1. Invest time and money in your career: this means subscribing to industry
newsletters, magazines (such as www.buzzwordsmagazine.com), and journals, as
well as joining relevant organizations (for example, your state’s writers’
centre, the Fellowship of Australian Writers, the Australian Society of
Authors, The Arts Law Centre of Australia).
2. Always act professionally in your
dealings with fellow writers, publishers, and others in your industry. Acting
professionally is essential when it comes to signing contracts. Do not sign a
contract just to get signed. You can always negotiate clauses (publishers
expect you to!), and if you don’t know anything about writing contracts, employ
a professional to do so (eg Arts Law Society, ASA, or a solicitor who
specializes in arts’ contracts.)
3. Create your own resources. This
includes creating a manuscript dispatches’ file or tracker, index cards (or
computer generated file) for each manuscript submission, a list of relevant
addresses, contact details for publishers, and a library of relevant books and
magazines.
4. Attend writing workshops,
conferences, and book fairs (see #1. to find out where and when).
5. Your own writing space is essential.
Organise it so you know where everything is and make others respect it. Put a
DO NOT DISTURB sign on the door (and in your head!)
6. Call yourself a writer. Believe it!
Make it happen by writing regularly and submitting frequently. Create a
signature on your emails which declares you are a writer, for example:
Yours sincerely,
Sally Smith
Writer
My signature is
Dianne (Di) Bates
29 Creekrun
Cordeaux Heights
NSW 2526 Australia
02 42716168
dibates@outlook.com
When I wish to promote a book, its
details are included on the signature, eg
(Crossing the Line, Ford
Street).
7. Set yourself writing goals and
deadlines. Write them down. Keep to them. Goals can be both short-term (I will
complete my short story by 20 March) or long-term (By 30 December 2019, I will
have finished the first draft of my novel.)
8. Never, ever hassle publishers. After
you submit and record date and place of submission, move on to your next
writing project. If your publisher has not responded after 8 – 12 weeks, then
send a brief, polite email or letter of enquiry. If the publisher ignores your
correspondence, then send your manuscript elsewhere, and cross them off your
list of would-be publishers.
9. Make and write down decisions about
what you expect and will tolerate as a writer. This will help you formulate how
professional you will be in your dealings with publishers and the public in
general.
10. If you are writing for a market
(especially for young people), read as many of the recently published, best
selling and old favourites books as there are in that genre. Note who the
publishers are: their addresses, if the book is recent, are always available to
you on the book’s information (also called imprint) page.
11. Get a business card with your name
and contact details on it. You can buy sheets of make-it-yourself business
cards from a stationers’ and create the card yourself with your computer (go to
Labels, located under Tools on the Menu bar).
12. Network! The more people
you know in the industry, the more resources you have available. At
conferences, fairs, etc don’t be nervous about approaching people – even the
speakers – and giving out your business card. If anyone gives you their
business card it’s a good idea to follow-up with an email. If they respond,
keep in touch. You never know what it can lead to!
13. Share! So many writers keep markets
to themselves for fear others will get published. If your work is good enough,
your work will be accepted. Competition is inevitable. If you are generous,
then other generous people will reciprocate; you will also be creating goodwill
among contemporaries, and potential readers!
14. It is wise not to consider editors,
art directors, publicists, market directors and literary agents as personal
friends. Be friendly but crossing the fine line can create problems further
down the line.
15. (This should probably be #1!) Learn
and practice how to self-edit! So many new writers learn about writing but
neglect the skill that makes the difference between a good manuscript and a
GREAT manuscript. Editing is not just spelling, grammar and punctuation:
looking at every single word and sentence, and the overall structure of your
work is what editing is about. Not many teach it, but you can find books to
help you self-edit.
16. Never, ever submit a manuscript
which is less than the very best you can do. This means re-reading it many
times for errors. Don’t rely on a computer spell-check.
16. Self-publishing is possible, but
the most difficult aspect is distribution. If you use a distributor to get your
books into Australian bookshops, be aware that they charge upwards of 60%
discount, and not many will handle one-off titles. If you intend to
self-distribute, you need great promotional abilities and lots of time and
energy.
17. If you donate materials relating to
Australian children’s books, such as letters from publishers, manuscripts,
proof pages and so on, you might be eligible for the Government's Cultural
Gifts Program, a scheme by which your collection is valued (no charge to you)
by independent assessors, and a certificate issued to you which will enable you
to obtain tax relief. For more information, or to donate a collection, contact
the Field Officer of the Archives division of your state library or the
National Library of Australia. Keep all of those letters, royalty statements
and stuff you might otherwise throw out!
18. Remember that the Australian book
industry is a small one and many people know one another: be discrete when
talking of others!
19. It is okay for you to thank an
editor or publisher or others on the publishing team if they produce a book for
you which you think is great, or if a magazine has chosen a great illustrator
to go with your story. A nice gesture is a card, a bunch or flowers, bottle of
wine, chocolates – but bribes are not a good way to go!
20. If you are lucky enough to get a
mentor whom you don’t have to pay, try to do something for him or her. Perhaps
you could offer to undertake some research on the internet…
21. Keep all your receipts which you
can claim as tax deductions against your writing income – even if you don’t
make very much. I can legitimately – and honestly – claim deductions in the
tens of thousands of dollars so get a good accountant or seek the advice of
someone who makes writing expenses’ claims.
22. Spend more time writing than you do
going to workshops and conferences!
23. Keep a time-sheet is a terrific way
of seeing just how much time you really “work”. My husband and I are full-time
freelancers, who each spend an average 40 hours a week at our writing desks.
24. If you are asked to speak as a
writer, do not do it gratis (unless it is your child’s school); your time is
valuable, so value it yourself. I charge per child per hour, with a minimum
charge per hour.
25. If you intend to publicise your
book/s, then undertake a speaking course. Toastmaster International is a great
organisation, which will teach you how to make butterflies fly in formation,
and to speak impromptu to an audience. (Deduct the cost of joining and meetings
against your writing income.)
26. Set small achievable goals and try
to write undisturbed regularly. Give yourself an allotted time where writing is
your only priority.
27. Keep a despatches’ book or
spreadsheet which shows when and where you send out manuscripts.
28. Keep a record of each manuscript’s
history: record how long the piece is, when you finished it, places to which it
has been sent and if it has been accepted or rejected.
29. Do not sit beside the phone or hang
out at the mail box when you submit a manuscript: get to work on the next one!
30. Do not take it personally when your
work is rejected by a publisher. There are many reasons why work is returned.
Quality of writing is not the only factor: it could be that the publisher has
only the day before accepted a similar piece to that which you’ve submitted.
My highest number of consecutive
manuscript rejections is 47! One of my published books was rejected by 15
publishers over a six-year period, but when it came out, it was not only very
popular, but was accepted for overseas’ translation.
31. Do not be fearful of submitting a
manuscript: there are only one or two (usually anonymous) people who will read
it, and you will never know who they are. The worst that can happen is that
your work is returned. Also, don’t worry about © copyright: it’s rare than
anyone in a publishing house will “steal” your idea.
32. Recycle: when your manuscript is
rejected, re-submit it the same day to another publisher. If it is your 6th or
7th rejection, then the chances are it’s not the best writing in the world.
33. Most authors worry about multiple
submissions or sending the same manuscript to two or more publishers at the
same time. My usual approach is to multiply submit as book publishers are
notorious for taking a long time to respond to unsolicited submissions.
However, it is a courtesy to let the publisher know that they are not the only
company looking at your work. Someone once said, what to do if you get two or
more publishers wishing to publish your work, is to celebrate. The advantage of
competing publishers for one work is that you have leverage regarding contract
negotiations.
34. If you prefer to submit a
manuscript to one publisher at a time, it is a sound policy to set a deadline.
Tell the publisher that they have exclusive rights to read your work until…
then name a date, say 6-8 weeks hence. If you have had no response by the date,
wait 2-3 days, then make a polite phone call or send an email or card, asking
if there is any interest. If there is no response, immediately send your work
on to the next publisher.
34. Never expect a publisher to write a
report on why they have rejected your work. It is not their job.
35. If a publishing house rejects your
work and says why, then your work obviously had some merit: most rejected
manuscripts are not commented on. Feel encouraged but work even harder to
improve your work!
36. If your manuscript is rejected with
notes from the publisher, it is quite okay for you to re-write, using the
publisher’s suggestions, and then to re-submit. The second time around address
it to the editor who sent you the letter and remind him/her that you have
re-worked your manuscript based on their earlier comments.
Even if you did exactly what the
publisher suggested, they are not legally bound to accept your re-submission.
37. How do you know which publisher is
right for you? This is where your market research comes into play. Look at who
is publishing what and see if you like the standard of their book design and
the quality of the work they publish. Read your trade magazines; ask
published writers about publishers and what they would recommend.
38. The best way to get on side with a
published author is to read his/her work and let them know if you enjoy it. You
will find most writers – especially children’s writers – friendly and
approachable.
39. If you meet someone in the
publishing business – such as an author - do not ask them to read your
manuscript, even if you paid once upon a time for a course they conducted. Pay
for a manuscript assessment.
40. If a manuscript assessor writes a
favourable report on your work, then it is okay (in fact a good idea) to submit
a copy of the report with your manuscript when you submit it to a publisher.
41. It is not good policy to sign an
option clause on a contract, even though it sounds good. The option clause says
that the publisher has first right of refusal on your next work. If you sign
it, you can be in for trouble in future. If you want to, you can always
approach your existing publisher with a new manuscript.
42. Study publishers’ catalogues: quite
often you can get a good idea of what they are likely to accept, and sometimes
you can see a “gap” in their range. This is particularly the case with
educational publishers.
43. If you want to write a non-fiction
book, you are advised to create a proposal before you write the book. The
proposal will report on matters such as your book concept, your expertise in
the intended subject and/or your qualifications, the book’s target market,
competing books, reasons why your book will sell well, an outline of the books’
contents and a sample chapter. An interested publisher will likely talk to you
about your ideas and even offer a contract before you proceed.
44. Never, ever, ever miss a deadline!
Professionals will work around the clock rather than miss one. I once worked
with a new illustrator who missed important deadlines, which held up the
publisher's schedule. It was her first and last job as an illustrator: news
travels in the publishing world.
45. Many writers want to know how long
a story, or a book should be. It depends on who you are writing for, and what
kind of book. If you don’t know, go to the people who do know, or check out
submission guidelines on the internet.
46. If you don’t have a computer, you
should forget about being a writer. Learn to back up work-in-progress
constantly. Most publishers these days require a hard copy of your work as well
as a soft copy.
47. A writing buddy is very motivating,
if you can find one. The idea is that you swap work-in-progress and motivate
and encourage one another. If you don’t know any other writers, then advertise
for a buddy. In most states there are writers’ centres which have newsletters.
I have used the Public Notices’ pages of my local regional newspaper to find
writers (and succeeded!) A writing group I founded about 20 years ago is still
running, though I long ago left it.
48. If you can find like-minded
writers, form a writers’ work shopping group which meets regularly. Six to
eight members is ideal. The idea is to meet in someone’s home, or perhaps a
public place such as the meeting room in the local library. Each person takes
turns to read his or her work to the group, and then members of the group offer
constructive criticism. In setting up a workshop group, it is advisable that
members are of a similar writing level and write in the same genre, such as
short stories or novels. You would also be advised as a group to decide on a
list of criteria for assessment before the work shopping begins. A certain
level of trust needs to exist for a workshop group to function effectively.
49. Most new writers desperately want
an agent. Agents are not always what they are cracked up to be. I know of
authors who regret having agents because they have become bound by agreements
which they cannot escape. Your best tool for success is brilliant writing!
There are loop-holes when it comes to publishers saying they will only take
work from agented writers. (See my article, How to Get Both Feet Past
Publishers’ Locked Doors. I have testimonials which state that lateral thinking
and actions, as suggested by the article, does work.)
50. If you hear about a new market or
opportunity, attend to it immediately. This is one of the main reasons why I
get so much work published! I am constantly ferreting out markets. When I find
a new one, I make contact that very moment. Often my work is the first submitted
to a new publisher. Move quickly. Don’t leave deadlines to the last minute.
It’s a trite but absolutely true saying, “The early bird gets the best
(juiciest and sometimes only) worm.”
ALL THE VERY BEST OF LUCK WITH YOUR
WRITING CAREER! (Remember, you can make your own luck…)
© Dianne Bates
Di offers a twice monthly online
magazine for those in the Australian children’s industry. Go to www.buzzwordsmagazine.com to
receive a free copy. If you decide to subscribe ($48 for 24 issues pa), Di will
send you a copy of her article, 'How to Get Both Feet Past Publishers' Locked
Doors.'
