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Inklings Issue 3.09
================================================================
i n k l i n g s
Newsletter for Writers on the Net
Issue 3.9 Apr. 30, 1997
================================================================
<http://www.inkspot.com/inklings/issues/ink0309.html>
* Over 9500 subscribers! *
This issue features an interview with Barbara Seuling, a
freelance writer and illustrator who has also worked as a
children's book editor. Paula Guran's column (ASK THE HORROR
WRITER) answers the question: "How useful are writing workshops?"
This issue sponsored in part by:
================================================================
$269 "LAPTOP COMPUTER" for Writers. The AlphaSmart Model 20 is
a smart keyboard with 4-line LCD display. Stores 64 pages text,
downloads via PC/Mac keyboard cable, 150+ hrs on 2-AA batteries
** AlphaSmart ** 1-888-276-2780 x20 http://www.alphasmart.com
================================================================
* ON SPEC Magazine * http://www.greenwoods.com/onspec/
The premiere Canadian Quarterly of Speculative Writing, where
readers can find the best in Canadian SF, Fantasy, Horror and
Magic Realism. E-mail: onspec@earthling.net
================================================================
THE WRITER'S SOFTWARE COMPANION: multimedia software by Writer's
Digest's Nancy Kress. Uses advanced learning tech. and total
immersion to bypass years of trial-and-error, dramatically
accelerating a writer's progress. http://www.novalearn.com
================================================================
* Samurai Consulting * http://www.samurai.com
Services include internet consulting, WWW page design, electro-
nic newsletters, mailing lists, FTP sites, system maintenance,
training. Email: Bryan Fullerton <bryanf@samurai.com>
================================================================
ISSN 1205-6413. Copyright 1995-1997 Debbie Ridpath Ohi. For more
info (how to subscribe/unsubscribe, submit material, how to
become a sponsor etc.) see end of issue.
================================================================
| CONTENTS THIS ISSUE: |
| From The Editor's Desk |
| Fresh Ink and Market Information |
| Ask The Horror Writer |
| Interview with Barbara Seuling |
| Letter to the Editor |
================================================================
FROM THE EDITOR'S DESK:
=======================
Thanks to Internet Underground magazine for mentioning the
Inklings website (http://www.inkspot.com/inklings/) in their May
issue (p75). Their review: "Inklings is the Web version of a
biweekly e-mail newsletter for writers. It includes reports about
new resources for writers on the Net, market information,
writers' tips, interviews, and how-to articles. Here you'll find
the latest newsletter, as well as archives of anything you've
missed if you're not a subscriber. The advice columns by
professional writers are great help for those who are just
starting out. There's even a section on how to start your own
e-mail newsletter."
More details about the 9000th subscriber announced last issue:
Steven Farmer has chosen _Turning Life Into Fiction_ by Robin
Hemley as his prize. Steven is an experienced typesetter as well
as a published writer. He works in PageMaker, WordPerfect,
Simpletext, and ascii. Files can be sent via Mac disk or directly
to your email account...if interested in his typesetting
services, please contact him at Lsf97@aol.com.
Many thanks to the Goldenrod Writers' Conference (Oct.17-19 in
Morgantown, West Virginia) for inviting me to attend their event!
I hope to meet some of you there...it would be nice to connect
faces to some of your e-mail addresses :-). More info about the
conference next issue.
FRESH INK
=========
New Inklings column: ASK THE LAWYER
-----------------------------------
Inklings is pleased to announce a new advice column, ASK THE
LAWYER, co-authored by Mark A. Fowler and David Leit. Both work
for Satterlee Stephens Burke & Burke LLP (http://www.ssbb.com).
Mark Fowler is a partner at the firm and regularly represents
newspapers, book publishers, magazines, broadcasters,
cablecasters, digital media clients, and advertising agencies in
defamation, intellectual property, antitrust, and reporters'
rights matters. Formerly a professional editor and writer, he has
appeared on approximately 70 TV and radio talk shows in
connection with his published nonfiction books for general
audiences. He frequently lectures on issues regarding copyright
law, the First Amendment, and new legal issues affecting the
digital media.
David Leit is an associate at the firm. He focuses his practice
on intellectual property matters, First Amendment law, computer
law, and civil litigation. He is experienced in litigation,
registration and transactions pertaining to trademarks,
copyrights, and is also the author of the CyBarrister Page; a
special section of the firm's World Wide Web site
(http://www.ssbb.com) devoted to information on electronic media
and Internet law.
Although unable to respond privately to every message, Mark and
David will answer selected questions in future issues of
Inklings.
Please send your questions to askthelawyer@inkspot.com.
NovelAdvice
-----------
New website for free newsletter devoted to the craft of writing.
http://www.NovelAdvice.com/
Tangent
-------
SF/fantasy short fiction review magazine.
http://www.sff.net/people/dave.t/
On Q
----
Dedicated to the promotion of self-published books and their
authors.
http://www.wsite.com/OnQ/
Writer's Toolbox
----------------
General resource for writers of all types, aspiring and
professional, fiction and nonfiction. Includes links to
employment resources and a search page for major online news
providers.
http://www.geocities.com/Athens/6346/
Writers Write
-------------
Excellent resource for writers. Online guidelines for online
publications (fiction, poetry, non-fiction). Articles, directory,
writing groups, related links, chat page.
http://www.writerswrite.com/
Criscadian Voice
----------------
Grammar and style tips, reference and writing-related links,
articles, press release preparation tips, more.
http://members.aol.com/criscadian/index.html
School Author Visits
--------------------
Directory of children's book authors who visit schools.
http://www.snowcrest.net/kidpower/authors.html
The Write Markets Report
------------------------
Monthly print publication focusing on North American markets for
writers. For a free introductory issue, send email with your name
and snailmail address to dvrg19d@prodigy.com with "sample issue"
in the subject header.
http://members.tripod.com/~deepsouth/index-writemkt.html
Intellectual Property articles
------------------------------
Courtesy Frost & Jacobs LLP. Includes many articles useful to
writers and editors including topics such as electronic rights,
book deal tips, permission guidelines for authors and editors.
http://www.frojac.com/pubs.htm#ip
Canadian Internet Licensing Board
---------------------------------
Created by Hip Hype Inc. to draw attention to the absurdity of
trying to regulate a medium which cannot/should not be regulated.
(Don't panic...everything on this site is a work of satirical
fiction.)
http://www.cilb.com/
================================================================
MARKET INFORMATION
==================
Please note: Inklings does its best to print only accurate market
info. However, it cannot be held responsible for lost postage,
time, etc. that you may incur due to inaccuracies. Do not send
submissions by email before inquiring first. You should get
current, detailed guidelines before submitting. Include SASE for
snailmail replies. More market info at:
http://www.inkspot.com/market/.
SPECIAL THANKS TO THE FOLLOWING MARKET SOURCES:
SCAVENGER'S NEWSLETTER
Monthly market info letter for sf/f/h/m writers & artists.
More info at: http://users.aol.com/Lemarchand/scavenger.html
THE GILA QUEEN'S GUIDE TO MARKETS
POB 97, Newton, NJ 07860-0097 Email:K.Ptacek@genie.com
http://www.pacifier.com/~alecwest/gila/
CHILDREN'S WRITERS MARKET LIST (magazines only)
Available by e-mail or snailmail. Email mshauers@midusa.net.
==-----------------------------------------------------==
"FNASR" = First North American Serial Rights, "SASE" =
self-addressed, stamped envelope, "simsubs" = simultaneous
submissions, "mss" = manuscript, "RT" = response time, "GL" =
guidelines, "wds" = words.
***If you are a *paying* market and would like your guidelines
included in a future issue of Inklings, please fill out the form
at: http://www.inkspot.com/market/mktpayform.html
PAYING MARKETS:
Zoetrope
--------
Zoetrope, 126 Fifth Avenue Suite 300, New York NY 10011. Editor:
Adrienne Brodeur. Published 3x/year. Literary magazine, seeks to
provide a new forum for short fiction and to make short fiction
more accessible to the public at large. Considers unsolicited
submissions of short stories and one-act plays no longer than
7,000 words. Excerpts from larger works, screenplays,
treatments, and poetry will be returned unread. Simultaneous
submissions are accepted, and first serial rights are required.
Please do not submit more than two stories at a time for
consideration. Submission accompanied by an SASE will receive a
response within three months. "We regret we are unable to
respond to submissions without an SASE." Payment for first serial
rights is $500. RT: 2-3 months, requires SASE. (Confirmed Apr.24)
Email: ABRODEUR/AZX@MCImail.com (queries only)
Seeking workshop presenters at conference
-----------------------------------------
Write On The Sound writer's conference (Edmonds, WA) is looking
for writers/editors/publishers to present 1 hour workshops at our
1997 conference on October 4 & 5. Pay is around $100. "Please
send a 1 page proposal with your workshop topic, an outline or
the key points you plan to discuss, what writer's will learn from
attending, and why you are the best teacher for this topic.
Subjects of interest are memoirs, overcoming writer's block,
research tips, writing online and other topics you feel would
benefit writer's." Annual conference to provide networking
opportunity for emerging and published writers and showcase
regional authors and literary professionals. Contact: Renee
Lorkowski, City of Edmonds, 700 Main Street, Edmonds WA 98020.
(Confirmed Apr.24)
Snailmail: Renee Lorkowski, address see above
Email: lconley@GTE.NET (Lisa M. Conley)
Optimal Life
------------
Lori Enos, Editor, 302 East Lincoln Highway, Number 135, DeKalb,
IL 60115, Arias1119@aol.com. Monthly publication. A "new and
unique publication focusing on enhancing the quality of life.
Optimal Life is a comprehensive publication covering virtually
all aspects of life including personal development,
health-n-fitness, relationships, home, family, finances and
community. We concentrate on solutions, not problems and aim to
provide information, motivation, and inspiration. Our
publication has a slight New Age feel to it but we are aiming to
reach the mainstream population. Our focus is on holistic,
natural, and alternative lifestyles." WHAT THEY'RE LOOKING FOR:
"Informative articles on life affirming subjects from
professional as well as aspiring freelance writers. We are
looking for articles on any subject that can improve the quality
of life or enhance the community and planet as a whole. We are
not seeking personal opinions or fiction articles. We are looking
for articles ranging from 1000 to 3000 words. Payment is $100
for articles and more for assigned or feature articles." Email
submissions okay. COPYRIGHT: Buys FNASR. "Writer retains
copyright." TIPS: We are looking for good writers who can write
articles that will appeal to a wide audience. Stories should be
in-depth and include resources for the reader to delve into."
Pays on acceptance. For complete guidelines, send email to
address below. (Info rec'd Tue.Apr.23, confirmed Apr.24)
Email: Arias1119@aol.com
The Singles Center
------------------
BV Ventures, 175 Iroquois St., Webster NY 14580. Betty Van
Volkenburg, Publisher. Online and print magazines for singles,
with features on serious issues of single living, regular
departments on Travel, Sports, Religion, Relationships,
Arts&Entertainment;, Image/Fashion, Health/Fitness,
Career/Education/Entrepreneurship Astrology, Community
Involvement and Fund-Raising, Special events for the Singles
center, Community and non-profit single groups, a national
non-profit single groups database. "At present we have an online
magazine and we will be publishing a print version beginning with
the fall." Monthly publication. Email submissions okay. Pays on
publication. WHAT THEY'RE LOOKING FOR: Non-fiction Feature issues
assigned by publisher; non-fiction informational articles/columns
on regular department topics at discretion of author. All
articles should have a singles slant. Features: 1500 - 2000
words, pays $100, publisher owns all rights. Department columns:
500 - 1000 words, pays $50 or trade, publisher has one time
rights, author owns rights . Future plans include writing
contests for Fiction- Romance and Humour. TIPS: "Looking for well
researched and written articles on single living. Our theory is
that singles are living by rules created by the minority married
society and we need to look at the reality of living today
instead of just trying to fit into an outdated mold. We wish to
impress on businesses the reality of who the consumers are,
namely mostly singles, and that their advertising needs to be
slanted towards singles and their needs instead of the "nuclear"
family which is only 10% of the population. Of course they need
a classy, clean, healthy environment to do that, namely The
Singles Center, and our online and print magazines. This is a
personally funded entrepreneurial adventure at present but as the
business grows, full-time Editor and Staff writer positions will
be created." (Info rec'd Wed.Apr.23, confirmed Apr.24)
URL: http://www.singlescenter.com
Email: bvanv@treknet.net (until May 1st)
or singles@singlescenter.com
32 Pages
--------
Michael S. Manley, Editor, 101-308 Andrew Place, West Lafayette
IN 47906-3932, USA. NOTE: on May 1st, address changes to 2127 W.
Pierce Ave. Apt. 2B, Chicago IL 60622-1824, USA. Bimonthly
publication. Welcomes both new and established writers. Seeks
poetry, short fiction, nonfiction. POETRY: submit 1 poem/page.
Max 5 poems at a time. PROSE: double-spaced, max 8000 wds, max 1
submission at a time. Will consider reprints. Email submissions
okay. Include SASE with snailmail submissions. PAYMENT: $5/page +
2 contrib.copies + 1 yr subscription. Pays on publication. RT: 3
months. LENGTH: 250-4000 wds. Recommends looking at back issues.
Simsubs okay "so long as I'm informed if the work is accepted
elsewhere before I respond." TIPS: "Send me your best work, your
work that challenges convention but still manages to tell a story
or convey an experience. "Genre" writers welcome only if they
challenge the conventions of their genre and are
character-driven. No watered-down, politically correct, workshop
literature. No proseletyzing by people on either side of any
fence: atheists or religious folks, liberals or conservatives.
The gray areas are where the interesting things happen. Graphical
storytellers (in other words comics, but not cartoons) wanted.
Read our back issues or the upcoming online sampler for the best
clues towards what I'm interested in." Full guidelines at
website. (Confirmed Apr.25/97)
E-mail: 32pp@rain-crow-publishing.com
URL: http://rain-crow-publishing.com/32pp/
GL: http://rain-crow-publishing.com/32pp/guidelines.html
Central European Online
-----------------------
Ms. Deirdre Brennan, European Information Network, Plzenska 181,
150 00 Prague 5, Czech Republic. Daily publication. Travel
feature stories required on regular basis (weekly column),
specifically on Czech Republic, Poland, Hungary, Slovakia and
Slovenia, written in English. Opportunities for other written and
research projects also available from time to time. "The payment
varies - for simple travel articles ranging between 700-1500
words, we offer US$50.00 per article, and US$20 for a minimum
number of 2 photographs. For other writing projects, the fee
varies according to the amount of research put in and the length
of the materials - these are negotiated on a case to case basis."
Email submissions okay. "Writers with personal experience within
the Central Europe region will probably have a headstart."
(Confirmed Apr.28)
E-mail: deirdre@ein.cz
URL: http://www.centraleurope.com
================================================================
Ask The Experts
---------------
*** Please put "inklings question" in the subject header. ***
Judith Bowen (ROMANCE WRITER) jbowen@max-net.com
David Breeden (POET) drpoetry@ktc.com
Charles Deemer (SCREENWRITER) cdeemer@teleport.com
Mark Fowler (LAWYER) askthelawyer@inkspot.com
Susan Graham (AGENT) slgraham@atl.mindspring.com
Paula Guran (HORROR WRITER) DarkEcho@aol.com
Carol Henson (BOOK DOCTOR) UBKX12C@Prodigy.com
Ken Jenks (ELECTRONIC PUBLISHER) MindsEye@tale.com
David Leit (LAWYER) askthelawyer@inkspot.com
Bob Sablatura (JOURNALIST) bob.sablatura@reporters.net
Michelle Sagara (SF/FANTASY WRITER) Michelle.Sagara@sff.net
Lee Wardlaw (CHILDREN'S BOOK WRITER) Katknip2@aol.com
Marcia Yudkin (FREELANCE WRITER) send to yudkin@inkspot.com
Sharon Zukowski (MYSTERY/SPY WRITER) 76372.2252@CompuServe.COM
Columnists may be unable to reply privately to every message, but
will answer selected questions in future issues of Inklings.
================================================================
ASK THE HORROR WRITER
----------------------------------------------------------------
by Paula Guran
<DarkEcho@aol.com>
Q: How useful are writing workshops?
------------------------------------
A: Writing workshops aren't for everyone, but they can be a
useful tool for many writers. No matter how good a writer you
are, you are often "too close" to your work to be able to spot
flaws and ways to improve it. Additionally you can learn a great
deal from the process of reviewing other writers' work.
For a genre writer it's often crucial to find a group that is
specific to your needs. General writing groups, at best, often
don't have the perspective that a genre story needs. At worst you
will find your work derided not on the basis of what you have
written. but for what it is. (However, don't dismiss these
groups completely. They can provide the "basic tools of the
trade." Writing is a craft as well a an art and you need to have
a good understand of the mechanics before you can convey your
ideas well.)
Some writers have the geographical advantage of local writers
workshops offered through colleges, community groups like the
YWCA or even local bookstores. The quality of these often depends
on the experience of the instructor.
For genre writers, extended stay workshops like Clarion, Clarion
West and Odyssey provide a high level of criticism and a chance
to immerse yourself in writing. They also provide invaluable
contacts. But a six week stay, let alone the cost, is often out
of the question. And let's face it -- a lot of new writers just
aren't yet ready for this level.
But the answer for many is now the online writing workshops. Open
to anyone with Internet access they are often the only way for
many writers to find valid criticism. Like "real life" groups,
these can take a general approach or be genre specific .There are
fee-based groups like the Science Fiction and Fantasy Workshop
(http://www.sff.net/people/Dalton-Woodbury/sffw.htp) and
commercial courses like Writers on the Net
(http://www.writers.com/) that charge. Or you can find free
"peer" workshops for just about any genre or interest. The
Critters Workshop (http://www.cs.du.edu:80/users/critters/)looks
at SF/F/H and SFNovelist Writing (workshop
http://www.crayne.com/~victory/sfnovel.html) is specific not only
to "hard" science fiction, but to hard SF novels. Online services
like Compuserve and AOL offer writer's areas and workshops like
Amy Sterling Casil's
(http://members.aol.com/asterling/amypage.htm) for SF writers on
AOL. My Dark Fiction/Horror Writers Workshop
(http://www.omnimag.com/darkecho/workshop/index.htmls),
which Michele Patterson handles on a day-to-day basis, started on
AOL but is now available to anyone on the Net with email.
These are just a few examples. You can see you may have quite a
bit to chose from in this new frontier of virtual critique.
But the real question probably is: Will a workshop be effective
for you?
A lot of that depends on you: your attitude, your level of
participation, your own judgment. Much of the rest depends on the
"fit" and quality of the group. A good workshop environment may
be something you have to discover by trial and error. What's good
for one writer may not be good for another. But here are some
tips that may help:
1) Look for a workshop that is specific to your needs or get as
close as you can. One reason we call our group the
*DarkFiction*/Horror Writers Workshop is that the genre covers so
much -- from romantic suspense to the highly visceral. You might
find a group in your field that is even more specialized.
2) A workshop with some form of participation requirements will
have more helpful people than one that doesn't.
3) Study workshop guidelines and FAQ, then read others' critiques
and actively critique yourself. Usually a good workshop will have
prepared "general hints" about criticism to refer you to or can
recommend such.
4) Look for criticism that focuses on the story, not the writer.
5) Try to find a group of writers that include members with skill
level slightly above your own. Realize that just like Clarion not
being the right spot for an absolute newbie, a group of rank
beginners is not going to be much help to a published writer.
6) More and more people are finding these workshops. Sometimes
the level of required participation may not be feasible for you.
Make sure you don't wind up spending to much time reading and
writing about other writer's work to the detriment of your own.
As far as your own participation remember:
1) Be as active as possible. Criticize to the best of your
abilities. You will discover just how time consuming this is, but
"s/he who crits often get the best crits in return" is a good
rule of thumb.
2) Don't get defensive, be open to the criticism. If you wish to
debate a point, explain or expand on a point of criticism -- do
it in a positive manner. Arguing serves no purpose.
3) Realize that ANY form of criticism is just someone else's
opinion. You have to use your own judgment eventually learning
which criticisms to take seriously and which to discard.
4) Thank the people who criticize you.
5) In our workshop group, we encourage writers to help each other
individually outside the organized group. Sometimes small
"sub-groups" form on their own. This kind of relationship can
often be invaluable, especially if you are writing a novel and
need ongoing input or perhaps are writing in a sub-genre -- you
might find a vampire expert for your fangish novel or someone
with experience in astrophysics for your
meteor-impacts-the-planet plot.
6) Apply what you learn. You might discover that one workshopped
story is just not going to cut it as publishable, but the general
points you have learned can often be applied to all of your
writing.
7) Most people "grow out" of workshops eventually. That's great!
That means the workshop in working! But remember your "roots." If
you have reached that "slightly higher" level, stick around a bit
to help guide others or find individuals you can continue a
writing relationship with. Conversely you might discover that you
really don't want to write -- or at least not in that genre. Be
gracious about it, offer what criticism you can, but bow out if
this just isn't for you.
No matter what type of workshop you get involved in, if you do,
remember that a workshop, like a dictionary or a word processor,
is just another tool for you to use as a writer. Learn to use it
and it is sure to help!
==-----------------------------------------------------==
Paula Guran is the editor of Wetbones, maintains the Dark
Fiction/Horror Writers Workshop on AOL, publishes a free weekly
electronic newsletter for horror writers and writes produces
Darkecho OMNI Horror for OMNI Magazine.
OMNI Horror: http://www.omnimag.com/darkecho
Wetbones: http://www.darkecho.com/wetbones
DarkEcho's Horror Web: http://www.darkecho.com
Copyright (c) 1997 Paula Guran. All rights reserved.
================================================================
INTERVIEW WITH BARBARA SEULING
----------------------------------------------------------------
by Debbie Ridpath Ohi
<editor@inkspot.com>
Barbara Seuling is a freelance writer and illustrator of
children's books, a teacher of writing, and an active member of
the Board of Directors of the Society of Children's Book Writers.
As a children's book editor for Dell Publishing Company, she
helped launch two major lines of books: the Yearling paperback
reprint line and Delacorte Press Books for Young Readers. Her
most recent publications include: _How To Write A Children's book
A Get It Published_ and _To Be A Writer_ (for young writers).
How did you make your first sale?
---------------------------------
My first sale -- as an illustrator -- had to do with being in the
right place at the right time. I was an editor for Delacorte
Press -- a fairly new imprint I had helped launch with editor
George Nicholson. I had "discovered" a new author and started
doodling pencil sketches of the characters and scenes at home.
When I had a few together that looked kind of nice to me, I
brought them in to show George. It was just for the fun of it,
mind you, but he loved them and wanted me to work out the rest. I
couldn't believe it, but went to work and came up with
illustrations for the book. George liked them, showed them to
the designer, who also liked them, and we made a contract. I know
how beginners feel, about doing their work for nothing, because I
would have done that....but George did it by the book and I got
paid. It was small, and without a royalty, but it was real
money, and I got my name on the book.
My first sale of my writing was my very first "freaky fact" book,
to Weekly Reader for its book club. The title I came up with was
something like "Five Hundred Fabulous Far-Fetched Freaky
Frivolous Fantastic Free-flowing...etc. ..Facts" which got
reduced to Freaky Facts for publication. That little paperback
launched what was to become my trademark series of freaky fact
books. I guess it came out of my early love for strange, uncanny
facts, as in Ripley's "Believe It Or Not," which I read with
fascination every week in the Sunday funnies, along with Dick
Tracy and Winnie Winkle, as I was growing up.
Did you have an agent for your first sale? If not, how did you
acquire one (if you did, that is)?
----------------------------------------------------------------
I was working in publishing at the time of my first sale, which
was for a freaky fact book, to an editor at a book club who knew
my illustrations. It wasn't until The Teeny Tiny Woman was
published that I asked an agent if she would handle my work. We
knew each other from publishing, so it was fairly easy for me to
ask and for her to say "yes." When she left the bigger agency to
start her own, I followed her.
After a few years, things got complicated when this same agent
seemed to back away from all phone calls and correspondence -
mine and publishers' - so it was time to wrench myself from her.
It was so disturbing to have it all end so badly that I didn't
want to have an agent and went it alone for two years. I did all
right on my own, but I wasn't negotiating the best contracts for
myself, so I began to think about an agent again. I went back to
the original agency, where my present agent was now working.
I've been with her ever since. She works for me and I help her
where I can, but we care a great deal about each other, and I
think that's the ideal situation. Not everyone can be this lucky,
I know, but at the very least, one should feel comfortable with
an agent and free to call and have questions answered without
fear of intimidation.
When people ask me now whether I think it's necessary to have an
agent, I can tell them honestly it's not. I've had the worst of
agents and the best, and also handled my own things for a while,
and the only bad time (nothing happening) was when I had the bad
agent. It makes it easier to get work to certain publishers if
you are represented, but you give up a chance to learn your way
around the markets. Once you are published (maybe twice), an
agent can be really useful in negotiating better contracts.
Before you became freelance, you worked as a children's book
editor. What was this experience like for you?
---------------------------------------------------------------
Being a children's book editor was a joy for me. I learned the
ropes of what an editor does and how to work with authors from my
first boss and mentor, Lee Hoffman. Later, I learned the
"business" of publishing for children from George Nicholson, who
came to head the new children's book department at
Dell/Delacorte. I couldn't have better training than to be there
when the Yearling line of reprints was started, or when Delacorte
Press started its imprint for young readers. George is a
masterful businessman as well as an extremely well-read person.
He brought his ideas and enthusiasm to the department, inspiring
those around him -- authors and illustrators, editorial staff,
colleagues in the publishing business, and even teachers and
librarians who met him in the course of his travels.
I grew as an editor at Dell, becoming more devoted to children's
books every day. The up side for me was always working with the
authors and illustrators, and seeing a book through to
production. Traveling as part of my job was another joy. The
down side was in playing political football with people in
positions of power, who could make or break a book or an author,
an editor or a publisher. I'm a down to earth person who has
never been very good at that game. For just that reason, I
probably would not have made a very good department head, so it's
just as well I left publishing before I ever had to make that
choice.
What I can tell you from the editor's side of things is that a
lot of good writing comes through that goes nowhere because of
sloppy presentation or simple lack of training in the writing
craft.
It's much harder now than it was when I was an editor. As I
understand it, there is little time these days for editors to
spend working on manuscripts with authors the way we did in less
pressured times, so a writer has to know a lot more before
submitting work to an editor. It's no longer feasible to say,
"Well, if an editor likes my story, but doesn't like the ending,
I can change it." You'd better know how to end your story
satisfactorily before you ever send it out. Perhaps that's why I
ended up spending so much time teaching the craft of writing, and
helping to shape work before it's submitted. There is so much to
learn, and now it all has to be before you find the editor of
your dreams.
I can also tell you that everything submitted is read, but not
everyting is read with the same enthusiasm. A good clean
manuscript presented in traditional fashion (wide margins,
double-spaced, plain white paper) , without all the loop-de-loops
of computer technology, still rise to the surface like cream in
the milk bucket. A manuscript that isn't identified or numbered
on every page is an irritation, and that probably creeps into an
editor's subconscious.
Finally, a writer's enthusiasm for his or her work is contagious.
If I saw passion in someone's work, or felt, in reading a cover
letter that the author just couldn't resist writing this piece, I
was open and ready for a good enjoyable read.
As a writer, do you find the internet useful? If so, how?
---------------------------------------------------------
I sure do, even though I'm pretty awkward at it, still. I know
more than I did when I started, however, so now I get more
answers and feedback and it's exciting when I match up those with
what I'm looking for. I see a great many possibilities for the
future - right now I'm sort of at the level of "in training"
but I can see that the net will provide more and more information
that I need for my book research, confirmation of facts, contact
with experts who may guide me to sources I wouldn't otherwise
know.
For the time being, it's keeping me in touch with the children's
publishing field, changes in the marketplace, and fellow writers
and illustrators. Sharing experiences, whether it's preparation
for a school visit or the latest book offer from a publisher, is
as good as hanging around the coffee machine in an office. We
need the network of colleagues to keep us informed, intelligent,
and savvy when we sell ourselves and our writings and make our
deals.
It's amazing what's on the net. University collections,
historical societies and telephone listings all over the country,
folk tales by country of origin, pet care and veterinarian
access, author and illustrator profiles, encyclopedias,
cookbooks, the White House, home improvement stuff, medical
information, bookstores - wow! How can a writer not be
deliriously happy with this wealth of information literally at
our fingertips?
Could you tell me a little bit about your book, TO BE A WRITER?
---------------------------------------------------------------
Yes, this is a book I've wanted to write for some time. It's for
kids from 9 to 14 who love to write. I want to give them the
same tools and techniques that grown-up writers have, so they can
improve their craft and understand how to get the best out of
themselves to write their stories and articles and poems in the
most effective way possible, and even achieve publication.
What are your future projects?
------------------------------
I have a picture book coming out from Browndeer Press in the fall
of 1968, and I'm working on a science project for very young
readers for Holiday House. Two more picture books are
circulating via my agent at the moment. And on a back burner are
a novel that needs rewriting, a picture book that needs an
ending, a biography of a radio singer, and a pep talk sort of
book for struggling writers. I also plan to continue giving my
writing workshops in New York City and in summers, in Vermont,
and online for AOL.
Do you have any final words of advice for hopeful writers?
----------------------------------------------------------
Learn all you can from the best teachers, be tough on yourself,
join other writers and become part of the writing community, have
fun with your writing, and never let go of your dream to be a
writer!
================================================================
LETTER TO THE EDITOR: Correction to Writer's Digest info
========================================================
[Editor: Amanda Boyd, Associate Editor of Writer's Digest
magazine, wrote the following re: last issue's ASK THE ROMANCE
AUTHOR column.]
I was just reading my copy of Inklings when I came across the
following in Diana Fox's romance writing answer:
>The list of foreign markets for romance fiction is too long
to
>publish here. To learn more, contact WRITER'S DIGEST (513-
>531-222 or e-mail at "writersdig@aol.com) and ask about their
>International Writer's Market.
I just wanted to let you and your readers know that there are a
few potentially frustrating errors in her answer. First, Writer's
Digest Books doesn't publish an INTERNATIONAL WRITER'S
MARKET--but romance writers may want to check out ROMANCE
WRITER'S SOURCEBOOK, which combines how-to-write articles with
where-to-sell information. Second, the e-mail address she
mentions is invalid. It's now writersdig@juno.com--and that
address reaches the editorial department at Writer's Digest
magazine. To order books, you can call 800/289-0963. I hope this
helps clear up any confusion.
Amanda Boyd
Associate Editor, WD
================================================================
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COPY EDITOR: Cathy Rutland (copyeditor@inkspot.com)
GLITCH DETECTOR: Rand Bellavia (rand@inkspot.com)
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