ETA: Submitomancy fell short of the funding goal, unfortunately, so isn’t going to happen. (Thank you, Zac, for your suggestion that we add a note about the project’s status.)

Guest Post by Sylvia Spruck Wrigley

I first experienced the magical power of recent responses on Absolute Write. I had just started sending out my first novel (now wrapped in lavender-scented tissue paper and trunked) and I discovered the treasure trove of agent information here on the forums. It was like I’d gained entry into a secret club. Suddenly I knew that this agent was a quick responder and that one often gave personal responses and how long the previous person had been waiting for a response. I got great insight on what specific agents were looking for and the type of novels that were getting full requests. And most importantly, I didn’t feel so alone.

When I shifted to short stories, I looked for similar resources. I discovered tracking short stories was a bit more complicated than novel submissions. I ended up with a combination solution: I had a spreadsheet, a website and a piece of software called Sonar3 in order to try to track all of the information that was important to me. When the admins of that website changed their system, I suddenly realised, you know what? I can do better than this.

I started a list of everything I wanted: manuscript data, submission history, market listings, recent responses, contract and payment information for every sale, exclusivity clauses, reprint options… it was a long list. And before I knew it, I was writing a detailed design specification for my perfect system: Submitomancy.

The project needed two things: development funds and a critical mass of users. And yet, I wanted to keep it free. It was an easy decision to start with the crowd-funding model, which would defray development costs and also gain a commitment from a starter group who wanted the service.

If the campaign succeeds, then the core development is out of the way before we start. The free services will encourage users to enter their data in return for a basic tracking service. This will include a basic search of the market listings, submission tracking and average response times per market.

But if you subscribe, you get access to the fun stuff! Lots of reports and data, of course: expanded manuscript tracking, power search, recent responses, market alerts and personalised notifications. But you also get access to social options like profile pages, status updates and badges! Badges might not seem an obvious feature for a submission tracker, I know.  But having been a part of such a powerful community, I wanted to make it easy to share the our successes and struggles with each other.

If there’s enough interest in Submitomancy then I’ll be refining the details with the Early Access subscribers. But the reports and the support can only be as good as the people who take part. That’s why I’m exploring this with you as a no-risk project right now. If you think you’d enjoy being a part of Submitomancy, then please support the campaign and tell your friends.

Thrillerfest 2013!

Dive Into The World of Thrillers at THRILLERFEST

Guest Post, by Alma Katsu 

If you write commercial fiction and are looking for a great writing conference, I recommend you check out the International Thriller Writers (ITW) annual event, ThrillerFest. It’s a four-day extravaganza held every year in early July in New York City, close to the publishing industry to ensure participation by editors and agents as well as lots of published authors. If you’re looking for a way to become part of the mystery and thriller genre, you might find that this is the conference you’ve been waiting for.

There are two things that most writers want when they’re at the pre-publication stage: advice on how to make their stories better, and opportunities to meet the editors and literary agents who will make their dreams come true. Craftfest and Agentfest, part of Thrillerfest, are designed to fill those needs.

At Craftfest, you’ll attend sessions on the craft of writing commercial fiction, taught by bestselling authors and some of the top editors in the field. There aren’t many conferences where you’ll learn about dramatic structure or characterization from Lee Child, John Sandford, Steve Berry, or acclaimed agent Donald Maass. While the line-up of presenters changes from year to year  at Craftfest, you’ll find that every instructor at is of the same high caliber.

There are typically over 50 agents at Agentfest to take your pitches. You can see some of the agents who’ve attended in the past here: if you’re looking to pitch to the top agents representing mystery, thriller and suspense, this is where you’ll find them all in one place. And if you’ve never pitched before, don’t worry, there’s a workshop beforehand to teach you the ropes.

At Thrillerfest, you’ll get two days of multiple tracks of panels and spotlight interviews with the biggest names in the field, all designed to teach you about the business of writing commercial fiction. You’ll find panels with some of the most respected editors from the Big Six Publishers: Neil Nyren, senior vice-president and publisher of Putnam, and Mark Tavani, senior editor at Ballantine Books, have been speakers in past years. There are also workshops on related subjects—everything from martial arts to the espionage business—taught by experts.

One of the best things about Thrillerfest is that you get the opportunity to network with authors of all levels of experience—from long-time bestsellers to novices. At my first Thrillerfest, imagine my surprise when I was joined at breakfast by Erica Spindler and Heather Graham! That’s one of the most amazing things about Thrillerfest: everyone is approachable and open.

And while the opportunity to meet big name authors in your genre is a pretty compelling reason to attend, an even better one is that at Thrillerfest you have the chance to meet writers just like you who will likely go on to be your ally in the industry throughout your career—and I can attest to that myself. I met legal thriller writer Allison Leotta when we sat next to each other on stage for the 2011 Debut Author class and today we’re best buds, calling each other for advice and appearing at events together.

As a matter of fact, that’s why I volunteered to write this guest post for ITW: I’ve gotten a lot from Thrillerfest over the years and I wanted to give something back by spreading the word. If you’ve been looking for a writer’s conference that will open doors for you, you might want to read about a few of Thrillerfest’s success stories:

  • Boyd Morrison, author of THE ROSWELL CONSPIRACY, THE CATALYST, ROGUE WAVE and THE VAULT (Pocket Books)

Are you ready to find out more? Click on the links above to go to the Thrillerfest website; you’ll find everything you need. And if you come to Thrillerfest in July, make sure to look for me and say hello!

Alma Katsu is the author of THE TAKER and THE RECKONING, paranormal thrillers published by Gallery Books/Simon & Schuster. THE TAKER was an ALA Top Ten Debut Novel of 2011 and has rights that have been sold in 15 languages. 

Jealousy Among Writers: Slaying the Green-Eyed Monster

Guest Post by Anne Emerick

It’s a secret many writers try to hide, the negative emotions they feel upon hearing of another writer’s success. When you believe you should be applauding other writers’ accomplishments, it can be horrifying to realize that instead you feel jealous, envious of their success, resentful that they achieved a goal that is still out of your reach. The good news is that if you feel jealous, you can learn to channel that emotion into positive powerful actions.

Writing Jealousy cover

If you realize you feel bad, rather than good about another writer’s success, examine what exactly is it that bothers you. Common jealous-writer feelings include:

A feeling of being left behind

One writer commented that one-by-one critique group members were getting work published and it made him feel as though they weren’t all peers any more. You need to recognize that success or failings need not change any important relationships in your life.

People value consistency and like to know that you don’t view them any differently whether they have just had a grand success or a grand failure. Michael J. Fox loves to tell the story about how his first Emmy sits in the trophy case alongside other family members’ bowling and soccer team trophies. It’s important to recognize that a publishing contract or sales record isn’t going to cost you a friendship, because otherwise, how could you ever strive for those achievements?

A feeling that other writers doesn’t deserve their success

Do you feel a suddenly successful writer was lucky? Had connections? The problem with questioning whether another writer deserves the success he or she received is that part of your brain will then wonder whether you deserve to be successful. If something in you makes you feel that a writer didn’t deserve to be successful, ask yourself, why not? Why shouldn’t this writer be successful?

Just as there is no set of steps to follow that are guaranteed to lead to a successful writing career, so too there are no mandatory requirements. While it’s unlikely that you can sit down, write your first story, get it published and make the bestseller list, that is different than you not deserving to have people love that first story.

If you are surprised by how well a writer has done, have a good hard look at factors contributing to their success. You may see something useful that will help you achieve your own goals. Be careful that you don’t attribute their success to luck or celebrity alone as you may miss something that they did which you would be wise to emulate.

Just plain envious. They have what you want.

Writers may feel unable to celebrate another writer’s success because it’s a reminder of something they don’t have. How strongly you covet an achievement is an indication of how important that goal is to you. Be sure to honor that importance in prioritizing how you spend your time. But you also must realize that whatever another writer has received: a publishing contract, a number of sales, a starred review – there is more than one of them to go around. If this other writer did it, so can you. Consider their success a model for yours, proof that what you want is achievable.

Jealousy should not be ignored. If you feel it lurking nearby, bring it out into the light and examine that feeling. Jealousy is a monster and best dealt with firmly. There is nothing wrong with a writer who feels jealous. It’s what you do with that feeling that matters. You want to conquer jealousy for your own good.

People want to be liked and if you dislike or resent another writer because they are successful, then your subconcious will not want you to succeed as a writer for fear that others will dislike and resent you. Examine your own feelings, find a more useful way of thinking about other writers’ successes and then pursue your own success with passion and conviction. Let your own unique gifts shine without worry of comparison.

Anne Emerick is the author of The Day I Met Dr. Seuss and creator of No-Work Spanish audiobooks, an unusual way to learn Spanish. Anne blogs at Self-Publishing, Children’s Books and Me.

Interview: Screenwriter Madeline DiMaggio

Follow Your Dream: An Interview with Madeline DiMaggio
By Christina Hamlett

(Excerpted from “ScreenTEENwriters”)

Former actress and published author Ms. Madeline DiMaggio is a successful author and television screenwriter whose trademark wit and imagination have been stamped on such shows as Bob Newhart, Kojak, Three’s Company, as well as documentaries, soaps, animation and movies of the week. Her work as a creative consultant and story editor for Paramount Studios and NBC has given her insight on virtually every aspect of writing for the industry. Back when she was in high school, though, her plan for her life was much different.

So what was the dream when you were 17?

DiMaggio_how_to_write_for_televisionWell, I was a drama major and saw myself as an actress. I was starring in all the school plays, I did summer stock, I went to New York, I got my degree in Drama. It was an incredible major for writing because the strength of my writing has always been my dialogue. But had I known that I would one day become a writer, I would have learned how to type. And how to spell! I never studied writing but every time I was in a three-act play, I was actually studying structure and character development and how people talked. A lot of actors end up being very good writers just for that reason. It was a good background to come from.

Suppose you attend a rural high school that doesn’t offer theater or film classes for learning the creative side of the craft.

Well, the first thing I’d do is to take a class at a college or even a weekend workshop where someone such as myself or Michael Hauge will come in and teach a seminar. High school students, by the way, get an incredible break in the cost of these workshops. These kinds of things are really good for an introductory, crash course in the basics. It also doesn’t cost them a dime to go on the Internet and download screenplays just to get a sense of structure and dialogue and what the formatting looks like.

Speaking of the Internet, do you think it has helped or hurt the newcomers’ accessibility to Hollywood?

It has helped terrifically! It has changed the face of the industry, which I think really needs to be changed. There are young filmmakers, for instance, who are already getting deals as a result of 15-minute movies they’re making. It’s an incredible way to market yourself because people now have access to your work who normally wouldn’t.

So what’s this going to do long-term to the careers of Hollywood agents? After all, if you can access script sites and get yourself known electronically, are you going to need a rep?

The fact is that if you’re recognized on the Internet and you get a movie deal as a result, the first thing you’ll need is an agent. You may not need an agent to sell but you do need one to have a career. And as far as getting an agent, it’s just not something that happens overnight. Agents today only want to represent screenplays that they think they can sell very fast. It used to be that they’d take on a new screenwriter because they thought they were very good and that they could build a long relationship together. What they do now is take on a project that they can sell.

Do you need a degree in film to have a film career? Or is it better to major in something that will pay the bills?

That’s a hard one to call. For one thing, film school is incredibly hard to get into, but what’s marvelous about film school is that you’re meeting all the future filmmakers of Hollywood . . . and the world! What you’re making is a bunch of incredible contacts, plus part of the curriculum is that they put you at the studios where you can make even more contacts and get a nuts-and-bolts, hands-on internship in the very business you want to work in. If you’re absolutely, definitely, passionately certain that you want to do this for a living, then you really do need to make it your focus in college. If you aren’t 100% certain, I think that you should take some classes but also find something that you can make money at while you’re pursuing writing as your second job. It just depends on how focused you are and how confident you are about what you want to do with your life.

What about books? There’s certainly no shortage of them on today’s market. How do you decide which ones to add to your bookshelf?

That’s a very personal thing and as subjective as going to movies themselves. For instance, I can be emotionally struck by a movie that’s may not be great and may not affect someone else at all. The important thing is that there was something about it that really stayed with me. What you do in the case of looking for a book to teach you about screenwriting is find someone whose tone and style and message you resonate with, the one who says it to you in a way that you can really grasp. Personally, I think the best book and the best self-taught instruction you can get is a screenplay written by a writer who has sold. That’s because the greatest teacher a student will ever have comes from reading actual scripts and seeing the writer’s vision in its most pure form, minus all the visuals and the Horner score and how good Brad Pitt looks on a horse . . .

How about screenwriting contests?

Unequivocably, there is not one single thing I know of that gives better access or bigger breaks to new screenwriters than screenwriting competitions and fellowships. The people who are reading the entries are people who are in the industry and will be reviewing your work if you get into the finals. I have an agent, for instance, who once agreed to be a judge in a contest only because it meant a trip to Hawaii and being put up in the Hilton Hawaiian Village for a week. “I’m not going to sign up any new clients,” she insisted. On the way back, she told me on the airplane that from the ten scripts she had judged, she was signing one of the writers. She may not have been looking but she certainly knew what she wanted as soon as she found it.

With all the contests to choose from, though, how do you know which ones are legitimate and which ones are just a scam to make money?

The first thing is that you need to do your homework. Find out what writers have won the contest before, what the parameters are, how many people usually enter, who the judges are. Don’t be afraid to just call up and ask questions. I also don’t think any of them should have excessively expensive fees to enter. The Nicholls, for instance, isn’t that expensive but attracts a lot of attention. The Monterey Film Competition, the Disney, the Columbus Discovery Awards—these are all very legitimate and provide tremendous exposure.

Well, let’s say that someone likes my script and I get invited to a pitch session. Once I get there, though, they seem to have changed their minds. Should I try to convince them that they’re wrong?

No. If you see them not responding—or responding negatively to what you have to say—what you do is move on to another idea. Trust me—they get really mad if you try to change their minds! You need to remember that the whole point of a pitch session isn’t that you’re going in to sell anything; it’s that you’re going in there to get information. That’s what’s absolutely crucial about pitching. It’s most likely that they won’t take anything that you originally went in with but that you’ll come away with a better understanding of what they are looking for. You then use that information as an opportunity to come back with an idea that fits in with their agenda.

What’s the best advice anyone ever gave you about writing?

The best advice I think they give anyone in Hollywood is what William Goldman said, and that’s “No one knows anything.” For me personally, one that stands out in my mind—and because I write a lot of comedy—was that you should never try to be funny. Hearing that from two well known producers when I was doing Bob Newhart took this incredible weight off my shoulders and I’ve been writing comedy ever since!

You recently co-wrote a script called If the Shoe FIts with Pam Wallace (Witness). Any plug you’d like to give for it?

No. It’s a terrible movie.


It’s a horrible film but a wonderful script. And that’s a good lesson for everyone to learn because it’s an amazing lesson about what can happen between a script and a movie. Sometimes it can be improved and other times—like this—it can just be the worst thing you’ve ever seen! The fact is that Pam and I were paid, we got the money, we got the credit, the movie was made in France on a very low budget, and everything that we spent an incredible amount of time in writing was all taken out. If you read the script and then rent The Stroke of Midnight, which they renamed it, you wouldn’t recognize it.

So you have no control over it once you sell?

That’s true. It’s the luck of the draw—who gets cast, what’s the budget, who directs it, a lot of different factors that can make it better or make it worse. But the end result is that we still got work as a result of that script.

Even if it was a bad film?

Exactly. The point is that in Hollywood, when you sell a film, they don’t ask to see the video; they ask to read the script. Bottom line is that having a bad movie made is better than having no movie made. It doesn’t matter how it turns out as long as the writer gets the money, gets the credit, and can move on to something else. What happens is that you’re marketed on the merit that you sold a script, which they all know is no easy feat to begin with.

What if you just go with a pseudonym for the ones that look like they’re going south

A lot of people do that.

Was that an option for you and Pam?

We actually had the choice of taking our names off of If the Shoe Fits and we chose not to do that. The credits were more important to us.

What do you think is the most valuable thing that the next generation of screenwriters needs to know to be successful?

You have to detach your ego from your material and recognize that the goal is to make that material better. You may not agree with what people are telling you but you still have to listen to it and try to apply what fits the situation. The other thing is that if you’re really passionate, it usually takes about seven scripts before you finally sell something. Consequently, the earlier you start writing, the better. Starting at 17 or 18 puts you right in the ballpark, given the emphasis on youth in Hollywood.

If you were 17 again, what would you do differently, knowing what you know now about this business?

I would have paid more attention in school!

Interview: Deidre Knight of The Knight Agency, Inc.

Spotlight on Deidre Knight
Interview by Christina Hamlett

Name: Deidre Knight

Title: Agent

Agency: The Knight Agency

Address: P.O. Box 550648, Atlanta, GA 30355

How long have you been an agent?

I began agenting nearly seven years ago, in the spring of 1996.  My husband, Judson Knight, has been a silent partner since that time, and in 2003 will join our staff full-time as business manager. Our staff also includes administrative assistant Lisa Payne, hired in 1999, and agent Pamela Harty, who joined us in 2000.

What attracted you to the business of representing writers? 

I have always had a talent for selling, an interest in books, and a sense of what works in a story. Agenting gave me an opportunity to combine all three.

What categories are you the most excited about selling these days?

Romance and women’s fiction remain key areas of interest for the Knight Agency, and we are always in search of quality literary fiction. In nonfiction, we are interested in business, self-help, pop culture, travel, health, inspirational/religious, and reference books.

How does an author become a prospective client of your agency?

We usually recommend that a prospective client visit us at our Web page (, learn a little about the agency, then query us via e-mail. Snail-mail queries are also welcome. Romance writers interested in representation are encouraged to attend major national conventions, such as Romance Writers of America in the summer, as a means of meeting agents working in that genre.

Conversely, what really turns you off?

Prospective clients who query or submit manuscripts by means other than the ones that are recommended either by our agency or by authorities on the business in general. Whereas e-mail and regular mail queries are welcome, phone calls are not. If someone becomes our client, we will probably talk regularly on the phone, but until then, we are simply not equipped to handle phone queries. If we request a sample or manuscript, we expect to see something that looks professional, as per Writer’s Market, Jeff Herman’s Writer’s Guide, or a similarly authoritative guide. Keep in mind that, with thousands of writers for every agent, the agent must pick and choose authors with whom he or she will work, so it pays to be polite and considerate.

Do you charge fees?  If so, what do they cover and are they charged up front or as reimbursements after the sale?

The Knight Agency does not charge a reading fee, nor do we charge for basic expenses such as copies and general mailing expenses.

How many titles have you sold in the past year? 


What is your commission? 

Fifteen percent on domestic sales, and 20-25% on foreign and film rights sales if a sub-agent is employed.

What percentage of manuscripts do you reject and what is the most common reason for that rejection?

Sadly—and this is true of virtually all literary agencies—we reject more than 99% of the manuscripts we see. The most common reason for this, in the case of fiction, is that a novel simply lacks that “something special” that would make it a standout in the marketplace. Many times, we review books that are perfectly good, yet fail to grab the reader, and we are forced to say “No.” In the case of nonfiction, rejection is likely to be for reasons that include the following: the market is too broadly defined, the market is too narrowly defined, or the author lacks credentials that would give him or her the “platform” sufficient to make the book a success.

If you could have lunch with any author (living or dead), who would it be and what would you most like to ask them?

Ernest Hemingway—in a sober moment, pre-World War II. I would ask him how he finds the courage to let go of all those extraneous details that writers love to hold on to but should leave on the cutting-room floor.

What would you say is the most important contribution you make to your clients’ careers? 

I see my role not as simply that of selling manuscripts to the publisher, which is only the beginning of a process; rather, I help the author plan an entire career. An active writer needs an agent who will serve as an advocate at all stages of the sale, and who will help him or her gain additional benefits in the form of foreign sales and so on. My job is to assist the writer in developing a recognizable “brand name” (or several brand names); therefore, rather than focus on the current book or the next one, I help the author create a strategy for an entire body of work.

Best words of advice to new writers? 

Just keep writing. History is full of stories about classics that were rejected over and over and over by publishers. All too often, writers—and this is especially true in this era of instantaneous everything—want it all now, and that’s not usually how it works. If you’re a female Olympic gymnast, then yes, it’s likely that you would need to achieve something within a certain age window, but for writers, no such restriction exists. If anything, age can improve an author’s work, and it usually does. Be patient with your work, and give it the respect it deserves; don’t just throw something out there. In fact, if you want something that will give you instant reward (other than the rewards inherent in writing itself), then writing isn’t for you. The process of taking a book from manuscript to published work takes a long time, so why shouldn’t it be the same for taking the book from idea to completed manuscript?

How to Write a Book That Will Actually Sell

By Patricia Fry
Is it possible to predetermine the success of your book before you start writing it? To a degree, yes. Some of your choices during the planning and writing phases of your book can definitely influence eventual sales. There’s no sense in leaving the future of your book to chance, when you can help to create a greater potential for its success.

As the president of SPAWN (Small Publishers, Artists and Writers Network) and an international speaker, I meet many authors every year who are disappointed in their book sales. I think it’s fair to say that 100 percent of the time the fault lies with the author. Here are eight common mistakes first-time authors make and tips for how to avoid them:

1. The author writes the wrong book for the wrong audience.

This author hasn’t discovered the true audience for his book. He may have written a bulldozer book– one designed to change minds. It may be a valid book subject, but he plans to promote it to an audience who isn’t interested.

Many of us enter into the world of publishing with hopes and dreams. We want to make a difference, change wrong thinking, offer positive alternatives, teach better methods of being, for example. More often than not, however, our perceived target audiences don’t really give a darn. They aren’t interested in a new perspective, a different way of living and they certainly don’t want to be told that their thinking is wrong.

Examples of bulldozer book topics might include, smoking, religion, politics, parenting techniques, and pregnancy issues.

Remedy: Early on, study your chosen genre/topic and identify your audience—those people who would want to read this book—not those who should. Write the book for an audience who cares.

2. The author doesn’t know that he is responsible for promotion.

Obviously, this author didn’t take the time and initiative to study the publishing industry or he would know that his job isn’t over once the book is published.

Remedy: Study the publishing industry. Discover all of your publishing options, consider the possible consequences of your choices, and learn about your responsibilities as a published author. Read my book, The Right Way to Write, Publish and Sell Your Book by Patricia Fry. Also read books by Marilyn Ross, Brian Judd, Dan Poynter, and John Kremer.

3. The author doesn’t take the opportunity to build promotion into his book while he’s writing it.

Savvy authors think about their target audiences while they are writing and designing their books.

Remedy: If yours would make a good reference book, for example, you’ll want to include a complete index. For a novel, choose a setting that is conducive to promotion. Give a character a popular ailment and present it in a positive light. Build promotion into your how-to book by involving a lot of experts and/or organizations through interviews and by including them in your resource list, for example. Solicit testimonials for your back cover from high profile people in your field or genre. Find ways to make your book more appealing to a larger audience.

4. The author neglects to establish a platform.

An author’s platform is his following, his reach, his way of attracting his target audience. Most successful authors today have a platform in place before they produce a book.

Remedy: Begin establishing or building on your platform even before you start writing the book. Your platform for your book on phobias might be the fact that you’re a psychologist in this area of study, that you suffered a severe phobia for years, that you work with women with phobias and/or that you’ve written articles and papers about this for years. Establish a platform for your cookbook by entering and judging cooking contests, writing articles for magazines, teaching online cooking classes, for example. Create a platform for your novel by becoming known as a short story writer (submit stories to appropriate magazines– lots and lots of them), building and maintaining a large mailing list, getting involved in sites related to your genre.

5. The author has unrealistic expectations.

Many first-time authors (we’ve all been there) expect to sell their books by the truckloads through mega bookstores. They believe that any good book will be eagerly welcomed by bookstore owners and managers. The reality is that few people outside of traditional royalty publishers with track records can get new books into bookstores. And space on bookstore shelves does not guarantee sales. In fact, books that are not selling will be returned– sometimes within the first few months.

Remedy: Have a promotions plan in place before deciding to produce a book. Don’t expect that your book will sell well just because it exists. Understand that it is going to take work and time to get your book noticed among the thousands of others. Having your book accepted for sale in bookstores is not necessarily your key to sales and riches. It’s still up to you to promote it– to spread the word about your wonderful, useful, exciting book.

6. The author plans to give promotion just a lick and a promise.

I’ve seen it often: An author brings out a book, notifies her local newspaper, sets up a website, visits a few independent bookstores, attends a book festival and then goes back to her previous lifestyle. She realizes a brief flurry of book sales and then they stop. She doesn’t know why.

Remedy: Authors need to understand that book promotion is ongoing. It should start before you write the book and continue for as long as you want to sell books. Your book will sell only for as long as you are willing to promote it.

7. The author gives up.

I can’t tell you how often I hear this, “I can’t sell my book, so what’s the use?” You won’t achieve the level of success you desire if you quit.

Remedy: Adopt a never-give-up attitude. Adapt the same measure of persistence, stick-to-itiveness and patience it took to complete your book project and get it published.

8. The author grows weary of the book promotion process.

Sure you’re going to suffer burnout. Promoting a book is a long, hard process.

Remedy: Tap into your sense of creativity in order to spark book sales. Try new, interesting and even exciting ways to boost sales. Plan a trip and take your book along. Visit bookstores and negotiate consignment deals. Rent a booth at a book festival locally. Give a performance featuring your book and invite the entire community. With the help of a publicist or marketing genius, launch a mail order campaign.

There’s a lot to consider when entering the huge and competitive publishing business. And promotion is a major consideration. Whether you land a traditional royalty publisher, self-publish (establish your own publishing company), or go with a fee-based POD publishing service, it is up to the author to promote his or her book. And the time to start thinking about promotion is before you ever sit down and put pen to paper or fingers to keyboard.

Patricia Fry is the president of SPAWN. She is also a full-time freelance writer and the author or 28 books. Ten of her books relate to writing and publishing. She blogs at Matilja Press

Interview with Bernard Cornwell

Interview by Christopher Seufert

Bernard Cornwell was born in London in 1944, an illegitimate “war baby” whose father was a Canadian airman and whose mother was in Britain’s Women’s Auxiliary Air Force. He was adopted as an infant and raised in Essex by a family belonging to a religious sect (now extinct) called the Peculiar People. They forbade alcohol, cigarettes, dancing, television, and conventional medicine. After an unhappy childhood, he escaped to London University, worked briefly as a teacher after graduation, and then joined BBC television. He started as a researcher in the Nationwide program and eventually worked his way up to Head of Current Affairs for BBC in Northern Ireland, and became editor of Thames TV’s News division.  It was while working in Belfast that he met his wife, Judy, a visiting American, for whom he moved to the United States. You can Bernard Cornwall’s books here.

I was astounded to find that you’ve sold more than 12,000,000 copies of the Sharpe series worldwide, which is just a fraction of your catalog. Furthermore, the Boston Globe recently stated that you were perhaps “the greatest writer of historical novels today.” Are you a success by your own standard?

I’m a success inasmuch that I enjoy my life, which is an enormous blessing and that doesn’t depend on commercial success (though I wouldn’t be such a fool as to deny that it helps). What I mean by that is that the point of life, as I see it, is not to write books or scale mountains or sail oceans, but to achieve happiness, and preferably an unselfish happiness. It just so happens that I write books, and I’m amazingly lucky that the books sell well all across the world, but even the biggest financial success will not compensate for an ill-lived life. I’m fortunate that the books sell, but even more fortunate to live in Chatham, to be very happily married and to have, on the whole, a fairly clear conscience. Anyone who claims to have an entirely clear conscience is almost certainly a bore.

The Boston Globe also pointed to the irony that “There are places where Bernard Cornwell is a household name. His adopted home here on Cape Cod isn’t one of them.” I get the sense that they’re correct, that you do in fact walk the streets of Chatham in general anonymity, as opposed to similarly successful Chatham residents. Would you say this is true?

Absolutely true, and I wouldn’t change it for the world. Mind you, even in places where I’m much better known, I walk in anonymity, mainly because folks know authors’ names, but not their faces. I did a TV series for the British History Channel a few years ago and for a few weeks afterwards I was accosted by folk in Britain wanting to talk, which was flattering, but the memory faded and blessed anonymity returned.

Sharpe’s Havoc, published in 2003, was the first of your many novels to reach the New York Times best-seller list here in the U.S. Meanwhile in Britain, you’ve already had many best-sellers, [plus] the Sharpe series going to television. To what do you attribute this discrepancy? Do you see your popularity in the United States increasing with your increasing publication of stories based on American history?

The discrepancy is entirely based, I think, on the fact that I write best when I’m writing about what I know, and that is British history. And though I’ve lived in the States for over 25 years and am now an American citizen, I still hear British voices in my head. Writing British dialogue is easy, writing American is harder, and I feel much more confident writing about Brits. So the books have a greater appeal to a British audience, but that hasn’t stopped them making best-seller lists in places like Brazil, Japan, and at least a dozen other countries. In the end their appeal is not necessarily the history, but the quality of the storytelling, and a good story transcends national boundaries. I still have to crack the French market, though that isn’t entirely surprising considering that the Sharpe novels are endless tales of French defeat.

You’ve been a resident of Chatham for some years now. When you moved here, as the story goes, you didn’t have a work permit and so, began writing for a living. Were you surprised that it worked out as that practical a solution? I’d imagine many who came to that solution would end up back in England in six months.

I was astonished! Actually I moved to New Jersey in 1980 and didn’t discover Chatham until 1990, by which time the books were selling, but it was still a daft decision, based solely on love. Judy couldn’t move to Britain for family reasons, so I had to come to the States, and the U.S. government wouldn’t give me a green card, so I airily told her I’d write a book. Well, it worked, and I’m still here, and so’s she, and ain’t we lucky?

Looking back, of course, it was irresponsible, mad, forlorn, idiotic, but if you don’t take chances then you’ll never have a winning hand, and I’ve no regrets. I sometimes wonder what would have happened if the first book had not sold—doesn’t bear thinking about, but I suppose we’d have made it work somehow.

Prior to 1980 you were a television producer with the BBC. Do you miss working in that medium? Do you find there’s a simplicity to writing that wasn’t there previously in your work as a television producer?

I don’t miss it at all. Television is a young person’s medium. I had ten great years in it, had an enormous amount of fun, traveled all over the world, and got out. And yes, there’s a simplicity to writing books because you’re not a member of a team, so you make all the decisions yourself instead of deferring to a committee. I get asked to appear on television—at the moment I have two invitations from Britain to present long military history series, but I’m not sure whether I really want to do it—I fear the seduction of vanity, but recognize that it would help sell books– so I dunno what I shall do.

Do you have a local writing community or fellow writers that you look to for support and advice?

Writing is a solitary occupation. If you can’t do it on your own then you probably can’t do it. So no, no local writing community. At risk of sounding foully pompous I think that writers’ groups are probably very useful at the beginning of a writing career. Not that I’ve ever been in such a group and the only time I was ever invited to one I left in disgust because they were pushing the idea of “writing as therapy.”

Did you have a writing mentor? Do you mentor others here?

I don’t have a mentor. I have a terrific, marvelous, unbelievably helpful editor in London and she has the biggest influence, but even so we disagree as much as we agree. I’ll happily mentor anyone who wants mentoring, and most of that goes on by Internet rather than face to face. The one thing I will not do is read other peoples’ unpublished work. The reason for that is that it doesn’t help. I’m not in a position to publish them or act as an agent for them, so instead I put them in touch with an agent whose job is to read unpublished work. I know that sounds churlish, but right now, on my desk, there are four books waiting to be read whose publishers want me to give them a “puff,” two books I’m reviewing for newspapers in London, one book I desperately need to read for research, and a couple more for pleasure, so I simply don’t have time to read more. Agents will read unpublished work because they might make money, and that’s their job. It isn’t mine.

You’ve written an admirable and ungodly number of books, about forty I read in my pre-interview research, which makes almost two books a year. I’m suprised that your publisher can handle that kind of output, frankly. What is their overall strategy and are they able to put the time and attention into it that each book deserves?

So far it’s 43 books in 25 years. Publishers don’t mind! Publishers like “established” authors because they can pretty much anticipate sales and therefore cash flow in an otherwise uncertain industry. The strategy differs from place to place—in London we produce a book for the Christmas market (i.e., published in October), while New York prefers to wait for the New Year when a book has a greater chance of making the New York Times list. If there’s a second book then we put it out in April and these days that’s almost always a Sharpe novel. Paperback launches are usually in early summer (to get the vacation market) and have a lighter colored jacket than the Christmas version—and so it goes on. But publishers are in the business of making profits, so they love getting two books a year. They’d have three if they could.

How do you approach the work of writing?

Cover of Bernard Cornwall's The Last KingdomWith unabandoned pleasure. It’s fun. I sit down every day and tell stories. Some folk would kill to get that chance.

What does a typical writing day look like for you, from waking to turning in at night, and how does it compare to a conventional nine to five job?

I start early—usually by 5 a.m., and work through to 5 p.m., with breaks for lunch, boring exercise, etc., etc. But it’s usually a full day. It’s better than 9 to 5 because I’m my own boss so I can take off when I want to, and the dress code is non-existent and the commute is terrific. I enjoy it, so there’s no discipline involved, and I’m not a subscriber to the idea of “writer’s block,” or rather I subscribe to the notion that on the day a nurse can telephone a hospital and be excused work on the grounds of “nurse’s block” is the day I’ll start suffering from writer’s block. I volunteered for this life, wanted it, and am not going to bitch about it now that I’ve got it. Of course some days are easier than others, but my worst day is better than being in most humdrum occupations.

How long does it take you to write a typical novel, including research, writing, and editing time?

Research is a lifelong occupation so it’s hard to factor it in, but I reckon most books take five months from start to finish.

Does your wife get involved in your writing and research trips or is she sick to death of it by now?

She likes the research trips—who wouldn’t? Spain, Portugal, India—lots of the English countryside. Other than that she doesn’t get involved, but I don’t think I’d survive as a writer without her. She has a busy time as a yoga teacher and hospice volunteer and doesn’t want to get involved with the writing which is, I have to keep stressing this, a solitary vice.

Your books are successful enough now to give you the freedom to essentially do what you want. Do you see yourself giving less time to writing in the future?

I’d like to cut it down to three books in two years instead of two a year—but whether that’ll happen I don’t know. I took time off last year to sail the Atlantic, and if I got more opportunities for blue-water cruising I might take them. Not sure.

In addition to the books you’ve already published, I’d imagine you have many more that are in various stages or other of completion. Is this true or do you tackle one book at a time, research it, write it, publish it, and move on?

One book at a time—though I’m usually doing the research for others while I’m writing, but that sort of research is fairly desultory and I like to stick to the book being written—and writing a book concentrates the mind so the research is more productive. Then you start another book and suddenly the galley proofs of the last one come in and you have to wrench your attention away from what you’re writing and try to remember what you were thinking when you wrote the previous one.

After the great success of your Sharpe series on British television, do you have any more novels that are being considered for television series or films?

I think they’ve all been optioned—but whether any will actually be made? I doubt it, and certainly don’t lose sleep over it.

Do you take vacations or do you find that your book tours and historical research give you enough travel?

Book tours and research provide a lot of travel—too much, I sometimes think, but we do take vacations. Judy is inordinately fond of the Far East so we try to go there every couple of years, and I make a pilgrimage to England every rugby season. I’d like to make a similar pilgrimage in the cricket season, but it coincides with the sailing season on the Cape and sailing wins every time.

Do you ever get sick of working in your office, grab your notebook and hit a coffee shop?

No, never. Not sure what I’d so with a notebook other than swat flies. If I want a break I’d rather go down to Stage Harbor and talk boats.

Where’s your favorite place in Chatham to depressurize?

Stage Harbor and adjacent waters. We have a gaff-rigged topsail cutter, which sounds much grander than she really is, but she’s exquisitely beautiful and shamefully slow and we spend a lot of time aboard when we can. But there’s no better place to relax.

How do you celebrate a novel’s completion?

Not sure I do any more, other than a general feeling of relief modified by the thought that another one will have to be started soon. I’ll probably have an Irish whiskey.

I haven’t seen much in your past interviews about the production of your audio books, which I shamefully happen to really like. Are you involved in the production of those as well?

Not in the slightest.

Why didn’t you narrate the audio books yourself? I would think actor Sean Bean, who played Richard Sharpe so dynamically on television, would also be in the running.

Sean did narrate some of the earlier ones, but I imagine his fee has become too steep for the producers, or perhaps he doesn’t enjoy doing it. I’ve never been asked to do it, and am not sure I’d want to.

I’ve read that there may be a new productions of your Sharpe book series coming to television and that you’re one of the producers. Is that looking like it will happen?

It looks as though they’ll be filming in India this winter, but it isn’t guaranteed. Say 95% certain?? I’m definitely NOT one of the producers, and don’t want to be. I know nothing about producing TV drama and any involvement on my part is liable to prove an obstacle to the producers, so I prefer to be a cheerleader and let them get on with it.

Do you like living in Chatham?

I love living in Chatham. It’s a huge privilege and a constant pleasure, and I don’t want to live anywhere else, and probably won’t.

Any plans to have a book set right here, somewhere in the rough-and-tumble maritime history of Chatham? The Monomoy Lifesavers had some pretty charismatic characters and of course, the British were in our harbors in both wars.

Probably not, but it’s dangerous to say never. There are some terrific books already about Chatham—I especially love the stories by Rose Connors—but I’m best known for military history fiction and it’s probably wise to stick to that and let Rose write Chatham’s portrait.

Christopher Seufert is a documentary producer and author based on Cape Cod.

The Pulse of Publishing

Guest Post by Marian Perera

Changes always seems to be going on in the publishing industry. New publishers appear, editors change jobs, more authors are self-publishing and scams are revealed. How much of this should writers be aware of?

It’s easy to spend hours reading about current news—or even old but scandalous scams—in the publishing industry. That can also produce TV Tropes syndrome, which is a condition where you read one site which links to you to another equally interesting site which makes you aware of a third, so at some point you realize two hours have passed without your being aware of it. I don’t mind the time because I find most of it fascinating, but that’s not always the case for other writers.

And if they don’t find publishing news inherently interesting, is it necessary for them to be up-to-date on it?

When it affects them directly, I believe they should. If writers consider signing with a particular agent, they should be well aware of relevant news about that agent—for instance, by checking the agent’s website or blog, reading interviews with that agent and looking up sales in Publishers Marketplace. The same applies to publishers. The research does take time, but it’s risky at best to only look at the publisher’s website, discussion board or Facebook page.

And in this case, no news can be as much of a warning sign as bad publicity. Reputable agents and publishers have an Internet presence because of the books they’ve sold.

How to find such information or warnings? It’s a good idea to check watchdog sites like Writer Beware or Preditors & Editors. On the other hand, if an agent or publisher has just opened for business, these sites may not have had time to update their records—and they can’t cover everything. That’s a good reason to read as much as possible about publishing. Knowing what’s normally done or not done in this industry can help writers avoid questionable agents or publishers. Both scams and amateurs thrive on inexperience and misinformation.

Should writers be aware of more general news that may not apply to them directly—such as the Cooks Source scandal? It depends. For instance, if I were going to a conference where I expected to speak with agents and editors, I’d want to be at least a little informed on whatever was happening in the industry.

It’s also a good way to connect with other writers, either by discussing such issues on blogs and discussion boards, or by letting inquiring writers know of relevant experiences we ourselves have had. Because writers don’t only read the news—we may even help make it. And keeping our fingers on the pulse of publishing is one way to do so.

Marian Perera studies medical laboratory technology (final year of college!) when she isn’t writing. Her first novel, a romantic fantasy called Before the Storm, was just released in paperback. She blogs about writing, publication and every step between the two at Flights of Fantasy.

Why Wikileaks Should Matter to Writers

Guest post by A.L. Berridge

I lost my political virginity in Ireland, when I heard for the first time the reality behind the Troubles. English schools hadn’t been too hot on explaining why these nasty IRA terrorists wanted to blow us up, and I’d been content to accept a simple world of good guys and bad guys—as long as my country was the former and the foreigners were the latter. Overnight I had to bin all that, grow up, and start comprehending shades of grey.

I had no choice. I was there to work on scripts, but how can a writer understand her characters if she doesn’t know why they think or feel as they do? And if she doesn’t understand, then what right has she to write? Those months in Dublin were when I began to open my mind and take the first steps on the road that made me a novelist.

The loss of illusion was still shattering, which is why my heart goes out to Americans right now. The US isn’t the only country whose moral ugliness has been exposed by Wikileaks, but it’s the one where the biggest shock has been to its own citizens. I’d imagined the horrors of the ‘Collateral Murder’ video wouldn’t surprise anyone who knew about Abu Ghraib, but what I hadn’t realized was how much the American press had suffocated the earlier story. Pictures were edited and withheld, and when Salon posted the first exposé the Pentagon claimed they ‘were damaging national security by publishing such inflammatory images’.

Sound familiar?

Similar charges have been laid against Wikileaks, although journalists from The Guardian, Le Monde and Der Spiegel have all worked on the cables to redact the names of anyone conceivably at risk. Where’s the physical danger in people learning a government kidnapped and tortured an innocent German national, that it threatened Spain if it took action against torture of its people, or that it ordered diplomats to get DNA and credit-card details of its allies in the UN? Where’s the risk to security in knowing Pfizer used the African meningitis epidemic to test drugs on 200 children, 11 of whom died? What those governments queuing up to condemn Wikileaks really fear is that people will think less of them. This is now a war over what we are allowed to think.

But we’re writers. Thinking is in our job description. We have to question the world around us, see it in a new and different light—and communicate what we see. If we live in a government-controlled vacuum, what can we say that’s of value?

And if we found something, would we be allowed to say it? It’s not just Wikileaks being threatened now, but the whole concept of free speech. For years now concerned US citizens have had to look outside the mainstream media to learn what everyone else already knows—as in this recent attempt to suppress news of fresh atrocities in Afghanistan. The NYT has published Wikileaks material, but with government censorship – and there are still calls for it to be muzzled further, with Senator Joe Lieberman demanding an investigation for possible espionage.

Perhaps it shouldn’t matter in these internet days when it’s simple to find out what other countries are saying—but even that’s under threat. Members of the US Air Force are already finding their access blocked not just to Wikileaks, but to the foreign newspapers that report on it. There are still international messageboards, we can still communicate with the outside world—but is that safe? Professor McNeal, specialist in national security law, warns students against reading about leaked cables on forums: “I don’t think looking at them alone could hurt anyone. The problem is when you’re looking and then supporting and endorsing, then you start running into trouble.”

It’s the casualness of that I find chilling. He says you can look—as long as you don’t think.

And will it end there? When the publisher is imprisoned on extraordinary rape charges while US politicians try to change the law to get him on something else? When the alleged whistleblower is kept in solitary confinement under conditions tantamount to torture? When companies like Amazon and PayPal appear to bow to government pressure to drive Wikileaks from the net? And we shouldn’t underestimate US power in this respect: the Department of Homeland Security has already made two web raids this year, taking over domain names of sites it doesn’t approve—even when they belong to businesses in other countries. The internet has given us unparalleled freedom to communicate with each other all over the world, but now that too is threatened.

It’s no wonder our fellow writers (and thinkers) are uniting to demand an end to this suppression of these most basic freedoms—to learn, to think, and to write. Daniel Ellsberg, hero of the Pentagon Papers, is a staunch defender of Wikileaks, and so is the respected journalist John Pilger, whose reports led to $45 million being raised for the relief of Cambodia. He is the first signatory in an open letter supporting Wikileaks, which is also endorsed by UK writers Iain Banks, Yvonne Ridley, Caryl Churchill, A.L. Kennedy, Alexei Sayle, and Andy de la Tour.

Banks, Kennedy and Sayle are novelists, not journalists, but fiction needs freedom too. ‘Nineteen Eighty Four’ is a novel, so are ‘Brave New World’ and ‘Fahrenheit 451’—all banned at some time, including in some areas of the US. So is Solzhenitsyn’s ‘One Day in the Life of Ivan Denisovich’, which (incredibly) was supported by Soviet premier Khrushchev on the grounds that a society ought to be able to look itself in the mirror. Do we really lack the courage to do the same?

Suppression of this kind affects all writers, even if we don’t have an overt political message. Writers are receivers as well as transmitters – we need constant contact with the minds of those who lead different lives from our own. If there’s one essential quality a fiction writer must have it’s altruism—the ability to think ourselves into the minds of others. How else can we write a serial killer, a man on Death Row, a woman of a different age or culture or sexuality or religion? We have to learn, and to do it we must venture outside not only our own comfort zones, but those of our governments.

And once we’ve learned, we must be free to communicate. Words can be a weapon in the hands of an Orwell, but they can also be a lifeline, a channel for the vision that can bring enlightenment and comfort to others. When I saw the impact of Alice Walker’s ‘The Color Purple’ on women who had believed themselves lonely freaks in the universe, I felt for the first time the power of words to reach out across borders of culture and geography, to break down walls and smash through silence, to link us all together in a community that recognizes truth.

A writer who turns her back on truth is unworthy of the name. I write mainstream commercial action-adventure, but even for me it would be a disgrace. My first two novels are about honour and humanity in a ruthless world, and if I’m to keep any writing integrity I need to own my words and act on them. This is the G.K. Chesterton extract that prefaces my first book, and it might have been written for what’s happening right now – human rights abuses, waging of unjust war, and the secrecy and lies of governments who don’t care:

From all that terror teaches, from lies of tongue and pen,
From all the easy speeches that comfort cruel men;
From sale and profanation of honour and the sword;
From sleep and from damnation, deliver us, good Lord!

Most of all ‘from sleep’. Apathy will be the end of us if we don’t remember that ‘the pen is mightier than the sword’. The film of ‘Fahrenheit 451’ ends with the memorable scene of the living ‘books’: men, women and children walking up and down reciting sentences of Dickens, of Austen, of Tolstoy, preserving the forbidden words for the generations to come.

We are those people. We are the storytellers, and it is time to remember we are strong. The war on Wikileaks is one of words, and who knows how to use them better than we? We can sign that petition, we can write books and articles and blogs like this one, we can post on message-boards, on Twitter and Facebook, we can write on the bloody walls if we have to.

If we’re writers, then this is our war.

Let’s fight.

U.K. writer A.L. Berridge is a novelist and award-winning television producer, whose bestselling debut novel Honour and the Sword was published in April 2010 under the Michael Joseph imprint of Penguin Books.

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