David Henry Sterry

Author, book doctor, raker of muck

David Henry Sterry

Month: January 2019

Book Doctors Free Webinar

The Book Doctors offer a free webinar, where they will give you some of the keys necessary to unlocking the door to the publishing kingdom. How to get a book deal. How to find an agent. Whether to publish traditionally or with a hybrid publisher? Is self-publishing the right path to take? Ask questions! This is your shot. Are you going to take it?

Jane Friedman On Giving Writers the Education They Never Get

We first met Jane Friedman online, which is where she is a lot. And quite brilliantly, she’s carved out a very cool corner of the publishing world by taking deep dives into analytics and numbers revolving around the Internet and books. We subsequently got to hang out with her in person recently at the Erma Bombeck Writers’ Conference — which is, in fact, one of the great writers’ conferences in America! She was a panelist on our event, Pitchapalooza, and as always, was a font of wisdom. Yet another reason to go to great writers’ conferences: You meet the most amazing people. So we thought now that her new book The Business of Being a Writer is out, we’d pick her brain about writing, publishing, and what it takes to flourish in the brave new world of books.

The Business of Being a Writer, by Jane Friedman

The Business of Being a Writer, by Jane Friedman

The Book Doctors: Tell us about your new book and why writers should have it on their nightstand.

Jane Friedman: Let’s rephrase that and ask why the book should be on a writer’s reference shelf. I’d hate to think of a writer trying to relax before bed while reading this tome on business!

It’s essentially the business education that writers rarely receive, especially if they’re creative writing students. In fact, that was my driving motivation to publish the book: to reach writers early in their careers, before bad expectations or mythologies have the chance to take hold. Every writer should be told, upfront, what it means to earn a living from writing, and that it rarely happens through book sales — especially if you’re writing literary fiction, which is the case with so many creative writing students.

So this book acts as a wake-up call and then — once that message is delivered — as a reference book on the publishing industry.

TBD: What was it like being published by a great university press?

JF: Slow! LOL. But good things take time, right? One of my first managers in publishing once told me, “Pick two: good, fast, cheap.” Hmm, I guess my book is only one of those: good! That’s probably everything one might need to know about university press publishing, but this book found the right home.

TBD: Your idea of “Literary Citizenship” is so compelling! Tell us more about what habits a good literary citizen should have.

JF: I can’t take credit for it — I first learned of literary citizenship from Cathy Day, a writing professor at Ball State. Some say the idea originated with the editor of Tin House. Whoever is responsible, the essence of it is: (1) spread the word about the writers and publications you enjoy or appreciate and (2) support those who make such literary activity possible.

Spreading the word can be as informal as writing an online review, posting pictures on social media, or buying books as gifts. Supporting those who make literary activity possible includes patronizing your local library or bookstore, going to readings, and subscribing to literary journals.

Bottom line: Don’t be quiet or shy about the writing, authors, or books that meaningfully affect your life.

TBD: A lot of writers don’t understand what an author platform is. And many of those who do often seem intimidated by it. Could you please illuminate the idea of platform, as well as the why and how of it?

JF: Platform is your visibility to a readership who will read or buy your books. It’s intimidating to many because this visibility often gets simplified, incorrectly, as “You have to be on social media” or “You have to market yourself.” But being on social media to market yourself doesn’t contribute meaningfully to platform building. And marketing by itself is not platform building.

First and foremost, publishing more work contributes to your platform. The more you publish, the more potential readers you have. That’s where platform starts. So if you’re intimidated by it, then know that just being prolific can make up for a host of weaknesses in other areas.

So what are those other areas? Being able to build relationships (the dreaded “networking”) contributes to a strong platform. The writing program you graduated from and the online classes you take are often the first ways a new writer builds a platform. Your platform includes all those relationships that might contribute to your professional development, or help you get published, or market your work.

A Platform is usually built through a series of small, consistent steps over time — of increasing the visibility of your work, who sees it, and who shares it. It’s possible to be calculated about it, but if it stresses you out, then your best bet is to return to the writing. With some experience under your belt, you might feel better prepared to take more intentional, strategic steps — like attending certain conferences, being more focused on how and where you publish, or sharing aspects of your work on social media.

TBD: How have you made your Web site such a go-to resource for writers?

The same way that a platform is built: small, consistent steps over time. My site was not a go-to resource back in 2010. But when you post content that’s useful to people every week for seven or eight years, word gets around. That’s the heart of platform building.

I also rank well in Google search for the questions that I know writers frequently ask. I intimately know my audience and what information they need, and I’m not afraid to give it away. I have a strategy for what’s free and what’s paid.

TBD: We heard somebody say recently at a writers’ conference that every author absolutely has to have a website. But in our experience, if you have a sad little website that hasn’t been updated and no one goes to, it can actually be a detriment. What are your thoughts regarding this?

JF: It depends on the context and who you’re trying to impress, but if I had to offer a general answer, I’d say no. Just about any author website is better than no website, assuming it functions.

Most author websites don’t need to be updated that often. The most critical pages detail your books or publications, your bio, and your contact information. There doesn’t need to be an active blog, an updated calendar, etc., although kudos if you take the time.

And frankly it doesn’t matter if your author website is getting little traffic. That only says you don’t have many readers yet or aren’t generating much interest in your work — at this moment. What if tomorrow someone at the New York Times writes a review of your long-lost, out-of-print novel about a binge-drinking teenager who becomes a judge? I’d really want an author website in place so I could take advantage of interest from the media or readers.

Author websites remain a life-long work in progress. One of the benefits of having one, even if it’s not that good, is that you at least have something to build on, plus you have been pushed to think about presenting your work and yourself in a public forum. Anyone serious about his or her career ought to have one, no matter how modest — unless you’re trying to be less accessible and put up a few barriers, like Jonathan Franzen.

TBD: We keep hearing the word “discoverability” when it comes to books. What are some ways that writers can help their work get discovered?

JF: There are traditional forms of discoverability and digital-age forms. Traditional discoverability would be scoring a major review, getting media coverage, going on tour, and so on.

These days, most people are concerned with digital discoverability, which relates to algorithms and social media. Let’s say you’re a cozy mystery author who has a scrapbooker protagonist, and your readers are a cross between those who read mysteries and are interested in crafts. If that person visits Amazon or Google and searches for that type of work, your books ought to come up. If they don’t, you have a discoverability problem.

You can improve your discoverability by ensuring your book is categorized correctly at bookstores/retailers, and that the book’s metadata and marketing description are accurate and speak the reader’s language. You should have an understanding of what keyword phrases your readers might use to describe your work, then double check your book description to see if those phrases are included. More on that here at Publishers Weekly .

TBD: Tell us about The Hot Sheet.

JF: It’s basically Publishers Lunch for professional authors.

For those unfamiliar with Publishers Lunch, then here’s the longer explanation: Many people have asked me at conferences how they can stay up-to-date on changes happening in publishing. They’re confused and it feels like everything is changing so fast, especially in book marketing. And that’s true. For instance, the Amazon of today is quite different from the Amazon of just a few years ago. Self-publishing is a legitimate means to establishing a career, but the services surrounding it remain volatile — publishing services going out of business, merging, changing terms, and so on.

So The Hot Sheet is an email newsletter (now entering its fourth year) available only by subscription, delivered every other Wednesday. If you find it difficult to keep up with the changes underway in publishing, or (you) wonder who’s “right” about controversial issues, The Hot Sheet helps you make sense of what’s happening. We have no agenda or bias other than helping writers understand the business they’re operating in. We try to offer a 360-degree perspective on issues relevant to traditional and indie authors, with bottom-line takeaways — with trends and news not often covered by the major industry publications.

TBD: We read that the greatest area of growth in publishing is audiobooks. What can an author do to help his or her audiobook succeed? And is there any shame in listening to books instead of reading them?

JF: There is no shame in listening to books.

The best way to help your audiobook succeed, if you’re producing it yourself, is to choose the right narrator or voice talent. That makes all the difference in ensuring people will listen without stopping after five minutes. Authors are rarely the right voice talent for their own work, so don’t be eager to do it yourself unless a professional in the audiobook industry thinks you should.

If your publisher is producing your audiobook, the best thing you can do is simply make everyone know it’s available. List it on your website, mention it on social media, link to it as regularly or consistently as you would a print or e-book edition.

TBD: Mental health is, rightfully, a major topic in the news today. What are some positive life skills you want aspiring writers to follow so they can succeed responsibly, without unhealthy expectations? How do we stop that voice in our head that screams at us that everything we write SUCKS?

JF: The first step is to acknowledge the voice in our head is not an authority. It arises from layers of absolute crap that have been fermenting over the years, put there by every hurt we’ve experienced, every failure, every negative comment written in the margins, every I’m-not-enough feeling. However, the voice is also there to protect us and help us avoid embarrassment. Sometimes it’s not entirely wrong.

The best life skill a writer can have when feeling anxiety (which is inevitable), when feeling envy (which is inevitable), when feeling drained (which is inevitable) is to acknowledge the feeling for what it is (“I see you, okay”), give it a label (hashtag it even, #writerenvy #writeranxiety), take time to meditate on where it’s coming from, then get back to work. Focusing on the work is usually the best antidote to whatever ails you. If it’s the work itself driving you mad, either step away for a while, find another project, or identify a nonjudgmental helper who can problem solve with you.

TBD: As a veteran in the field, what are your writing habits? How have they changed over time?

JF: As my available time has decreased, I’ve had to set up strict blocks of writing time. It’s best for me to write during the first half of the day before I dig into emails, social media, or client work. Otherwise, anxiety or stress about other aspects of work-life can prevent me from achieving the focus needed to write.

TBD: What are common traps for writers?

JF: A couple of the biggest:

(1) Thinking that great work will rise to the top. It will not — and there are a million reasons why it might not: bad timing, bad market conditions, bad geography, bad etiquette, bad luck.

Artists tend to think that great work speaks for itself — or that it doesn’t have to be, or shouldn’t be, marketed. Unfortunately, the stories we often tell about artists are rarely the ones where they strategically engineered their success or demonstrated business prowess. They exist, though — and these are the stories I like to tell when invited to speak at conferences. We need to hear more about how George Eliot strategized to earn more money from her publisher, or how Mark Twain sold his work in unfashionable ways.

(2) Thinking that art and business can’t coexist when the friction between the two can be productive, even desirable. In the literary community especially, it’s thought that “real” writers shouldn’t have to market — that’s the publisher’s job, or at least someone else’s job. This kind of thinking ends up hobbling only the writer and the sustainability of the career he or she has chosen.

TBD: What books, resources, and authors inspire you in the Business of Being a Writer?

JF: I enjoy the resources and perspective provided by people like Austin Kleon (Show Your Work), Ilise Benun (posts and courses on pricing), Alain de Botton(everything), Richard Nash (“The Business of Literature”), Paul Jarvis (his email newsletter), Elizabeth Hyde Stevens (Make Money Make Art)David Moldawer (his email newsletter), Nicole Dieker (posts and podcast on writing and money), and Jessica Abel (her blog and courses). This is not an exhaustive list, but they’re the types of people I often reference in my own talks.

TBD: What was the best monetary investment you ever made as a writer?

JF: Hiring a CPA and buying more expensive website hosting. Both save me money (and headaches) over the long term.

TBD: What is the best way(s) to market a book?

JF: The best marketing starts with the author and is a years-long, organic process that begins (whether you acknowledge it or not) the day you decide you’re serious about being an author. The best marketing emerges from the work itself and matches your strengths.

Of course, so many authors have been trained to see marketing as separate from the work and outside of their skillset. It doesn’t have to be that way — that’s just the way we’re trained to see it. But the best marketing doesn’t feel like selling — to the reader or to the author.

TBD: We hate to ask, but what final advice do you have for writers?

JF: Be patient with yourself and with the editors, agents, and service folks you deal with. You get further, psychologically and materially, when you assume the person on the other side of the email has good intentions toward you and your work.


Jane Friedman

                                     Jane Friedman

Jane’s newest book is The Business of Being a Writer (University of Chicago Press). Publishers Weekly said that it is “destined to become a staple reference book for writers and those interested in publishing careers.” Also, in collaboration with The Authors Guild, she wrote The Authors Guild Guide to E-Publishing.

Jane Friedman is a full-time entrepreneur (since 2014) and has 20 years of experience in the publishing industry. She is the co-founder of The Hot Sheet, the essential publishing industry newsletter for authors, and is the former publisher of Writer’s Digest. In addition to being a columnist with Publishers Weekly and a professor with The Great Courses, Jane maintains an award-winning blog for writers at JaneFriedman.com and her expertise has been featured by NPR, PBS, CBS, The Washington Post, the National Press Club and many other outlets. Jane’s newest book is The Business of Being a Writer(University of Chicago Press, 2018).

Jane has delivered keynotes and workshops on the digital era of authorship at worldwide industry events, including the Writer’s Digest annual conferenceSan Miguel Writers ConferenceThe Muse & The MarketplaceFrankfurt Book FairBookExpo AmericaLitFlow Berlin, and Digital Book World. She’s also served on grant panels for the National Endowment for the Arts and the Creative Work Fund, and has held positions as a professor of writing, media, and publishing at the University of Cincinnati and University of Virginia.

In her spare time, Jane writes creative nonfiction, which has been included in the anthologies Every Father’s Daughter and Drinking Diaries. If you look hard enough, you can also find her embarrassing college poetry.

In 2o17, Jane was honored with the Virginia Writers Club Lifetime Achievement Award.


Arielle Eckstut and David Henry Sterry are co-founders of The Book Doctors, a company that has helped countless authors get their books published. They are co-authors of The Essential Guide to Getting Your Book Published: How To Write It, Sell It, and Market It… Successfully (Workman, 2015). They are also book editors, and between them they have authored 25 books, and appeared on National Public Radio, the London Times, and the front cover of the Sunday New York Times Book ReviewGet publishing tips delivered to your inbox every month.


The Book Doctors How-to-Get-Published Writing Advice Compilation

The Book Doctors scoured our archives to bring you some of our top writing advice from 2018. Ask us questions in the comments. Visit us at https://thebookdoctors.com. SUBSCRIBE: https://goo.gl/9VaE9C.

The Book Doctors Announce 2019 Schedule

The Book Doctors will be travelling from LA to NY, the World Wide Web to Kauai, helping talented amateur writers become professional authors. Come join us, and say hello when you do!

Online Nanowrimo Pitchapalooza Mar 16 3pm
Montclair Literary Festival March 23, 24, Montclair, NJ
William Paterson Annual Spring Writer’s Conference April 6 Paterson, NJ LA Times Festival of Books April 13-14 USC, Los Angeles
Rutgers Writers Conference Jun 1, Rutgers, NJ

Book Con June 2, Javitz Center, NY NY 
Kauai Writers Conference Nov. 8-10 Kauai, HI

 

 

    

 



Like Vanessa, Tami Charles, "book cover"

Tami Charles on Writing for Kids and Getting on Good Morning America

We first met Tami Charles at a Pitchapalooza at the great independent bookstore, Word, in Jersey City; and we immediately knew she was a star. We met her again a year or so later at a book reading by Arielle’s Newbery-Award-winning client, Kwame Alexander, where we got the news that Tami had landed a book deal. Just another reason to go to awesome author’s events! Tami carries herself with such style and was so articulate, funny, and altogether together, we immediately thought she was a person who would succeed in any business. And it turns out she has, in the business of books. We found out she had a book coming out, and now that it has arrived, we decided to pick her brain about what it takes to get published when you write for kids.

 
                                                                                           Tami Charles
 
                                                               

The Book Doctors: Tell us about your debut novel Like Vanessa.

Tami Charles: Thirteen-year-old Vanessa Martin has always watched the Miss America pageant with her Pop Pop. Even though she often dreamt of herself on that stage, she’d never seen a woman of color win. That all changes on September 17, 1983, when Vanessa Williams makes history as the first black woman to capture the title. That sets young Vanessa on her own path to enter her school’s beauty contest. Problem is, her father and the resident mean girl think she doesn’t stand a chance.

TBD: How did you get a big star like Vanessa Williams, who is the Vanessa in the title, Like Vanessa, to give you a blurb?

TC: A little bit of luck and a whole lot of blessings! Vanessa Williams is a former Miss America. She’s the reason why I participated in the Miss America program while in high school. So it was natural that I reached out to fellow pageant friends (and my writing community) for advice on ways to connect with her. Luck would have it that she was holding a show at a local theater and after pitching the novel to her agent, I was granted a meeting with her after her performance. I gave Ms. Williams a copy of the novel, we chatted a bit, and took some pictures. I kept in touch over the course of a few months and was honored to receive a glowing endorsement from her for the novel’s cover.

TBD: Tell us about your path to publishing Like Vanessa?

TC: Like Vanessa was not my first book. I’d written quite a few others and had gotten rejections galore. After taking some time to work on my craft, I began creating this novel, which had been an idea in my head for years. I wrote Like Vanessa during National Novel Writing Month (Nanowrimo) of 2013, edited it through the winter, shared it with my critique group, hired an editorial consultant to prepare it for submission, and then started querying in spring, 2014. I was super thrilled to land my agent, Lara Perkins of Andrea Brown Literary, with this manuscript. Together, we edited some more and went out on submission to publishers. To my surprise, I landed a two-book contract at Charlesbridge Publishing, with the fabulous Karen Boss serving as editor.

                                                                                  Like Vanessa by Tami Charles


TBD: You also do picture books. How did you hook up with a great publisher like Candlewick?

TC: I love writing picture books and Freedom Soup was actually my very first book deal, even though Like Vanessa published first. My agent pitched the book to an editor at a different publishing house. While the editor liked the story’s concept, she felt there was someone else better suited for it, given his love of Haiti. Carter Hasegawa at Candlewick made an offer on my debut picture book and it’s been great working with him. We even have another picture book together entitled A Day With The Panye, publishing in 2020.

TBD: Tell us about the Daphne books.

TC: In front of her followers, Daphne is a hilarious, on-the-rise vlog star. But at school, Daphne is the ever-skeptical Annabelle Louis, seventh-grade super geek and perennial new kid. To cope with her mom’s upcoming military assignment in Afghanistan and her start at a brand new middle school, Annabelle’s parents send her to a therapist. Dr. Varma insists Annabelle try stepping out of her comfort zone, hoping it will give her the confidence to make friends, which she’ll definitely need once Mom is gone. Luckily there is one part of the assignment Annabelle DOES enjoy — her vlog, Daphne Doesn’t, in which she appears undercover and gives hilarious takes on activities she thinks are a waste of time. She is great at entertaining her YouTube fans, but her classmates don’t know she exists. Can Annabelle keep up the double life forever?

 
                                                                           Definitely Daphne by Tami Charles

TBD: Why should a writer whose writing books for kids join SCBWI?

TC: The reasons are endless. SCBWI provides a sense of community for writers of all levels. I have met some of the kindest, most helpful writers because of this organization. We have critiqued each other’s work, provided a shoulder to cry on during times of rejection, and raised our pom poms to celebrate industry milestones. Also, the opportunity to meet and learn from powerhouse agents, editors, and art directors at conferences is priceless.

TBD: How did you get on Good Morning America?

TC: Again, a little luck and a huge dash of sisterhood! A pageant friend who coordinates bookings for Good Morning America posted on Facebook that she was looking for home cooks to feature on a Thanksgiving segment. I dub myself a wannabe chef, plus my debut picture book, Freedom Soup, is about a traditional Haitian holiday meal (bonus recipe included), so I had to take a chance. I provided my recipe and an audition video and got a call, asking to appear on the show. I had the time of my life and hope to do more television segments in the future!

TBD: What’s the key to a writer making a video?

TC: I’m not sure that I’m the expert here, as I still have my training wheels on. I’ll say this: just be yourself and have fun. Authenticity is what will connect you to potential readers.

TBD: How are writing and getting published different when writing picture books, middle grade and young adult books?

TC: There isn’t much difference between the three, I’d say. Maybe on the logistics end, since middle grade and YA books are longer. With picture books, the word count is much shorter, but there’s a lot to consider, especially with leaving room for the illustrator to shine. That’s not the easiest task!

TBD: Who inspires you?

TC: This is a trick question! I could take up pages on this one, so I’ll try and keep it short: My family, particularly my husband and son, and countless writers fighting the good fight with the words and art they put on the page: Kwame Alexander, Rita Williams-Garcia, Guadalupe Garcia McCall, Meg Medina, Edwidge Danticat, Toni Morrison, Maya Angelou, Vanessa Brantley-Newton, Floyd Cooper, Margarita Engle, okay I’ll pause here. But yeah, these folks give me hope!

TBD: We hate to ask you this, but what advice do you have for other writers?

TC: Blinders on! There’s no time to worry about what other folks are doing. Their success will look different than yours and you certainly can’t measure yourself against them. Success comes in all forms. You wrote a paragraph today? Celebrate that. Got a six-figure book deal? Good for you! Starting to get “nicer” rejections? Don’t worry. Your “yes” is coming. Hold the vision you have for yourself and trust that with razor-sharp focus, you’ll get there.


You can follow Tami Charles on Twitter @TamiWritesStuff, Instagram @tamiwrites, or her website: www.tamiwrites.com.

Check out the inspiration behind Like Vanessa here:


Tami Charles: Former teacher. Wannabe chef. Debut author. Tami Charles writes picture books, middle grade, young adult, and nonfiction. Her middle-grade novel, LIKE VANESSA, has earned Top 10 spots on the Indies Introduce and Spring Kids’ Next lists, along with three starred reviews. Her picture book, FREEDOM SOUP, debuts with Candlewick Press in fall, 2019. She also has more books forthcoming with Capstone, Sterling, and Albert Whitman. Tami is represented by Lara Perkins, of the Andrea Brown Literary Agency.

Arielle Eckstut and David Henry Sterry are co-founders of The Book Doctors, a company that has helped countless authors get their books published. They are co-authors of The Essential Guide to Getting Your Book Published: How To Write It, Sell It, and Market It… Successfully (Workman, 2015). They are also book editors, and between them, they have authored 25 books and appeared on National Public Radio, the London Times, and the front cover of the Sunday New York Times Book ReviewGet publishing tips delivered to your inbox every month.

JOIN THE BOOK REPORT TO RECEIVE MORE INTERVIEWS AND TIPS ON HOW TO GET PUBLISHED!

Arielle Eckstut & David Henry Sterry have helped hundreds or writers get successfully published. They wrote The Essential Guide to Getting Your Book Published.

 

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The Book Doctors Return to Rutgers Writers’ Conference

The Book Doctors are SUPER psyched to be bringing Pitchapalooza back to Rutgers Writers’ Workshop this June 1. Come pitch your book!



Elevator Book Pitch in an Elevator

The Book Doctors, publishing experts, fix the elevator pitch
of writer Melanie Doctors, who delivers her elevator pitch
for her book to the Book Doctors at Kauai Writers Conference … in an elevator! Their elevator pitch tips follow, as they help her become a successfully published author. . Thank you, Melanie!

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