Huamnitarian Journey Aournd the World
Presentation given in Bob Brekken's World History class
Anna Brekken-Refugee Officer for Homeland Security
March 31, 2014
Central Lakes College, Brainerd MN
Refugee Corps
Started in Damak, Nepal
Near Nepal is Bhutan which affects Nepal
Drukpas and Lhotsampas
1989 King Wangchuck adopted 'One Bhutan, One People" policy
Arrests, detentions, rape, torture
Mass exodus in 1991 to Nepal
Nepal said "we don't want you" so those refugess were put into camps
Camp Sanischare, resetteled 60,000 people
Interviewed 7 families per day, 5 days per week
Many of them grew up in refugee camps and aren't allowed out of camp so don't have some common experience/knowledge or don't know some skills like opening a door
Mayaysia
Kuala Lumpur
Refugees there don't live in camps, they live in the city, aren't allowed to work yet have to get by somehow
Burma
Marginalized Populations:
Chin-Chrisian 1.2 %
Karen-Buddhist and Chistian -- very vulnerable right now
Rohingya-Muslim
6 cases per day, 5 days a week
Persucution:
Forced labor-men, women, and children (forced to work on road structure even though not a road)
Forced porter
Unable to practice religion or culture
Rwanda
1994 Genocide started April 6 with President's plain being shot down
Congo next door and Goma and North Kivu 5 million have been killed
Interview Congolese refugees
Uganda
Somali
They interview Somali all over the world but especially here
Somalia
Civial War 1991
UNOSOM (UN operation Somalia) left in 1995 lots of problems since then
Islamic Courts Union
Clan wars- Hawiye
Transitional Federal Govt
Al-Shabaab-"The Youth" affiliated with Akeida
Interview Somalis all over the world
Somalia is a very difficult place to try and live
Middle East
This is where most of her time has been spent
Iraq
Lebanon
Turkey
Egypt
many others
Refugee Populations
Iraqis 32, 000 of 70,000 refugees taken were Iraqis
Iranians (Bah/ai, Christian converts, political activists, others)
4 per day, 5 or 6 days per week
Irqi Refugee Claims
Affiliated with US Govt (Interpreteers, Contractors, NGO/Media organizations)
Religious claims (Shia, Sunni, Christian, Sabean-Mandean, Yazidi)
LGBTI
Ethnoreligious Groups
North Kuds
North wand West Sunnis
Shi in South
Baghdad--mixed
Shia (kinda like Catholics)
Ali, Mohammed's cousin and son in law was rightful successor to Mohammed and the first Caliph
Leadership as birthright
Very small percentage of wlrd's Muslims
Nuri al Maliki
Miltatnt groups" Badr Forces and Jaish al Mahdi (JAM)
Sunnis (like protestants)
Abu Bakr, Mohammedn's closet companion, was Moahammed's rightful succssor
Leadership not birthright
They get alot of threat letters (which is a very serious event--can kill entire families)
Kidnappings sometimes with ransom (funding terriosts) 20-30 thousand ransom
Attempted shootings
Irqi issues
Military-compulsory for all males 18 and over
Iran-Iraq war 1980-1988 (dropped chemical weapons on Kurds)
Anfal Campaign-Kurdistan 1987-1988
First Gulf War
Ba Ath Party 1968-2003 many many human rights abuses (mandatory for them to be in it, so how involved were they)
Intelligence/police work (big threat if they were)
Anna.E.Brekken@uscis.dhs.gov
Q & A
They have translators with them during the interview.
Backgrounds vary: some lawyers, public admin, public policy,
Was immigration services. Recommendation: do humanitarian work and get your foot in the door with government.
Time there, then back for a break before next trip.
Refugee Processing Center and NGO team get list of approved refugees and are the ones to decide on where they'll be placed (meet every Wednesday)
Sometimes they get hung up "in the red tape" There are alot of security checks they have to go through.
Defintion: persecuted based on categories (race, ethnicity, religion, political, GLBTI etc,)
They go through counter-terroism training, have strict protocol and security (ie they are airlifted from Bhagdad airport to embassy compound).
Monday, March 31, 2014
Saturday, March 1, 2014
Shaping Your Words, Sharing Your Stories (The Write Basics Conference sponsored by the Brainerd Public Library)
Mary Logue on "The Elements of Editing"
TITLES
We usually start with a "working title". Sometimes the title prompts the story. Sometimes theme suggests itself if not, we sometimes have to work at it.
"Titles are often the only words someone will read, make them memorable and unforgettable"
Can start with writing words that tie into the theme--write don't think--with words that have something to do with the book. Then start combining them.
Want title easy to remember.
Activity:
Write down working title of project as it stands now.
Write down 2 additional titles it could be called.
Write down 2 more.
Pick your top 3.
Ask small group which of 3 they like best.
(In our examples, all of our top choices were not their top choice. Interesting. In large group example, the outcome was overwhelming--85% liked one which was not author's top choice.)
Titles are not copyrighted. Do research online to see if your working title is already out there. If book is more than 10 years old and not well known then may want to reconsider.
Of all the words in your book the ones in the title are the most likely to be changed.
Strong words--develops an image-- (To Kill a MockingBird)
can be sometimes aliterations (Pride and Prejudice. Great Gatsby)
sounds simple (Sophie's Choice)
memorable sound
Good title means more at the end of story
Should be aware of our reader.
Ask bookstore owner about working titles.
Books have been sold on base of title alone. So use a critical eye.
FIRST SENTENCES
We are starting a relationship with the reader. You want them to know what you are promising in first line, first paragraph, first page. There must be a promise of something good to come, worth their time,
Books are linear--writers job is to keep the reader interested and reading. Don't let them quit.
"First page readings/critic" writer reads first page out loud and agent decides if the agent wants to see more of and usually she
I don't know where I am, who the main character is, nor what she wants, or why I should care
Think of it as an agents is there just looking for a reason to turn your book down.
Grab them hard on the first page and never let them go. No one is going to wait for the story to start
Provocative, raises a question. Most often the first sentence is rewritten most often. It needs a quality that creates that demand to keep reader.
Write the book you wish you want to read.
Sense of authority--want to know you are in good hands. You'll get a truth. The story is interacting intimately with reader immediately.
Start with one. Then later, start writing 3 or 5 other first sentences--pick your favorite. Keep doing this untli you know.
FIRST PARAGRAPH
Tip your hand, give a clue as to what they'll get if they read the whole story. Start to develop tone.
FIRST PAGE
First break in the story--will the reader turn the page. Need to make them make the next move. The promise of the story. Who the main character is (if not with the main character, we have to know we're not with the main character). Do not hide any important information from the reader that they would have if they were there. Never want the reader to be asking a question that you don't want them to be asking. You are giving them this world so direct them where to look and what to see.
Don't want to learn stuff five pages in (ie character is 15, is missing a leg, etc.)
CHAPTERS
Chapters are beads on a necklace, you want them strung together (or links on a chain). Want the last sentence of a chapter to make them want to go to the next chapter. Trying to get them over the break (the chapter break).
Do a temperature check. Books need to build, need character development, but if you have a good hook and made the reader to commit to the book already you have a little more leeway.
DRAFT
Get some distance from your own book.
Ask people when they got committed to the book and how they moved through the book (where they couldn't put it down or where they got lost)
Additional Tips:
She writes 3 pages a day, then starts the next day by re-reading those pages allowing some edits.
Know that you're going to write some bad stuff that needs editing.
Become the first reader again. Put it away for awhile and then come back to it.
Editing and working on a hardcopy gives some a more critical eye, so print it out in order to "See it in a new way"
Read your work out loud. Anytime you stumble--look at it carefully. Sentences should flow. So if it doesn't there's a hint there that it could be better.
Have someone else read it. Having that awareness makes you look at it differently. Sometimes, people have others read it out loud to you.
Ask them what do you remember? What stood out to you? Where did you stumble?
Take in what they say to you even if you don't agree with them.
What to revise?
Opening sentences, paragraphs, etc.
Dialogues: Is it clear who is speaking (can skip some he said/she said) but don't want the reader to have to go back up only keep reading. Start clearly with he said she said. Can do 3 or 4 back and forths then a clue (scratch head or other gesture)
One of our best tools is the readers imagination--get out of their way.
Don't feel like you have to start a conversation where it starts, only when it gets interesting (don't need the small talk) get to the heart
Anything confusing get rid of
Anytime you switch scenes make sure the reader knows where they are, what time it is, etc.
Anything that doesn't add to the story--take it out
Don't go on too long
Don't chop an important sentence by putting it at the end of a paragraph. Put it as its own paragraph.
Don't explain something more then once
Strong verbs--let the verbs do much of the work on its on
Avoid "It was" "I began" (those are garbage words)
Additional:
Chicago style is the most commonly used.
Stories should have a pulse.
Humor can be tricky (should know in the first page if that's going to be part of the tone of the book).
ASHLEY SHELBY: Shoot the Moon: A Crash Course for Submitting Queries, Proposals, and Manuscripts
www.loft.org
publishing is going through seismic shifts right now
Random House and Penguin just merged.
Amazon and self-publishing is really affecting the business
Literary Agents roles are maybe changing
Independent and Academic Companies are branching out now too
Be realistic but not fatalistic
1. Write your book or proposal
2. Land agent
3. Agent sells book to publishing house
4. Publishing house publishes book
5. You get rich and famous (nor really)
First Things First: Before Querying
Novels: a complete manuscript
Memoirs: a complete manuscript
Nonfiction (narrative,, history, self-help, how-to, proposal, and three sample chapters)
Agents duties
editorial and marketability assessment
representation
relationships with editors, subagents, film agents. etc.
negotiation
advocacy
watchdog
15% commissions, 20% if subagents involved (industry standard from advance to royalties, film rights etc.)
Once you sign a contract it is for the life of the book
4 main tasks of agents
contracts and payments
submitting projects to publishers
Client-related works
finding new clients
How agents choose what they'll represent
Potential to evoke interest in editors (for sale)
timelines (for nonfiction) current events, popular culture, trends, etc.
Author platform (mainly for nonfiction)
Agents personal interests
good writing
Researching Agents: How to Choose which ones to Query
Look in the acknowledgment section of books you admire
Avoid pitching agents who represent a book very similar to yours--common mistake. Think "subject matter" match.
Survey recent deals in publishers lunch (subscription required)
Consider younger agents they're hungrier, more motivated less experienced
AAR: Association of Authors' Representatives
Literary Marketplace reference book available at most libraries
How to get an Agent's attention
Write professional, thoughtful, specifically tailed query to them
Basics
Read agency guidelines
Do your research and be selective
Don't oversell
Know it'll be tough
Be patient
Hang in There
You don't have to bite at the first agent that shows interest--if it's not a good match, don't do it.
Most writers just want to write, they don't want to have to worry about the other parts.
Your duties
Be familiar with your targeted agents clients list and recent sales (Publishers marketplace)
Be prepared to refer to agents books or clients in your querry
Be aware of your own needs as a writer
submit in "rounds"
Don't Oversell
No grand predictions
No mention of how much your mother/wife/husband/etc loved the book--ever!
Don't predict the agent's reactions to your book
No mention of the word "bestseller"
Humility works (but don't fall into self-deprication either)
Know it will be tough
prepare yourself for rejections
Be open to constructive criticism should you receive any
Remain optimiste but open to revision. Consider revising query after 5 rejections. (5 is not that many really, hang in there)
Be patient
Some agents don't respond ever, but most will respond, but there is a large slush pile for them to go through usually
Writing the query (for nonfiction since novel requires full manuscript)
The notification query: includes a letter, a proposal, and at least a sample chapter (refer to guidelines)
Fiction Query: novels are sold on complete manuscript
Query Letters can be hard to write (think about the flap copy--selling the book) summary of actual plot, main characters and slight pitch
Make reference to a book agents's list or a recent deal, an interview you read, etc. or beings in a narrative fashion
Are succinct and yet tantalizing (hook them)
Outline the book in engaging prose (voice on the page) that mirrors the writer's voice on the page
Include author background
Follows guidelines to a T and are completely error-free
If humorous book you don't want a completely dry query--still serious but a little idea of your voice
Read query out loud
Get to the guts right away, agent knows why you're writing.
Referencing other novelists and what components are similar to your book helps speak more than the words you are limited to in query. "It will appeal to fans of William Gibson's books with contemporary settings, Laura Lippman's strong female protagonists, and almost anybody's whacked-out travelogues about the wold's more surreal places."
Let a little bit of your personality show.
Brief broad strokes
Side note: Animal stories are still huge
Something that shows why you are querying that particular agent
Unsuccessful Queries
Address agents as "Dear Agent"
Arrive on the desk of agents who d not represent the genre/style of work
Mention other rejections
Elements of a Book Proposal
Query Letter
Overview: summary of your book a longer version of the nut of your query letter
Annotated Table of of Contents: outline of your book, chapter by chapter, with narrative descriptions of each chapter's content
Marketing/Publicity Plan
Comparable titles sections
About the Author
Sample chapters (preferable three complete chapters preferrable chronological)
Tips: requires a great deal of research and thought
Should be at least a third of the way through the book itself (nonfiction)
take your time
Proposals are used by agents to sell the book to editors
your subject should be tightly focused proposals regularly rejected for being too broad (about diabetes)
Sample chapters
For notification, don't think about querying until you have at least 2 sample chapters, preferably 3
Should be as polished and complete as they would be if they appeared in the book
When submitting order chronologically
Submission package
for novels and memoirs: query letter and/then entire manuscript (include self addressed envelope or now many done electronically)
Rejections are inevitable
Most successful writers are those who have been rejected less often
Expect it
Good books and good writing get rejected all the time
Many agents receive about 5-10 K queries a year may sign 2-6 a year
Language of Rejection
Not right for my list
another agent may feel different
I encourage you to keep submitting
I just didn't fall in love with it the way I hoped
Revise and try me again
Kathryn Stockett received 60 rejection letters for the HELP before receiving #61
What to ask a potential agent
what are some of your recent sales
who are some editors you think might be a good fir for my project
are you a member of AA
what is your commission
do you handle subrights
what if you leave your agency
What to ask a potential publisher
How do you support your books
What kind of editor are you
what role am I expected to play in the publicity and marketing
Timeline
Reading or editing fee--this should not happen--cross that agent off your list! Shouldn't be any charge outside of commission.
Red flag
no website
any reading fee
no list of clients
suggestion to have work edited by in house "editor" or an affiliated editorial firm -- referrals are usually okay
contests with entry fees (just a way for them to make money)
we'll talk later about agent-publishers (new development)
You probably shouldn't submit to a different agent at the same agency after getting a rejection letter from that company. He/she probably would have suggested different coworker if that had been right.
Making the decision
phone call or meeting (most work out of New York)
should be timely
beware of big promises -- want the straight talk
done't make a fear-based decision
Gut feeling
Does he/she like your writing or just this project
Value your work, honor your work, want someone who is going to invest in you, believe in you
What happens after signing with agent
You work with agent to prepare submission package for editors
Agent selects editors from network
work together
SELF-PUBLISHING: Quick Guide
Write book
Optional: have book edited by professional editor; hire an designer to design the book jacket and interior pages
Upload book to KindleDirect or other online platform and begin selling
Or: Submit book to print-on demand publisher like Xlibris, lulu or growing number of companies
Self publishing is revolutionizing the publishing industry
offering authors greater control
less "quality control"
Even traditional publishers and some agents are getting into the self-publishing business now
Pros
retain control over material, pricing, design, much larger share of profit, no agent commission, some authors make much more money
With publishers you get an advance and then money portion after the advance is repaid
Cons, less prestige, more difficult to get into traditional booksellers, up-front costs, you are responsible for publicity efforts and hand-selling, still a divide between traditional and self-publshed books. Harder to reach your audience
KindleDirect is not very expensive (they get 30%)
Know what you want
Want a well-distributed, well-designed book sold through traditional channels then traditional publishers
Feel your core audience is made up of e-book readers and have an existing network (Facebook, Twitter, LinkedIn, email list) through which to promote a book? Try Kindle Direct via Amazon
Hybrid ie Bascum Hills (you can usually purchase different levels of marketing)
Grey Wolf, UM independent publishers you can still submit to without an agent
e-books
majority of self-published books are published as ebooks priced at 2.99
Distribution easier now than it used to be for self-published authors, even in independent bookstores (can ask for book reading or ask to be put in local author section)
Before self-publishing
Have your book edited
Beautiful jacket art
Be aware that you're going to have to price it less than what you think it's worth
Utilize social media--network
Get word out on Good Reads. (Give away a free one there)
New York, San Francisco and Minneapolis (New York mainly because that's where the editors are but others usually go 2-3 times a week looking for ones with relationships with editors
Final notes:
Sign agent on project not anything past the project you're signing. You can choose later to have them sign a new project but it should be project by project.
You can ask the agent to provide you with a list of editors they are going to contact (you have right to ask)
Editing is not about changing your work--editors are like mechanics they're there to help make it work better not change it
Don't paralyze yourself waiting for the "good writing" to come. Sometimes you have to get from point A to point B and then go back to rebuild, reconstruct.
There should be sawdust on the floor of our offices too. ("Workshops" for a reason)
TITLES
We usually start with a "working title". Sometimes the title prompts the story. Sometimes theme suggests itself if not, we sometimes have to work at it.
"Titles are often the only words someone will read, make them memorable and unforgettable"
Can start with writing words that tie into the theme--write don't think--with words that have something to do with the book. Then start combining them.
Want title easy to remember.
Activity:
Write down working title of project as it stands now.
Write down 2 additional titles it could be called.
Write down 2 more.
Pick your top 3.
Ask small group which of 3 they like best.
(In our examples, all of our top choices were not their top choice. Interesting. In large group example, the outcome was overwhelming--85% liked one which was not author's top choice.)
Titles are not copyrighted. Do research online to see if your working title is already out there. If book is more than 10 years old and not well known then may want to reconsider.
Of all the words in your book the ones in the title are the most likely to be changed.
Strong words--develops an image-- (To Kill a MockingBird)
can be sometimes aliterations (Pride and Prejudice. Great Gatsby)
sounds simple (Sophie's Choice)
memorable sound
Good title means more at the end of story
Should be aware of our reader.
Ask bookstore owner about working titles.
Books have been sold on base of title alone. So use a critical eye.
FIRST SENTENCES
We are starting a relationship with the reader. You want them to know what you are promising in first line, first paragraph, first page. There must be a promise of something good to come, worth their time,
Books are linear--writers job is to keep the reader interested and reading. Don't let them quit.
"First page readings/critic" writer reads first page out loud and agent decides if the agent wants to see more of and usually she
I don't know where I am, who the main character is, nor what she wants, or why I should care
Think of it as an agents is there just looking for a reason to turn your book down.
Grab them hard on the first page and never let them go. No one is going to wait for the story to start
Provocative, raises a question. Most often the first sentence is rewritten most often. It needs a quality that creates that demand to keep reader.
Write the book you wish you want to read.
Sense of authority--want to know you are in good hands. You'll get a truth. The story is interacting intimately with reader immediately.
Start with one. Then later, start writing 3 or 5 other first sentences--pick your favorite. Keep doing this untli you know.
FIRST PARAGRAPH
Tip your hand, give a clue as to what they'll get if they read the whole story. Start to develop tone.
FIRST PAGE
First break in the story--will the reader turn the page. Need to make them make the next move. The promise of the story. Who the main character is (if not with the main character, we have to know we're not with the main character). Do not hide any important information from the reader that they would have if they were there. Never want the reader to be asking a question that you don't want them to be asking. You are giving them this world so direct them where to look and what to see.
Don't want to learn stuff five pages in (ie character is 15, is missing a leg, etc.)
CHAPTERS
Chapters are beads on a necklace, you want them strung together (or links on a chain). Want the last sentence of a chapter to make them want to go to the next chapter. Trying to get them over the break (the chapter break).
Do a temperature check. Books need to build, need character development, but if you have a good hook and made the reader to commit to the book already you have a little more leeway.
DRAFT
Get some distance from your own book.
Ask people when they got committed to the book and how they moved through the book (where they couldn't put it down or where they got lost)
Additional Tips:
She writes 3 pages a day, then starts the next day by re-reading those pages allowing some edits.
Know that you're going to write some bad stuff that needs editing.
Become the first reader again. Put it away for awhile and then come back to it.
Editing and working on a hardcopy gives some a more critical eye, so print it out in order to "See it in a new way"
Read your work out loud. Anytime you stumble--look at it carefully. Sentences should flow. So if it doesn't there's a hint there that it could be better.
Have someone else read it. Having that awareness makes you look at it differently. Sometimes, people have others read it out loud to you.
Ask them what do you remember? What stood out to you? Where did you stumble?
Take in what they say to you even if you don't agree with them.
What to revise?
Opening sentences, paragraphs, etc.
Dialogues: Is it clear who is speaking (can skip some he said/she said) but don't want the reader to have to go back up only keep reading. Start clearly with he said she said. Can do 3 or 4 back and forths then a clue (scratch head or other gesture)
One of our best tools is the readers imagination--get out of their way.
Don't feel like you have to start a conversation where it starts, only when it gets interesting (don't need the small talk) get to the heart
Anything confusing get rid of
Anytime you switch scenes make sure the reader knows where they are, what time it is, etc.
Anything that doesn't add to the story--take it out
Don't go on too long
Don't chop an important sentence by putting it at the end of a paragraph. Put it as its own paragraph.
Don't explain something more then once
Strong verbs--let the verbs do much of the work on its on
Avoid "It was" "I began" (those are garbage words)
Additional:
Chicago style is the most commonly used.
Stories should have a pulse.
Humor can be tricky (should know in the first page if that's going to be part of the tone of the book).
ASHLEY SHELBY: Shoot the Moon: A Crash Course for Submitting Queries, Proposals, and Manuscripts
www.loft.org
publishing is going through seismic shifts right now
Random House and Penguin just merged.
Amazon and self-publishing is really affecting the business
Literary Agents roles are maybe changing
Independent and Academic Companies are branching out now too
Be realistic but not fatalistic
1. Write your book or proposal
2. Land agent
3. Agent sells book to publishing house
4. Publishing house publishes book
5. You get rich and famous (nor really)
First Things First: Before Querying
Novels: a complete manuscript
Memoirs: a complete manuscript
Nonfiction (narrative,, history, self-help, how-to, proposal, and three sample chapters)
Agents duties
editorial and marketability assessment
representation
relationships with editors, subagents, film agents. etc.
negotiation
advocacy
watchdog
15% commissions, 20% if subagents involved (industry standard from advance to royalties, film rights etc.)
Once you sign a contract it is for the life of the book
4 main tasks of agents
contracts and payments
submitting projects to publishers
Client-related works
finding new clients
How agents choose what they'll represent
Potential to evoke interest in editors (for sale)
timelines (for nonfiction) current events, popular culture, trends, etc.
Author platform (mainly for nonfiction)
Agents personal interests
good writing
Researching Agents: How to Choose which ones to Query
Look in the acknowledgment section of books you admire
Avoid pitching agents who represent a book very similar to yours--common mistake. Think "subject matter" match.
Survey recent deals in publishers lunch (subscription required)
Consider younger agents they're hungrier, more motivated less experienced
AAR: Association of Authors' Representatives
Literary Marketplace reference book available at most libraries
How to get an Agent's attention
Write professional, thoughtful, specifically tailed query to them
Basics
Read agency guidelines
Do your research and be selective
Don't oversell
Know it'll be tough
Be patient
Hang in There
You don't have to bite at the first agent that shows interest--if it's not a good match, don't do it.
Most writers just want to write, they don't want to have to worry about the other parts.
Your duties
Be familiar with your targeted agents clients list and recent sales (Publishers marketplace)
Be prepared to refer to agents books or clients in your querry
Be aware of your own needs as a writer
submit in "rounds"
Don't Oversell
No grand predictions
No mention of how much your mother/wife/husband/etc loved the book--ever!
Don't predict the agent's reactions to your book
No mention of the word "bestseller"
Humility works (but don't fall into self-deprication either)
Know it will be tough
prepare yourself for rejections
Be open to constructive criticism should you receive any
Remain optimiste but open to revision. Consider revising query after 5 rejections. (5 is not that many really, hang in there)
Be patient
Some agents don't respond ever, but most will respond, but there is a large slush pile for them to go through usually
Writing the query (for nonfiction since novel requires full manuscript)
The notification query: includes a letter, a proposal, and at least a sample chapter (refer to guidelines)
Fiction Query: novels are sold on complete manuscript
Query Letters can be hard to write (think about the flap copy--selling the book) summary of actual plot, main characters and slight pitch
Make reference to a book agents's list or a recent deal, an interview you read, etc. or beings in a narrative fashion
Are succinct and yet tantalizing (hook them)
Outline the book in engaging prose (voice on the page) that mirrors the writer's voice on the page
Include author background
Follows guidelines to a T and are completely error-free
If humorous book you don't want a completely dry query--still serious but a little idea of your voice
Read query out loud
Get to the guts right away, agent knows why you're writing.
Referencing other novelists and what components are similar to your book helps speak more than the words you are limited to in query. "It will appeal to fans of William Gibson's books with contemporary settings, Laura Lippman's strong female protagonists, and almost anybody's whacked-out travelogues about the wold's more surreal places."
Let a little bit of your personality show.
Brief broad strokes
Side note: Animal stories are still huge
Something that shows why you are querying that particular agent
Unsuccessful Queries
Address agents as "Dear Agent"
Arrive on the desk of agents who d not represent the genre/style of work
Mention other rejections
Elements of a Book Proposal
Query Letter
Overview: summary of your book a longer version of the nut of your query letter
Annotated Table of of Contents: outline of your book, chapter by chapter, with narrative descriptions of each chapter's content
Marketing/Publicity Plan
Comparable titles sections
About the Author
Sample chapters (preferable three complete chapters preferrable chronological)
Tips: requires a great deal of research and thought
Should be at least a third of the way through the book itself (nonfiction)
take your time
Proposals are used by agents to sell the book to editors
your subject should be tightly focused proposals regularly rejected for being too broad (about diabetes)
Don't be embarrassed if your author bio is short. Mention you are an author and where you live. Saying you are a writer is more than enough.
Don't mention writer's group unless they are well known (ie "The Loft")
SIDE NOTE: THE LOFT has classes online now!
Sample chapters
For notification, don't think about querying until you have at least 2 sample chapters, preferably 3
Should be as polished and complete as they would be if they appeared in the book
When submitting order chronologically
Submission package
for novels and memoirs: query letter and/then entire manuscript (include self addressed envelope or now many done electronically)
Rejections are inevitable
Most successful writers are those who have been rejected less often
Expect it
Good books and good writing get rejected all the time
Many agents receive about 5-10 K queries a year may sign 2-6 a year
Language of Rejection
Not right for my list
another agent may feel different
I encourage you to keep submitting
I just didn't fall in love with it the way I hoped
Revise and try me again
Kathryn Stockett received 60 rejection letters for the HELP before receiving #61
What to ask a potential agent
what are some of your recent sales
who are some editors you think might be a good fir for my project
are you a member of AA
what is your commission
do you handle subrights
what if you leave your agency
What to ask a potential publisher
How do you support your books
What kind of editor are you
what role am I expected to play in the publicity and marketing
Timeline
Reading or editing fee--this should not happen--cross that agent off your list! Shouldn't be any charge outside of commission.
Red flag
no website
any reading fee
no list of clients
suggestion to have work edited by in house "editor" or an affiliated editorial firm -- referrals are usually okay
contests with entry fees (just a way for them to make money)
we'll talk later about agent-publishers (new development)
You probably shouldn't submit to a different agent at the same agency after getting a rejection letter from that company. He/she probably would have suggested different coworker if that had been right.
Making the decision
phone call or meeting (most work out of New York)
should be timely
beware of big promises -- want the straight talk
done't make a fear-based decision
Gut feeling
Does he/she like your writing or just this project
Value your work, honor your work, want someone who is going to invest in you, believe in you
What happens after signing with agent
You work with agent to prepare submission package for editors
Agent selects editors from network
work together
SELF-PUBLISHING: Quick Guide
Write book
Optional: have book edited by professional editor; hire an designer to design the book jacket and interior pages
Upload book to KindleDirect or other online platform and begin selling
Or: Submit book to print-on demand publisher like Xlibris, lulu or growing number of companies
Self publishing is revolutionizing the publishing industry
offering authors greater control
less "quality control"
Even traditional publishers and some agents are getting into the self-publishing business now
Pros
retain control over material, pricing, design, much larger share of profit, no agent commission, some authors make much more money
With publishers you get an advance and then money portion after the advance is repaid
Cons, less prestige, more difficult to get into traditional booksellers, up-front costs, you are responsible for publicity efforts and hand-selling, still a divide between traditional and self-publshed books. Harder to reach your audience
KindleDirect is not very expensive (they get 30%)
Know what you want
Want a well-distributed, well-designed book sold through traditional channels then traditional publishers
Feel your core audience is made up of e-book readers and have an existing network (Facebook, Twitter, LinkedIn, email list) through which to promote a book? Try Kindle Direct via Amazon
Hybrid ie Bascum Hills (you can usually purchase different levels of marketing)
Grey Wolf, UM independent publishers you can still submit to without an agent
e-books
majority of self-published books are published as ebooks priced at 2.99
Distribution easier now than it used to be for self-published authors, even in independent bookstores (can ask for book reading or ask to be put in local author section)
Before self-publishing
Have your book edited
Beautiful jacket art
Be aware that you're going to have to price it less than what you think it's worth
Utilize social media--network
Get word out on Good Reads. (Give away a free one there)
New York, San Francisco and Minneapolis (New York mainly because that's where the editors are but others usually go 2-3 times a week looking for ones with relationships with editors
Final notes:
Sign agent on project not anything past the project you're signing. You can choose later to have them sign a new project but it should be project by project.
You can ask the agent to provide you with a list of editors they are going to contact (you have right to ask)
Editing is not about changing your work--editors are like mechanics they're there to help make it work better not change it
Don't paralyze yourself waiting for the "good writing" to come. Sometimes you have to get from point A to point B and then go back to rebuild, reconstruct.
There should be sawdust on the floor of our offices too. ("Workshops" for a reason)
Subscribe to:
Posts (Atom)
