll have. Unfortunately, the “professional marketing materials” you receive may just be boilerplate press releases that journalists will ignore or a brief listing in a catalog that book buyers trash.
Remember marketing and publicity charges are one of the main ways these businesses make money.
4. Gobbledygook contracts
Self-publishing contracts are filled confusing terminology such as “author profit,” “royalty” and “net payment."
Before you sign anything, ask questions. How will you get paid? How often? How much? And when? Will you be paid based on the book’s cover price? Are returns (unsold books) taken into account? Get answers in writing and added to your contract before you sign.
5. Copyright tricks
Some publishers like to play: They tell you how difficult and expensive it is to obtain an International Standard Book Number (ISBN) and/or a copyright, then offer to “help you” with those piddly details. But an ISBN, which identifies a title for tracking and sales, actually is easy to obtain. You can purchase your own. I have bought an ISBN number for my writing group anthology, and if I can do it, anyone can.
Good Writing Habits
There’s no better way to improve your work than by adopting good writing habits.
1. Read (and for some guys in my writing group,) if you won't read at least listen to an audio book. But if you can Read!
2. Write every day. Even if you can only dedicate a few minutes to writing.
3. Check your grammar, I'm need to this.
4. Have fun with your writing.
5. Research if you have to.
6. Find a writing process that works for you. What steps do you need to complete to tackle a writing project? Maybe you need to start with a plan, or perhaps you do better when you just write. Find out what works for you!
7. Proofread, edit, and revise. It’s obvious when a piece of writing has not been properly proofread.
8. Share your work and invite feedback. One of the quickest ways to improve your writing is through feedback. Embrace the feedback, even if it hurts, and then put it to work for you by ironing out all the wrinkles that your friendly reader found. And then return the favour.
9. Make writing a priority.
10. Experiment with different forms.
1. Read (and for some guys in my writing group,) if you won't read at least listen to an audio book. But if you can Read!
2. Write every day. Even if you can only dedicate a few minutes to writing.
3. Check your grammar, I'm need to this.
4. Have fun with your writing.
5. Research if you have to.
6. Find a writing process that works for you. What steps do you need to complete to tackle a writing project? Maybe you need to start with a plan, or perhaps you do better when you just write. Find out what works for you!
7. Proofread, edit, and revise. It’s obvious when a piece of writing has not been properly proofread.
8. Share your work and invite feedback. One of the quickest ways to improve your writing is through feedback. Embrace the feedback, even if it hurts, and then put it to work for you by ironing out all the wrinkles that your friendly reader found. And then return the favour.
9. Make writing a priority.
10. Experiment with different forms.
Eight steps you can take to keep your work out of the recycling bin
How do I format my poetry or short story submission? There are eight steps you can take to keep your work out of the recycling bin:
1. Read the publication (or samples of the publisher's offerings) before you send your work. Make sure they publish the kind of poetry you're sending.
2. Request submission guidelines from the publisher and adhere carefully to them.
3. Always enclose a self-addressed, stamped envelope for a reply. If you request your work returned, make sure to include a large enough envelope with adequate postage.
4. Unless guidelines specify otherwise, send only three to five poems or one short story.
5. Choose a standard typeface that is clean and easy to read. Twelve-point Times New Roman is a reliable choice. Do not use a script-style font.
6. Make sure whatever you send is perfect. Have someone reliable proofread your work. Check the spelling of the address, especially if you are sending it to a particular person's attention.
7. Keep your cover letter short: your bio should take up only a few lines; don't explain your poetry or short story; it should speak for itself; don't ask for or expect to receive feedback on your work.
8. Be aware that it often will take a long time for publishers to respond. Be patient. Don't call unless it is to inform them your work has been accepted by another publisher.
1. Read the publication (or samples of the publisher's offerings) before you send your work. Make sure they publish the kind of poetry you're sending.
2. Request submission guidelines from the publisher and adhere carefully to them.
3. Always enclose a self-addressed, stamped envelope for a reply. If you request your work returned, make sure to include a large enough envelope with adequate postage.
4. Unless guidelines specify otherwise, send only three to five poems or one short story.
5. Choose a standard typeface that is clean and easy to read. Twelve-point Times New Roman is a reliable choice. Do not use a script-style font.
6. Make sure whatever you send is perfect. Have someone reliable proofread your work. Check the spelling of the address, especially if you are sending it to a particular person's attention.
7. Keep your cover letter short: your bio should take up only a few lines; don't explain your poetry or short story; it should speak for itself; don't ask for or expect to receive feedback on your work.
8. Be aware that it often will take a long time for publishers to respond. Be patient. Don't call unless it is to inform them your work has been accepted by another publisher.
How can I tell if a contest or publishing offer is a scam?
How can I tell if a contest or publishing offer is a scam?
Consider these warning signs:
1. The sponsor or publisher asks for money. If a contest requires a reading fee, consider
(a) whether the sponsor is a for-profit or non-profit organization, and
(b) whether you feel its other activities besides the contest are worth supporting.
It does cost money to run a contest, so don't label all contests with fees as scams. Your entry fee may be used towards helping to keep a publicly supported arts organization healthy.
A commercial sponsor of a contest, however, should only earn a profit by selling the winning book.
2. There is no payment in either cash or publication copies. Many legitimate publications can't afford to pay their contributors, but at the very least they should give you a free copy of the finished product. If your work is worth publishing, it's worth paying for.
3. The publisher lists only a P. O. box address. If no phone number or street address is listed, they might be purposely obscuring their whereabouts. Why--or what--are they trying to hide from you?
4. The offer is a form letter that looks hand-generated. Using handwriting-style typefaces and fake Post-it notes is a popular tactic with direct-mail solicitation from a charity or book-club, but you shouldn't find it on an acceptance letter from a publisher.
Consider these warning signs:
1. The sponsor or publisher asks for money. If a contest requires a reading fee, consider
(a) whether the sponsor is a for-profit or non-profit organization, and
(b) whether you feel its other activities besides the contest are worth supporting.
It does cost money to run a contest, so don't label all contests with fees as scams. Your entry fee may be used towards helping to keep a publicly supported arts organization healthy.
A commercial sponsor of a contest, however, should only earn a profit by selling the winning book.
2. There is no payment in either cash or publication copies. Many legitimate publications can't afford to pay their contributors, but at the very least they should give you a free copy of the finished product. If your work is worth publishing, it's worth paying for.
3. The publisher lists only a P. O. box address. If no phone number or street address is listed, they might be purposely obscuring their whereabouts. Why--or what--are they trying to hide from you?
4. The offer is a form letter that looks hand-generated. Using handwriting-style typefaces and fake Post-it notes is a popular tactic with direct-mail solicitation from a charity or book-club, but you shouldn't find it on an acceptance letter from a publisher.
Wednesday, January 2, 2013
My Favourite Novella
This week I'm thinking about the novella which is too long for a short story and too short for a novel. I can't count the number of times I've been told that publishers look down on them because they are hard to sell.
Look at the confusion about what the word really means. It’s Italian for a “little novelty.” Think about tales like the Arabian Nights. Now it means a prose narrative of intermediate length.
This length ranges roughly from 20,000 to 40,000 words, or in an average publication something between 60 and 120 pages. Compared to a short story there is more room to develop round characters and an interesting plot. The main difference with a novel is that it centres around one main character and it has no subplots. I love them!
Here are some of my all time favourite stories are novellas.
Strange Case of Dr Jekyll and Mr Hyde
Robert Louis Stevenson (1886)
The narrator is Mr Utterson, a lawyer who observes two people: the scientist Dr Henry Jekyll and the murderer Mr Edward Hyde. He finds out that Dr Jekyll actually has a split personality and that Jekyll and Hyde are one and the same person. Dr Hyde believed that every man has good and evil incorporated within himself, and he invented a potion to separate these two. I have yet to see a film that is faithful to the original excellent plot.
The Time Machine
H. G. Wells (1895)
An English scientist invents a machine to travel in time. He travels to the year 802,701 A.D. and discovers two species: the small, child-like Eloi, and the aggressive, ape-like Morlocks, who live under the ground. He finds out that humanity has evolved into these two species, a result of the separation between leisure class and working class.
Of Men and Mice
John Steinbeck (1937)
My only argument with this one is that they use it in schools instead of Grapes of Wrath. George Milton and Lennie Small are two field workers traveling through California in search of employment.
The Turn of the Screw
Henry James (1898)
In the introduction, an unnamed narrator listens to a man who starts reading a manuscript written by a governess. Together with a housekeeper, she became responsible for Miles and Flora, a orphaned boy and a girl living in a country house without their uncle. The governess started seeing the ghosts of two former employers around the house. In this eerie atmosphere her concern grew over the safety of the children. It reminds me of my uni days.
The Metamorphosis
Franz Kafka (1915)
I felt so grown up at university reading this and discussing it over coffee. A traveling salesman, Gregor Samsa, wakes up transformed into a giant insect. Because of this he cannot go to work. The interesting question is how his family and his employer will deal with the absurd situation. The story can be read as a reflection on how society treats people who are different in some way or another.
A Christmas Carol
Charles Dickens (1843)
Ebenezer Scrooge, is visited by the ghost of his deceased business partner, Jacob Marley, and by the ghosts of Christmas Past, Christmas Present and Christmas Yet to Come. This will finally convince him to change his attitude, and become more generous towards society, and towards his clerk Bob Cratchit and invalid son Tiny Tim who I personally found really annoying and I think would have probably enjoyed dying and becoming a martyr.
Animal Farm
George Orwell (1945) (Eric Arthur Blair)
The main characters are intelligent animals. And this story blew my mind when I was at school. Although everybody is supposed to be equal, the pigs are more equal than the others. The story shows how utopian ideas can lead to exactly the opposite of what was intended: a dystopian society. The farm represents the Soviet Union. Napoleon and Snowball are based on Stalin and Trotsky.
Look at the confusion about what the word really means. It’s Italian for a “little novelty.” Think about tales like the Arabian Nights. Now it means a prose narrative of intermediate length.
This length ranges roughly from 20,000 to 40,000 words, or in an average publication something between 60 and 120 pages. Compared to a short story there is more room to develop round characters and an interesting plot. The main difference with a novel is that it centres around one main character and it has no subplots. I love them!
Here are some of my all time favourite stories are novellas.
Strange Case of Dr Jekyll and Mr Hyde
Robert Louis Stevenson (1886)
The narrator is Mr Utterson, a lawyer who observes two people: the scientist Dr Henry Jekyll and the murderer Mr Edward Hyde. He finds out that Dr Jekyll actually has a split personality and that Jekyll and Hyde are one and the same person. Dr Hyde believed that every man has good and evil incorporated within himself, and he invented a potion to separate these two. I have yet to see a film that is faithful to the original excellent plot.
The Time Machine
H. G. Wells (1895)
An English scientist invents a machine to travel in time. He travels to the year 802,701 A.D. and discovers two species: the small, child-like Eloi, and the aggressive, ape-like Morlocks, who live under the ground. He finds out that humanity has evolved into these two species, a result of the separation between leisure class and working class.
Of Men and Mice
John Steinbeck (1937)
My only argument with this one is that they use it in schools instead of Grapes of Wrath. George Milton and Lennie Small are two field workers traveling through California in search of employment.
The Turn of the Screw
Henry James (1898)
In the introduction, an unnamed narrator listens to a man who starts reading a manuscript written by a governess. Together with a housekeeper, she became responsible for Miles and Flora, a orphaned boy and a girl living in a country house without their uncle. The governess started seeing the ghosts of two former employers around the house. In this eerie atmosphere her concern grew over the safety of the children. It reminds me of my uni days.
The Metamorphosis
Franz Kafka (1915)
I felt so grown up at university reading this and discussing it over coffee. A traveling salesman, Gregor Samsa, wakes up transformed into a giant insect. Because of this he cannot go to work. The interesting question is how his family and his employer will deal with the absurd situation. The story can be read as a reflection on how society treats people who are different in some way or another.
A Christmas Carol
Charles Dickens (1843)
Ebenezer Scrooge, is visited by the ghost of his deceased business partner, Jacob Marley, and by the ghosts of Christmas Past, Christmas Present and Christmas Yet to Come. This will finally convince him to change his attitude, and become more generous towards society, and towards his clerk Bob Cratchit and invalid son Tiny Tim who I personally found really annoying and I think would have probably enjoyed dying and becoming a martyr.
Animal Farm
George Orwell (1945) (Eric Arthur Blair)
The main characters are intelligent animals. And this story blew my mind when I was at school. Although everybody is supposed to be equal, the pigs are more equal than the others. The story shows how utopian ideas can lead to exactly the opposite of what was intended: a dystopian society. The farm represents the Soviet Union. Napoleon and Snowball are based on Stalin and Trotsky.
Tuesday, January 1, 2013
Novellas Weird Right?
Over Christmas I've been giving a lot of thought over what's next in my life. One of my projects left unfinished is a novella sitting under the bed that I felt was unpublishable due to its length. I've had some good feed back on my work but I've been given the advice to make it longer. But why? I'm happy with it and I think it will lose something if I add padding just to make it the right length. Then while surfing the net this morning I came across an article which literally answered the question I was running over in my mind - weird right?
According to today's Telegraph 'Booker prize-winning author Ian McEwan believes the novella is the superior literary form to the novel.
The author told an audience at Cheltenham Literary Festival over the weekend, "If I could write the perfect novella I would die happy."
McEwan said that publishers and critics feel there is something 'unmanly' about a novella: "Whenever I've handed in a novella there's always someone to give you a kick in the shins, as if you've made a mistake.
"Many of the writers we love the most, we love for their novellas: Death in Venice, by Thomas Mann, The Turn of the Screw, by Henry James, The Metamorphosis by Franz Kafka."
McEwan believes that brevity appeals to readers, because "you can hold the whole thing structurally in your mind at once."
The writer defines the novella as being a work of 25,000 words. He is the author of several short-form books and two of his short novels have been shortlisted for the Booker prize. The 166-page On Chesil Beach was nominated in 2007, a book which McEwan described as a novella. This would have made it ineligible for the Booker, but the panel decided that the book was in-fact a short novel.
The writer won the Booker with the 175-page novel Amsterdam in 1998.
His most recent novel Sweet Tooth includes a character who is nominated for a literary prize for a novella.'
Source Telegraph.co.uk Tuesday 01 January 2013
Now I'm the first to admit that my story isn't the next Turn of the Screw, but encouraged I have spent the afternoon on my submission letter.
According to today's Telegraph 'Booker prize-winning author Ian McEwan believes the novella is the superior literary form to the novel.
The author told an audience at Cheltenham Literary Festival over the weekend, "If I could write the perfect novella I would die happy."
McEwan said that publishers and critics feel there is something 'unmanly' about a novella: "Whenever I've handed in a novella there's always someone to give you a kick in the shins, as if you've made a mistake.
"Many of the writers we love the most, we love for their novellas: Death in Venice, by Thomas Mann, The Turn of the Screw, by Henry James, The Metamorphosis by Franz Kafka."
McEwan believes that brevity appeals to readers, because "you can hold the whole thing structurally in your mind at once."
The writer defines the novella as being a work of 25,000 words. He is the author of several short-form books and two of his short novels have been shortlisted for the Booker prize. The 166-page On Chesil Beach was nominated in 2007, a book which McEwan described as a novella. This would have made it ineligible for the Booker, but the panel decided that the book was in-fact a short novel.
The writer won the Booker with the 175-page novel Amsterdam in 1998.
His most recent novel Sweet Tooth includes a character who is nominated for a literary prize for a novella.'
Source Telegraph.co.uk Tuesday 01 January 2013
Now I'm the first to admit that my story isn't the next Turn of the Screw, but encouraged I have spent the afternoon on my submission letter.
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