Author: DM Editorial Consultants
Writing Quotes: Seth Godin
Writing Quotes: Anton Chekhov
“Don’t tell me the moon is shining; show me the glint of light on broken glass.” Anton Chekhov
Visual Artists Your Copyright is in Danger
A note about proposed copyright changes that affect visual artists. Please take the time to read and say something.
It is important that if you ever expect to reuse your copyrighted work as a way to make a living that you respond to this Notice. They have explicity asked for artist’s comments on the proposed changes. But time is short. If you have not seen previous notices on this action, now it the time to write.
The Congressional machinery is at it again after a 8 year hiatus. The Copyright office is drafting a new Copyright Act. A major part of this revision is designed to break loose the use of your copyrighted art. Large internet firms and lawyers devoted to free culture on the internet are pushing this. Members of the Guild are writing letters. We need you to write one as well.
The Guild of Natural Science Illustrators is a member of the American Society of Illustrators Partnership, and is supporting the efforts to inform lawmakers about the damage that can be done to artist’s ability to conduct successful businesses.
Read more about this issue
Artists Alert: From the Illustrators Partnership
The Return of Orphan Works
The new recommendations would resurrect the failed Orphan Works Act of 2008. But there are new proposals that go far beyond Orphan Works.
The Copyright Office says that these artists’ issues are also “ripe” for legislation: copyright small claims, resale royalties, and other forms of secondary licensing which most artists have never heard of.
The deadline is THIS THURSDAY: July 23, 2015
American artists can submit their letters online here.
Non-U.S. artists can email their letters to the attention of:
Senior Advisor to the Register of Copyrights
U.S. Copyright Office
Read the Copyright Office Notice of Inquiry.
Read the 2015 Orphan Works and Mass Digitization Report.
WHAT TO WRITE:
Because of our past opposition to orphan works legislation, the Copyright Office has issued a special Notice of Inquiry on Visual Works. In it, they acknowledge that visual artists face special problems in the marketplace and they’ve asked artists to respond to five questions:
1. What are the most significant challenges related to monetizing and/or licensing photographs, graphic artworks, and/or illustrations?
2. What are the most significant enforcement challenges for photographers, graphic artists, and/or illustrators?
3. What are the most significant registration challenges for photographers, graphic artists, and/or illustrators?
4. What are the most significant challenges or frustrations for those who wish to make legal use of photographs, graphic art works, and/or illustrations?
5. What other issues or challenges should the Office be aware of regarding photographs, graphic artworks, and/or illustrations under the Copyright Act?
And we might suggest a 6th question of our own:
6. What are the most significant challenges artists would face if these new copyright proposals become law?
Since most artists have never written to lawmakers before, many of you have asked us for sample letters.
It is important that the Copyright Office receive unique letters.
Eight artists have provided their letters to inspire you to write. The letters are poignant examples written respectfully by artists telling their own unique story about their experience and concerns:
Letter 1: “I’m writing to stress that for me, and for artists like me, copyright law is not an abstract legal issue. Our copyrights are our assets. Licensing them is how we make our livings.” Read more.
Letter 2: “As a freelance illustrator, I need to maintain revenue streams in order to make a living for my family. The resale of my past images is part of my day to day way of doing business.” Read more.
Letter 3: “My art is reasonably well known since it has served the advertising, editorial, public relations and historical documentation needs of the aerospace industry, publications, the military services and air and space museums for 68 years.” Read more.
Letter 4: “I am writing to you as an award winning professional illustrator of over 40 years whose work has appeared in many major publications, books and advertisements, both nationally and internationally.” Read more.
Letter 5: “I have been a professional medical illustrator since 1975, and self-employed since 1981. During the course of my career, I have created thousands of illustrations…” Read more.
Letter 6: “Copyright is the basis of my income and ability to support my business. It is the only way I have to protect the accuracy and integrity of my work, and to negotiate an appropriate fee for re-licensing.” Read more.
Letter 7: “My specialty area is fetal development and women’s health illustration…The protection of these images is of utmost importance to my livelihood, and I have struggled to fight the rampant piracy of them, especially by political groups.” Read more.
Letter 8: “I am writing to ask that you create policy to protect visual authors and their exclusive rights, and support a sustainable environment for professional authorship. Read more.
Remember no one is asking you to write a legal brief. Copyright law is a business law, and the lawyers writing these laws know little or nothing about our business.
Let’s explain to them how the laws they’re writing will affect us.
– Brad Holland and Cynthia Turner for the Board of the Illustrators’ Partnership
Pass this on to other artists you may know in other organizations.
-Britt Griswold, GNSI VP
The One Page Synopsis
Now that you’ve written your query letter and performed your research on the different agents and publishers who might be interested in your story, you learn that some require a one page synopsis. Wondering what that is, you then do more research, discovering that this new task means concisely summarizing your 50,000-100,000 word story in roughly 500-600 words! At first glance, the task looks impossible, but it is not.
Since the synopsis is a condensation of your completed novel, consider it an important step in getting your story published. If you don’t do a good job here, your novel will be passed over. The easiest and most productive way to begin drafting your synopsis is to outline your novel chapter-by-chapter. Then succinctly write down the “Big Picture” of your story (i.e. what it’s all about) in one to two sentences. Finish your outline by noting the motivations, problems, and end goals of the main character(s) and antagonist(s).
Once you have all this down, divide your outline into the categories beginning, middle, and end, with an eye for the dramatic arc as well. The dramatic arc depicts the chronological order of events that most narratives tend to follow and can easily be separated into beginning, middle, and end.
The beginning section includes the introduction of the main character(s) and his/her/their problems, the setting, the antagonist (external or internal), and the inciting action. The middle then details all points of rising action. These are not subplots or minor details, but two or three main points of action without which the story could not reach its climax. Basically, these are the turning points in the story of action and in characters. Finally, your end section should include the climax and denouement (the unveiling and resolution, how everything ties together), with a mention of how your characters progressed.
With your story outline completed, compile everything into an engaging summary. Since it’s a first draft, don’t worry about length, but instead focus on getting everything laid out. You can cut at a later date.
Now, draft done, set it aside for a week or two. When you come back to it, re-read with the intention of revising for clarity and brevity. Since it’s only one page, make each word count. Make each word work hard for its place in your synopsis. You will most likely re-work entire sentences and the entire draft several times. This is fine and completely normal. In the end, it should read like an extremely brief, well-told and engaging version of your story.
Once you’ve rewritten your synopsis and fit it into one page, take it to several other discerning, objective and honest people to read. If they are confused or bored, take note. Ask them for suggestions and weave their suggestions into your rewriting. However, if your readers love it, that’s great! It’s time to send it out.
Synopsis Format: First, carefully review each agent or publisher’s specifications. Synopses need to follow a specific format as specified by each agent or publisher. However, there are some general principles: it should be written in the present tense from the 3rd person point of view and only name three main characters, as more will confuse your readers. Further, the synopsis should be typed in Times New Roman font size 12 with a 1″ margin all around. In the header or first line, write “Synopsis of Title, Genre, Word Count, by Name.”
In the long run, synopsis writing can be challenging, but highly rewarding. It will help to hone your writing skills overall, as well as help to get your story published.
Next week’s topic: Research for Different Types of Writing
Taglines, Blurbs, and Book Specs: How to Write Fiction and Non-Fiction Query Letters
Amazingly enough, you’ll probably write your query letter to agents and the handful of remaining publishers accepting unsolicited submissions more times than you rewrote the manuscript. Good thing a letter is so much shorter!
A query letter is short—a mere 250-400 words consisting of a “hook,” summary, manuscript specifications, and an author biography.
That’s quite a lot of information to convey in only a handful of words. Your ability to do so, and do so well, however, alerts agents and publishers to the fact that you are a stellar writer. Exactly what they’re looking for in fact. That’s why mastering query letter writing is so crucial.
The first step is to transform how you think about writing. Instead of writing more, write less. Instead of adding, cut. The object of a query letter is to portray the essence of your writing—tone, style, plot, and characters for fiction pieces; and tone, style, problems, and answers for non-fiction pieces—in an engaging way that makes your readers want to bite. Just like in advertising.
And, just like in advertising, you’ll begin with something that will pique the interest of someone inundated with query letters—someone reading hundreds or even thousands of queries a month. This is the hook, or “tagline” for your manuscript. Your tagline should be a short statement or rhetorical question that causes your readers to think, Hm, I might like to read that. Let me look into this some more, just as the taglines on a movie poster make you want to check out what a movie is about. So make your tagline both memorable and interesting. Also, make sure to include the title of your novel. Just like commercials frustrate viewers when they don’t know what the product is until the last second, a tagline without this important bit of information leaves your readers floundering.
From the hook, you move into the summary. Calling it a summary is somewhat deceptive, as it is more like the blurb on the back of a book than an unimaginative summary you’d read on Sparknotes or Wikipedia. Remember, this is advertising, and you’re trying to persuade someone to read your book. So go and look at the blurb that caused you to pick up the stray book that became your favorite. Generally, blurbs reveal just enough about the characters and plot to emotionally connect a prospective reader to what’s happening, or mention enough of the findings and writer’s tone to whet a reader’s curiosity to know more. Your summary, then, should walk a fine line between too little and too much information, while at the same time, conveying the tone of your manuscript.
Now you’re on to book specifications. This includes the title, word count, and genre of your manuscript. You need all of these items as they explain to the agent or editor reading your query that this is something they’re interested in and have a market for. (Hint: If they specify word count, make sure yours is within the range, and so forth.) Additionally, try to pull out some comparable stories. What books, TV shows, movies, etc. influenced your writing and tone? Is your book Rick Riordan meets Die Hard? If so, state that. Have you answered the question that millions of people are asking about why the chicken crossed the road? Good, give those stats. Publishing is, after all, a business, and agents and publishers need to know that there’s an existing market for what you’ve written.
Finally, you need to provide a short biography, which tells agents and publishers why you’re qualified to write about what you’ve written. This does not mean telling them about the essay contest you won in fifth grade, but instead briefly outlining your current writing credits and background (as it applies to your manuscript). If you have no such credits yet, you can always begin to develop them by submitting articles or short stories to credible magazines, journals, contests, etc., or simply forgo writing a bio—although this is not recommended.
Overall, writing a query letter is quite challenging, but it is also rather fun. Especially when you know you’ve accomplished what you set out to do. So good luck and enjoy!
(Next week: The One Page Synopsis)
Query Letter Writing Tips
- Query writing is like business writing, in that you are demonstrating that you are not only a good writer but also a professional. As such, keep your tone polite and recall the rules of business letter etiquette.
- If you browse through Chuck Sambino’s “Successful Queries” on the Writer’s Digest website—which I highly recommend—then you’ll see one consistency: each agent is enamored by a query letter for a different reason. There is no surefire way to win a contract other than good, intriguing writing that follows each agent or publisher’s specifications.
- Intensively revise and rewrite your query letter. Your query is how you get your foot in the door to display your wares (manuscript), so it needs to be a strong pitch. The best way to do this is to take the time you need to write it—not a day, not a week. Let other people read it. Get objective advice and criticism. Write multiple drafts. Polish it and love it as much as you did your manuscript. All of this effort is bound to pay off and work in your favor.
Radio Silence and Rejection: How to Deal with Agent and Publisher Rejections
Congratulations! You’ve completed your novel and have perfected it to the best of your ability. Bright-eyed and expectant, you send it out into the world, certain as anything that everyone will adore your work as much as you do. Of course they will. It’s your baby, the offspring of your mind.
After some time you hear… Nothing at all. No reply, what I like to call “radio silence.” Or else a firm, polite “no.” Your beautiful baby has been rejected, or worse, ignored. Your dreams of becoming the next New York Times Bestseller are fatally crushed. Or are they?
After all, you sent it out knowing that rejection was a high probability, didn’t you? Take heart, you’re in good company! We can’t all be like Terry Pratchett, whose first story was published at the tender age of 13. There are numerous rejection stories from famous, well-loved authors. These include classics still highly popular today by writers such as Jane Austen. Do I hear a sharp intake of breath? Yes, her first 3 novels were rejected–years later, she retitled and reworked them and they were published as Pride and Prejudice, Northanger Abbey, and Sense and Sensibility. Charles Dickens’ Great Expectations was virulently rejected, as were Margaret Mitchell’s Gone With The Wind, and (incomprehensibly, to my mind) Harper Lee’s To Kill A Mockingbird. There was also Agatha Christie, who received nothing but rejections for five long years, before going on to publish 91 titles. Add to the list C. S. Lewis’ The Chronicles of Narnia and Madeleine L’Engle’s A Wrinkle In Time.
Moving on to more recent famous rejections are J.K. Rowling’s Harry Potter (“far too long for a children’s book”), and Meg Cabot’s Princess Diaries. Neil Gaiman lied about his publishing experience in order to get his first novel accepted. (NOT recommended, this was done before the advent of the internet!) Are we feeling any better yet?
Still, you hoped it wouldn’t happen to you, and you’re not quite sure what to do next. Well, first of all, keep going. As the wise Dr. Charles Stanley always says, “Disappointment is inevitable but discouragement is a choice.” In other words, be dauntless! You can choose to move forward, choose to persevere. Don’t get me wrong. Rejection is hard. It hurts, especially when our hopes are high. It does, however, serve the purpose of showing us how determined and dedicated we are to the craft and business of writing.
Now then, how do we handle the rejection of this precious baby of yours? First, let’s keep in mind the infamous “slush piles” that many editors and agents today are facing are greater than ever before. Do the math: the number of potential writers these days has increased exponentially with the advent of fan-fiction forums, reality TV shows, blogs, etc., all combining to make people think that writing is an easy job that requires little or no attention to the craft. Publishers have received so many of these submissions that it is now virtually impossible to be published without an agent–who now receive thousands of these submissions a week.
Now consider this: how many editorial staff members and agents do you imagine are sitting at their desks dealing with this influx of manuscripts? Don’t assume that publishing houses have hired hundreds more editors to read through what is, inarguably, going to be a lot of submissions that aren’t ready for the market. They haven’t. Check out the latest Writer’s Market and read through the listed publishers. Even smaller publishing houses that, a few years back, welcomed any and all submissions, are now saying, “Not accepting submissions at this time.” At the same time, agents’ client lists are filling up, meaning that they also no longer accept submissions, especially not from new authors. The reason many give for this is that they received thousands of submissions a week.
So you’ve been rejected by an agent or publisher, now you need to regroup. Take a good, objective look at your query letter and synopsis. Check first for grammar and spelling errors. Next, ask yourself, does my letter pack the needed punch? Does my query and synopsis quickly and effectively get at the essence of the story? Does it sound interesting? Does it meet the necessary requirements?
Then, as you’re searching for agents and editors, carefully read the description of what they’re looking for. Also, do visit their websites to examine the latest books they’ve published. Does your story fit in with others they’ve published? If it doesn’t, your query/submission will be rejected out of hand. You’ve just made it easy to “deselect” your story and move on to the next.
Think of it as fishing. You wouldn’t go deep-sea fishing in a brook, would you? And you wouldn’t fish for trout in the sea. Take the time to know where you should be fishing for your story and what kind of “bait” your “catch” is going to “bite” at. Then bait your line with the best query and synopsis you can, and cast it out onto the waters. And then, be patient. You would hope, but not expect, a fish to immediately take your bait. But that doesn’t usually happen. If nothing bites in the waters you’ve fished in, move on to other waters. Do some more research on agents and publishers you haven’t yet approached. Then, send it out again. With each cast of the line, you’re one step closer to your publishing dreams. There are plenty of fish still biting out there, though at times it may not seem so.
Next week’s topic: Writing Query Letters
Final Tips for Interacting With Agents & Publishers:
- Remember, not everyone will like your writing when it is published. This adage holds true for agents and publishing companies too. That’s fine, everyone is allowed their personal preference. So, when you get rejected, decide that these were some of the few who wouldn’t have been interested in your writing anyway and keep plugging away like a dedicated professional.
- On the note of being a dedicated professional, do retain a level of decorum in your interactions with each agent and publisher. While today’s society tends toward more casual interactions, business etiquette and dignity remain necessary. More often than not, they show you’re serious about your craft as a business as well as a passion. Additionally, you may want to query a certain agent or publisher again in the future, and it does you no good to burn bridges before you’ve had a chance to build them!
- When researching agents and publishers, make sure they publish your kind of writing. Agents who accept your kind of book have the right connections to the right publishers and publishers tend to generate content for a certain type of audience. It behooves you to do your research, since it means you won’t receive unnecessary rejections.
- If you receive comments on a certain aspect of your writing (and this makes you lucky in the world of form rejections and radio silence!) carefully examine your writing to see if making the suggested changes is something necessary or not.
How to Write the Dreaded Literature Review
Many students balk at the idea of writing a literature review for the first time. After all, it’s a completely new form of writing, which in turn makes it look like a daunting monster of epic proportions. However, they’re surprisingly easy once you have:
- A thesis, or some formulation of an argument
- Read (or skimmed, much preferable) pertinent research
- Done more research
- Organized your research by topic/subject
So, lit reviews require lots of legwork, but once all that wondrous fun stuff is (mostly) done, you can move on to the easy part: writing (yes, I’m serious).
Anyway, on to the all-important question: how to write a lit review.
Since nobody ever wants to dive into the actual writing, make things easy on yourself by starting with section headings. For instance, if I am writing a paper on the necessity of introducing sharks to my local lake because sharks are dynamic parts of aquatic ecosystems, then I have probably done research on sharks, their habitats, theories/methods for introducing animals to new ecosystems, ecosystems in general, etc. To start writing, I then bold out each section on my paper (Methods for Introducing New Species, How Awesome Sharks Are, Sharks and Lakes), list the sources or authors that I think belong under each section, and roughly how many pages I plan to write for each.
Now that I’ve wasted as much time as possible creating the layout for my lit review, it’s actually time to start writing. So I glance over my sections and decide that the one I know the most about or have the most information on is “How Awesome Sharks Are.” This isn’t the beginning of my review in the least, but that’s okay. It’s the one I’ve read all the research on—after all, I could still be looking into methods for introducing species to new ecosystems—so I can write on it with the most authority. I’ll go back to the beginning later (and still write a surprisingly coherent research paper).
Now that I have decided that I’m going to talk about how awesome sharks are, I have two choices, I can either start discussing the author who agrees with me that sharks are awesome, or the one who points out that sharks are carnivorous and will most likely destroy an ecosystem that they don’t actually belong in. It really depends on whether I want to disqualify the research of one, or formulate a new theory altogether. So, under my chosen heading, I would begin with the author I disagree with, slowly working my way to the author I agree with through connecting links of research that strengthen the position of my argument. However, if I wanted to formulate a new method for introducing species, as I do under another section, I would begin with my strongest source and create interlinking arguments from each research point that then builds into my new method/theory for introducing sharks to lakes.
Now that I have decided which author/source I’m going to start with, I rely on my amazing skills of summarizing, paraphrasing, and quoting to explain the argument/methodology/theory/etc. of my source, describe what the author brings to the table, and just generally point out whether or not said scholar is right or wrong (usually by pointing to another scholar or an integral flaw in his or her reasoning). Once I’ve done all this for one source/scholar, I simply repeat. And repeat. And repeat until done.
- If you completed an annotated bibliography prior to starting your research paper, use that as your jumping off point. I’ve had many friends for whom this method has worked. They simply took the information from their annotated bibs and expanded it in the lit review.
- Remember, in a literature review, you’re just presenting the research that has come before, not trying to argue your thesis. This means that you’re just laying the groundwork for the rest of your essay, not actively trying to prove your point just yet.
- To best construct connections between sources, pretend that they’re in conversation with one another—after all, they are in a way. For example, so-and-so made this point, yet blank makes this point. This helps your lit review to flow logically and allows your sources to begin arguing your thesis for you.
- Most writers tend make the exact same argument. This means that in your lit review you can list them together to save space and time (and meet any professor quotas on how many sources you need). Ex. John Smith in TITLE and Harry Jones in his work TITLE argue that sharks are integral members of any ecosystem, therefore supporting the relevance of introducing sharks to lakes.
- You don’t have to list all of your sources—not even all the ones plan to use—just the important ones that really inform your argument. Or as many as you’ve been told to provide. Always listen to what your professors want.