Cats v. Dogs; or How's a Person Supposed to Make Money at This?

by Lauren Baratz-Logsted

I've discussed this in my own fiction more than once, the difference between cats and dogs as I see it. Leave a cat home alone for a week with sufficient food and water, the cat will gauge what is in the bowls and then spread it out, knowing it's got to last until you walk through that door again. When you come home, there will still be some food and water remaining. But try the same thing with a dog? (Not that I have, so this is pure hypothesis, although I think you'll agree.) The dog will eat the week's worth of food immediately, throw up, and then starve.

There's a point in all this, of course. In order to survive as a writer, unless you're one of the very lucky few, you need to be more like a cat. You need to be able to look at an advance check, however large some of them may seem at first, and say: OK, this has got to last me until some more money walks through that door.

Some writers, and sometimes through no fault of their own, never do sell a second book. Or if they do, it takes a long time. I once knew a writer who received a $500K advance for Book 1. You'd think that would set anyone up for a while but this writer did not listen to the wisdom of T. Coraghessan Boyle, which states: When you make that first sale, don't go out and buy the big house. But the writer did buy the big house. And then the bad thing happened. The publisher, having been so excited when they acquired the book - hey, they paid $500K for it! - found a shiny new object, a book that excited them more, a book they paid more money for. So the writer got zero marketing attention, the book predictably underperformed, and it was years before a second book could be sold. So what could the writer have done differently? Been more of a cat, less of a dog.

In terms of my own career, the way I've made it last since 2003 is two ways:

1) Diversification. On only a few of my individual books have I received anything close to what might constitute a year's salary. So I diversify. I write for different age groups. I write in different genres. This way, rather than needing to adhere to the publishing rule of just one book per year, because otherwise you'll saturate your market, I'm able to have multiple books come out per year. (I realize that these days, with ebooks, for some people some of this is moot. There are many authors releasing several ebooks per year in a single genre and some are even making good money that way. But truthfully, while I've released some ebooks, I have failed to take off in that field.)

2) Supplementing my income with other work I love. I'm fortunate enough to have strong grammar skills and a good editorial eye. This means that during lean times, I take in freelance editing work to help keep the bills paid. It's no great hardship. In fact, there's little that I find more satisfying than looking at a manuscript, seeing the potential there, advising the author on how to take it to the next level...and then seeing that happen. Sometimes I think that if I'd realized at a younger age just how much I love editing, I'd have been riding that train to New York all this time instead of trying to sell to New York.

No one should ever feel sorry for me. For a decade now, I've made a living - with a little help from my editing mind - doing what I love to do: writing. And it's been no hardship writing in multiple genres, because I love taking on new writing challenges and letting my creativity range free. But the thing that's helped me stay financially alive in this crazy business, some years just barely? I'm a cat.

So how about you? What do you so to keep it all going? 

Lauren Baratz-Logsted is the author of 32 books for adults, teens and children. Visit her at www.laurenbaratzlogsted.com or follow her on Twitter @LaurenBaratzL

Vicarious Getaways

I love escaping to new places through books.

Years ago I read Mary Stewart's books and dreamed of traveling to Crete, Corfu, and France.

Photo by User:Dr.K, available under a 
Creative Commons Attribution-Share Alike 3.0 Unported license.

Elizabeth Peter's books made me yearn for airline tickets to Rome, Egypt, and Germany, to name a few.

Photo by Sara Rosett. All Rights Reserved. 

I've been able to travel to a few of these places (and write about them, too, in my On The Run books).

But many of the destinations are still on my wish list.

Thank goodness for books that take us away vicariously to new places or help us return to old favorites.

We're celebrating books about travel and trips this month. Check out the Girlfriends Book Club Summer Escapes Giveaway here. Enter to win a free book. Weekly giveaways throughout August!

What's your favorite vacation destination?

What's your dream destination?

~Sara

Sara is thrilled that the third book in the On The Run series, DECEPTIVE, is now out. It takes place in two of her dream destination locales, Paris and the Amalfi Coast. 

Photo by L. Rosett 

 The first book, Elusive, is currently free at Amazon, Nook, Kobo, iTunes, and Smashwords. 

 Publishers Weekly called Sara’s books, "satisfying," "well-executed," and "sparkling."

Sara loves all things bookish, considers dark chocolate a daily requirement, and is on a quest for the best bruschetta. Connect with her at www.SaraRosett.com. You can also find her on Facebook, Twitter, Pinterest, or Goodreads.

Summer Reading by Megan Crane

I have a week left until I head off for my summer vacation and I can't wait.  

Partly, this is because I'm going to Australia and New Zealand for a few weeks.

I know, I know.  Poor me. 

But aside from how much fun I plan to have and how pretty it's all going to be, what I'm really excited about is all the reading I'm going to do--and not just on the very long plane ride!  

Some of my favorite summer memories involve sitting around with this or that group of people--family, friends, neighbors--and reading away a lazy afternoon, or well on into a long, bright evening.  I like to read all the time, but there's something about reading in the summer that's different.  People call it "beach reading" or other derogatory things, but the books I happened into over the summer are what taught me how to imagine.  How to dream.  

I read fat, swollen paperbacks and musty hardcovers.  Whatever I could find in our extended family's rambling old house in Cape Cod.  Leftover and left behind books.  Old favorites and discarded books.  Moomintrolls and moonstones.  Thrilling love stories and lovely little mysteries with cats and jams.  Princesses and goblins, houses hewn from logs in the great big woods, odd old poetry collections, strange biographies of people I'd never heard of then or since.  As much a part of summer as fireflies and marshmallows, salt on my face and sun in my hair.

This summer is shaping up to be no different.  

On the way back from a conference in July I fell into Proof Of Their Sin by Dani Collins. 

I don't think I took a full breath for the length of my flight!  Big, deep, dark, and fantastic.  Everything I want in a book!  I can't recommend it enough.

I also read My Darkest Passion by Carolyn Jewel.  This is the latest in her My Immortal paranormal series, which I've been completely in love with for years.  I can never seem to get enough of the rich world she's created, filled with mages and demons, witches and spells.  This book was harsher than some of the previous ones (no pun intended--that's actually funny if you've read the books, I promise), but all the better for it.  As usual, I loved the characters and wanted more the moment I finished!

Highly recommended!

But then there's all the books I haven't read yet.  

I've been saving the new Sylvia Day Crossfire book for a long afternoon with no interruptions, which I see in my near future.  

And I'm in a frenzy of anticipation for the final book in Meljean Brook's Guardians series.  

One of my well-read cousins recommended Beautiful Ruins by Jess Walter. 

I picked up Don't Let's Go to the Dogs Tonight by Alexandra Fuller after seeing it (and reading the first few pages) while I was staying at my uncle's place in Montana.  

A cool woman at a great dinner party recommended Instructions for a Heatwave by Maggie O'Farrell.  

Then there are all the books in the Corretti Dynasty series--I wrote one of them, but I want to read everyone else's!  

And who knows what other books I'll discover out there?  Stuck on a hotel shelf, recommended by a new friend somewhere, or sent to me by an old friend who thinks I'll like it.  And best of all, I'll have the lazy days and long evenings to enjoy them all.

Happy Summer Reading!

Megan Crane is sometimes known as Caitlin Crews.

They would both rather be reading.

(Pictured: summer adventures a while back as a precursor to a really good book by a campfire.  If memory serves, one by Shannon McKenna.)

Reinvention: A Writer's Tool

by Maggie Marr

I suppose as writers, in some ways, we reinvent ourselves every time we sit down to begin a new story.  We are creating a world inhabited by fictional characters and so, we are 'reinventing reality'.    I tend to subscribe to the idea that as authors we have a core story.  A story that we tell over and over and over again with different characters, settings, and dialogue in an attempt to make sense of our world.  Authorial reinvention, to me, doesn't mean changing that core story.  Authorial reinvention, to me, means trying on new genres, and with those new genres, perhaps pseudonyms.

If my definition of authorial reinvention is a writer attempting new names and/or new genres I guess so far I've been reinvented two times.

First there is Maggie Marr the Women's Fiction Writer.  Women's Fiction is the genre where I got my first deal as an author--that moment when I received 'the call.'

I love writing Women's Fiction.  I feel that this genre is where I express one of my deepest beliefs; that friends are the sustenance of female life.


Next there is Maggie Marr the Romance author.  This was my first authorial reinvention.   The foray into Romance was a result of my love of reading romance and also a writer friend *ahem* Ally Carter, suggesting that I write a romance book.  The first one was The Billionaire's Proud Mistress which became Can't Buy Me Love.  I entered this book into a Harlequin Presents contest and was first runner-up.   And my winning created quite a dust up!  I used a psuedonym and 2 out of the 4 winners were previously pubbed authors--which the rules allowed--however there were some disgruntled entrants.

Courting Trouble was my first foray into full-length contemporary Romance.  I love this book.  I wrote the hell out of it--seriously--used every tool in my box--which is interesting because while the reviews for Courting Trouble are excellent, the book's sales are relatively low.

Next up I ghostwrote a young adult book for an unnamed celebrity--actually I've done this twice.  The experiences have been ...  interesting.  And I can't show you the covers because well--that's what ghostwriting means.


What have I learned as an author by reinventing myself?  I've learned that each time I try something new I stretch my abilities, I become a better author, I maintain the excitement for my writing--which a reader truly can feel.  I gain confidence in my voice and with my mastery of my craft.  Reinventing, I guess, is also about growing as a writer.  My growth comes from using my solid craft foundation but placing that craft in different containers whether those containers be a screenplay, a TV pilot, a young adult book, romance book, or women's fiction book.  I will continue to expand and grow--I will try on different genres and in that way keep reinventing myself but the thing that remains solid and the same is that I will always be a writer.

What is my next reinvention?  Well I have a genre I'd like to try next ...  So I will.  Just as soon as I finish the latest book.



Margaret 'Maggie' Marr is an author, attorney, and independent producer.  She has written for TV and film.  She practices entertainment law in Los Angeles and specializes in representing authors, producers, screenplay writers, and directors.  Her next book--Hollywood Hit--Book 3 in the Hollywood Girls Club Series, publishes Summer 2013.

Trying to Simplify by Melissa Clark

I suppose it is just human nature that writers get pigeonholed into certain categories. I was a "tween TV writer", then a "ChickLit" author, "Women's Fiction" author and now I'm writing a "YA novel". My resume tells of that and so much more. I've taught, tutored, ghostwritten, written nonfiction, flash fiction, a few plays, a screenplay, I've filled hundreds of journals.

Which brings me to the question: Why can't a writer just be a writer? 

As it stands, these are conversations I have had:
"What do you do?"
"I'm a writer."
"What do you write?"
"Well, I used to write short stories, then I wrote children's television and now I write fiction."
"What kind?"
"I've heard my books described as 'chick lit' or 'women's fiction', but I just like to say I write fiction."
"What's 'chick lit?'
"A term someone came up with."
"You?"
"Definitely not me..."


Wouldn't it be easier as:
"What do you do?" 
"I'm a writer."
"What do you write?"
"Stories."

Because at the end of the day, isn't that what they all are? The play, TV shows, books, even the journals - stories written from the heart through the hand.


-----

Melissa Clark writes stories.

How do our lives as writers affect our children?

by Michele Young-Stone

Recently, I was reading an article in the New York Times about the memoirs of children of famous writers: William Styron, Saul Bellow, and John Cheever.  It was a fascinating article and it got me thinking about the impact my writing might have on my son.

For starters, we writers have to have extremely thick skin.  One mantra that I recently taped above my desk reads: This is my book.  This is my book.  My story.  My book.  My fucking art!!

My son, who is eight, thought it was the funniest thing he'd ever read, so he immediately shared it aloud with our house guests.  He knows that I hate the F word (fart), but I'm not so offended by the other F word, so I sat calmly by, amused at his attempt to shock the room.

My book.  My fucking art!!

Sometimes I need a reminder.  Sometimes I feel pulled in multiple directions and I have to remind myself that ultimately the buck stops with me.

_______________________________

My son has had a big part in my writing and publication journey.

He came with me on the day my novel debuted.  We went to see it on a bookstore shelf.  We bought a copy.  Next, we visited the library.  A month later, we saw it in Hudson News in JFK airport.  He knows that I was holding him in a Baby Bjorn, one month ol, when I graduated with my MFA in fiction writing; the early draft of my first novel was my thesis.

He was an infant when I got my first feedback from my illustrious agent, Michelle Brower.  She remembers hearing him in the background.  I was trying to breastfeed and simultaneously take revision notes.

He's been to New York a half dozen times, and even made paper towel airplanes with my genius editor in the bathroom of the French restaurant across from Random House (my former publisher).

He got on stage during my first and subsequent readings, and he sometimes says, "I might be a writer when I grow up."

I don't know if he'll be a writer.  I think that an electrician might be a good career path.  We all need light, but no matter what he decides, I hope that my profession is having a good impression on him.  The obvious difference between me, Cheever, Styron and Bellow (aside from their well-deserved fame) is that I am a woman.  I don't take a break from being my son's mother because I'm writing.  It's not

1950s America.  Domestic duties are allocated more justly, and my son knows that when I am writing, I am "not here" in the sense that I shouldn't be cooking or washing dishes because the water will boil away.  The sink will overflow.  Trust me.  It's happened more than once.

I guess that what I'm getting at is that no matter what career path a parent takes, the child is going to be affected.  My mother was a nurse and my father was an Industrial Arts teacher and Jack-of-all-trades.  They were just as capable to be neglectful terrible parents as Greg Bellow reports Saul Bellow was.  It doesn't have to do with the profession, no matter what that profession happens to be.  I think it's more about priorities and responsibility.  It's a balancing act.

Ultimately, I am grateful that my son has watched me pursue and be successful at my life's dream. That's the biggest impression I hope to impart upon him.  You can do and be anything you want in life. You just gotta work hard and go for it.



Michele Young-Stone is the author of The Handbook for Lightning Strike Survivors, available wherever books are sold (nearly).  She has two books under contract with Simon & Schuster.  She is a very proud mom.  Follow Michele on Facebook.    And Twitter.

8 Tips For Writing Great Dialogue

By Ellen Meister

If you're a fiction writer, great dialogue can transform your prose from bland to sublime. But it can take a lot of work to make your characters sound natural. Here are some tips from the trenches ...

1. Focus on voice

Read the dialogue out loud and listen to your characters. If their voices aren't distinct, go back and revise, keeping in mind that each character has his or her own vocabulary and verbal tics, dictated by personality, age, education level, attitude, etc.

2. Know what to leave out

In real life, conversations are filled with pauses, repetition, interruptions, interjections and all sorts of stalling tactics that may have no place in your fiction. Dialogue that reads like a transcript will leave readers cold, no matter how authentic it is.

3. Say good-bye to hellos

Don't get bogged down in greetings between your characters. Yes, in real life people say hello, how are you, nice to meet you, etc., but you will drag down your prose if you include these in your fiction. 

4. Include indirect responses

Nothing livens dialogue like having your characters respond to questions with indirect answers. For example, consider this perfectly fine exchange:

"I brought it there," he said. "The ... the lady. She asked me to."

"The small woman in a hat?"

"Yes, that's her."

          But notice how much more life it has when the question is answered indirectly:

"I brought it there," he said. "The ... the lady. She asked me to."

"The small woman in a hat?"

His eyes went wide. "You seen her?"

5. Dialectic spellin' ain't gettin' ya nowhere

Don't make the mistake of thinking dialectic spelling adds to the authenticity of your dialogue. In fact, it pulls the reader out of the story, as he or she struggles to decode the words. It slows down the experience and makes the reader more conscious of the author's presence. Instead, focus on word choice to make the point about your character's accent.

6. Don't use synonyms for "said"

Stephen King has noted that "said" is an invisible word to readers. That is, we barely notice it. But if you substitute it with one of the dozens of synonyms, such as stated, declared, intoned, exclaimed, remarked, replied, uttered, muttered, etc., your prose will sound stilted and overwritten.

7. Omit tags when possible

When only two characters are involved in the conversation, you can often omit the dialogue tags entirely.  However, don't go more than four lines without giving the reader a clue as to who's speaking.

If multiple characters are involved in a scene, you have to give some indication of who's speaking for each line of dialogue. However, you  don't have to tag every line. A bit of action can serve as a cue.  Example:

            “I mean, you can’t move in period.”

            He laughed. “Okay, I get it. I won’t pressure you about the garage anymore. At least for now.” He snapped his fingers at the waiter. “Can we see menus, please?”

8. Don't put exposition in dialogue

 If you're tempted to use dialogue to fill the reader in on backstory, ask yourself if a person would  actually say that. If not, put the exposition into the narrative, where it belongs. For instance, see if this sounds believable to you:

"Katie, the last time we saw each other you still had your arm in a cast from that terrible car accident you were in. Are you feeling better?"

Here's a possible rewrite:

She shook his hand and he was impressed by her grip. The last time they saw each other she was still in a cast, recovering from the car accident. "You look great," he said.

Do you have any special tips for writers who want to give their dialogue an extra edge? If so, please feel free to add your thoughts in the comments section. Thanks!
________________________________________________________________________
Ellen Meister is the author of four novels, including FAREWELL, DOROTHY PARKER, which is in stores now. She teaches creative writing at Hofstra University Continuing Education and runs a Facebook page for fans of Dorothy Parker. For more information, visit Ellen's website at ellenmeister.com.