Here's a post from Mary at Kidlit.com on how frequently you should query. While it's specifically aimed at picture book queries--and that's why I devoured it and intend to read it again--it's valuable for novels and other query types as well. (For those who write YA and MG novels, you might consider following Mary's blog...that seems to be what she's looking for right now, and she offers lots of valuable insights from a children's/YA agent POV.)
Kidlit.com · How Soon Do I Query Again?
Showing posts with label Marketing Your Writing. Show all posts
Showing posts with label Marketing Your Writing. Show all posts
Monday, January 17, 2011
Friday, January 14, 2011
Any Comments from the Peanut Gallery?
I’ve been blogging for several years. It’s only as I’ve gotten increasingly serious about my freelance writing career, though, that I’ve started studiously following other writer’s blogs. In the process, I’ve discovered a few things about blog comments.
First, bloggers notice comments. I know I do. I suppose that most small-time bloggers like myself are thrilled if someone simply comments, regardless of what they say. Bigger, busier bloggers notice, too. They notice who comments, how often they comment, and the value of their comments. They see and they remember. When they remember, it can sometimes produce good returns for savvy commentators.
Second, there are savvy and not-so-savvy ways to comment. Nathan Bransford recently blogged on the art of commenting, including advice on placement, strategy and content. Yes, if you want to get noticed in a positive way, there’s a correct way to comment.
Third, you can glean wisdom from comments. When I read a compelling post--say one that has 50 to 100 comments on it--I can’t help reading through the comments. Chances are, I’ll glean bits of wisdom that stretch far past whatever blurb the author originally wrote. It widens my horizons and, sometimes, also lets me know I’m not alone in my thoughts.
Hopefully I wasn’t the last one to board this particular train. I would like to think this topic is a fresh and interesting for you as it was to me. All I can say is…any comments?
Thursday, January 13, 2011
Agent POV Roundup
All right, maybe two posts isn't a roundup. Still, these are a couple of interesting posts from the literary agent's POV.
First is author and former agent Nathan Bransford's take on what standardization of terms means to the future of literary agents. It may not be good news, if their expertise is no longer needed to negotiate contracts. On the other hand, is standardization of terms any better news for writers? Read his post and give me your thoughts:
Nathan Bransford -- The Greatest Challenge Agents Will Face
The second post is from current agent Natalie M. Fischer. In it, she shares some pet peeves that land queries in her circular file. Check it out:
Adventures in Agentland -- It's QUERY Season!
Enjoy!
First is author and former agent Nathan Bransford's take on what standardization of terms means to the future of literary agents. It may not be good news, if their expertise is no longer needed to negotiate contracts. On the other hand, is standardization of terms any better news for writers? Read his post and give me your thoughts:
Nathan Bransford -- The Greatest Challenge Agents Will Face
The second post is from current agent Natalie M. Fischer. In it, she shares some pet peeves that land queries in her circular file. Check it out:
Adventures in Agentland -- It's QUERY Season!
Enjoy!
Tuesday, November 09, 2010
There Are No Rules - Ultimate Blog Series on Novel Queries (#2)
This is the second of three posts on novel queries by literary agent Jane Friedman. Number 3 hasn't been posted yet, but be sure to go back and read #1. Valuable insights into an agent's mind!
There Are No Rules - Ultimate Blog Series on Novel Queries (#2)
There Are No Rules - Ultimate Blog Series on Novel Queries (#2)
Thursday, September 09, 2010
There Are No Rules - How to Score a Traditional Deal After Self-Publishing
For other self-publishers out there, this is a great Q & A on self-publishing, marketing and selling to a traditional publishing house. It proves you have to get creative, not just with writing, but also with marketing! Check it out:
There Are No Rules - How to Score a Traditional Deal After Self-Publishing
There Are No Rules - How to Score a Traditional Deal After Self-Publishing
Monday, February 25, 2008
Behind the Scenes of Book Publishing
For writers trying to get published, the world of book publishers often seems shrouded in a particular kind of trade-jargon voodoo, impenetrable to all but those initiated into the innermost circle. This short article by Brian Scott sweeps away a little of the mystery and provides a welcome glimpse into book publishing's inner workings.
An Author's Glimpse Into The Operation Of A Book Publishing Company
by: Brian Scott
The publishing company is the backbone of the writing world. The publishing company provides a great service to society by publishing and displaying the work of authors. The global existence of publishers is obvious, but the inner workings of a publishing company is unknown by many authors. Many book publishers consider the publishing industry as an apprenticeship industry -- most book publishing professionals gain knowledge and skills in this field with hands-on job experience. Generally, what an apprentice learns in one department is useful throughout the publishing house, which gives professionals the opportunity to move between departments. A typical publishing company has many levels to it, each with different functions.
THE ADMINISTRATIVE DEPARTMENT
The Administrative Department is the first level of any book publishing company. It has many responsibilities to help the publishing company function properly. The Administrative Department manages daily operations for publishing executives and management. This responsibility involves interaction with all employees from all departments, as well as interaction with authors and agents. The administrative employees manage the calendar, maintain organized files, screen/prioritize mail, draft correspondence, make travel arrangements and prepare itineraries, process expense reports, take minutes at meetings, and prepare reports. A position as an administrative employee allows a person to have a high-level of understanding of a publishing company, while being visible to executives.
THE ADVERTISING DEPARTMENT
All large and small publishing companies have an Advertising Department. Most publishing companies have in-house advertising agencies that purchase media space and create and design advertisements. In a publishing company, the Advertising Department works closely with the marketing directors, editors, and publishers of titles to create an advertising plan that promotes sales of an author's book. An advertising plan requires research and negotiation to provide the best venues and the most cost-effective methods of advertisement. These employees also work closely with graphic designers, commercial sales representatives, printing presses, and internal staff to facilitate the run of advertisements.
THE EDITORIAL DEPARTMENT
The Editorial Department of a publishing company is one of the most important departments. The Editorial Department acquires, negotiates, develops, and edits book projects for publication. The daily activities of editorial employees include preparing acquisitions for transmittal to the production department; developing and maintaining relationships with authors, booksellers, and agents; performing general administrative duties; participating in editorial, design and marketing meetings; and reading and evaluating submissions by writing reader's reports. The editorial department must work closely with all departments.
THE MARKETING DEPARTMENT
Another division of a publishing company is the Marketing Department. The Marketing Department creates, prepares, and establishes marketing strategies and policies for each book title by coordinating the efforts of publicity, promotion, advertising, and sales departments. The Marketing Department prepares all sales presentation materials, audio recordings, fact sheet collation, and promotions; creates and produces additional account-specific presentation materials; researches and establishes relations with new markets; and plans and maintains sales and marketing schedules.
THE PUBLISHER'S OFFICE
The Publisher's Office is also an important department for many publishing companies. The publishers oversee the life cycle of a book title from acquisition to production, and onto the sales force. Publishers make executive decisions for all book titles within assigned imprints while staying within any cost restraints. This department is also responsible for sponsoring book projects, strategies, and initiatives for the publishing company.
BOOK RIGHTS DEPARTMENT
The Subsidiary Rights and Permissions Department is one of the most important divisions of a book publishing company. This department finds additional sources of profit for a given title, including serials, book clubs, and paperback, audio and e-book rights.
The daily activities for the subsidiary department include writing submission letters; sending manuscripts, proposals, and books to foreign publishers and agents; coordinating co-productions with other publishers; working with book clubs and sales for special editions; and maintaining relationships with other publishing companies.
ENJOY THE JOURNEY
The road to getting a book published is a long one, but well worth the effort. Trust yourself, and trust the publisher to create a beautiful masterpiece. Don’t be discouraged if several publishers are not interested in your book. You may have to self-publish your first book, and then again, a large or small publishing company may accept your book based on marketability. Good luck and enjoy the process.
Learn how to become a published book author! Download Brian's free e-book, Book Writing for Fun and Profit, at http://www.bookcatcher.com/. Visit Brian's blog, at http://bookpublishingnews.blogspot.com/
An Author's Glimpse Into The Operation Of A Book Publishing Company
by: Brian Scott
The publishing company is the backbone of the writing world. The publishing company provides a great service to society by publishing and displaying the work of authors. The global existence of publishers is obvious, but the inner workings of a publishing company is unknown by many authors. Many book publishers consider the publishing industry as an apprenticeship industry -- most book publishing professionals gain knowledge and skills in this field with hands-on job experience. Generally, what an apprentice learns in one department is useful throughout the publishing house, which gives professionals the opportunity to move between departments. A typical publishing company has many levels to it, each with different functions.
THE ADMINISTRATIVE DEPARTMENT
The Administrative Department is the first level of any book publishing company. It has many responsibilities to help the publishing company function properly. The Administrative Department manages daily operations for publishing executives and management. This responsibility involves interaction with all employees from all departments, as well as interaction with authors and agents. The administrative employees manage the calendar, maintain organized files, screen/prioritize mail, draft correspondence, make travel arrangements and prepare itineraries, process expense reports, take minutes at meetings, and prepare reports. A position as an administrative employee allows a person to have a high-level of understanding of a publishing company, while being visible to executives.
THE ADVERTISING DEPARTMENT
All large and small publishing companies have an Advertising Department. Most publishing companies have in-house advertising agencies that purchase media space and create and design advertisements. In a publishing company, the Advertising Department works closely with the marketing directors, editors, and publishers of titles to create an advertising plan that promotes sales of an author's book. An advertising plan requires research and negotiation to provide the best venues and the most cost-effective methods of advertisement. These employees also work closely with graphic designers, commercial sales representatives, printing presses, and internal staff to facilitate the run of advertisements.
THE EDITORIAL DEPARTMENT
The Editorial Department of a publishing company is one of the most important departments. The Editorial Department acquires, negotiates, develops, and edits book projects for publication. The daily activities of editorial employees include preparing acquisitions for transmittal to the production department; developing and maintaining relationships with authors, booksellers, and agents; performing general administrative duties; participating in editorial, design and marketing meetings; and reading and evaluating submissions by writing reader's reports. The editorial department must work closely with all departments.
THE MARKETING DEPARTMENT
Another division of a publishing company is the Marketing Department. The Marketing Department creates, prepares, and establishes marketing strategies and policies for each book title by coordinating the efforts of publicity, promotion, advertising, and sales departments. The Marketing Department prepares all sales presentation materials, audio recordings, fact sheet collation, and promotions; creates and produces additional account-specific presentation materials; researches and establishes relations with new markets; and plans and maintains sales and marketing schedules.
THE PUBLISHER'S OFFICE
The Publisher's Office is also an important department for many publishing companies. The publishers oversee the life cycle of a book title from acquisition to production, and onto the sales force. Publishers make executive decisions for all book titles within assigned imprints while staying within any cost restraints. This department is also responsible for sponsoring book projects, strategies, and initiatives for the publishing company.
BOOK RIGHTS DEPARTMENT
The Subsidiary Rights and Permissions Department is one of the most important divisions of a book publishing company. This department finds additional sources of profit for a given title, including serials, book clubs, and paperback, audio and e-book rights.
The daily activities for the subsidiary department include writing submission letters; sending manuscripts, proposals, and books to foreign publishers and agents; coordinating co-productions with other publishers; working with book clubs and sales for special editions; and maintaining relationships with other publishing companies.
ENJOY THE JOURNEY
The road to getting a book published is a long one, but well worth the effort. Trust yourself, and trust the publisher to create a beautiful masterpiece. Don’t be discouraged if several publishers are not interested in your book. You may have to self-publish your first book, and then again, a large or small publishing company may accept your book based on marketability. Good luck and enjoy the process.
About The Author
Brian ScottLearn how to become a published book author! Download Brian's free e-book, Book Writing for Fun and Profit, at http://www.bookcatcher.com/. Visit Brian's blog, at http://bookpublishingnews.blogspot.com/
Friday, July 13, 2007
So You Wrote a Book--What About Getting Published?
Get a Book Published? The Road to Publication Might be Getting a Little Rougher
By Dee Power
Is it getting easier or more difficult for an unpublished writer to get their first book commercially published? We asked nearly 60 literary agents about the outlook for the next generation of authors. Their comments are in quotes.
Agents do not envision a great deal of change on the horizon. They are mildly negative about the next 12 to 24 months. When asked the reasons behind their forecast, the most common responses were:
Industry Consolidation, Changes Within the Publishing Industry Itself
Changes in Book Retailing
Publishers are Becoming More Risk Averse
The Pessimists
The Optimists
The Impact of the National Economy
Industry Consolidation, Changes Within the Publishing Industry Itself
“Editors no longer rely on their instincts and passions as selection criteria; instead they go by such formulas as, Bad Numbers, Author has no Platform etc.”
“Continuing consolidation and conglomeration of industry.”
“For non-fiction works, in particular, publishers need credentialed writers, which leaves out the many individuals who have great ideas but nothing to back it up. With fiction, they are more likely to take a chance on an unpublished writer IF it is in an area (genre) they are seeking at the time and the writing is passable enough.
Changes in Book Retailing
“Because of the pressure of the chain buyers, publishers are increasingly locked into publishing only the brand new authors with no record, and best selling authors.”
“Because as long as the retail market continues to consolidate in the hands of fewer and fewer retailers, the entire industry becomes dependent on the taste of a small handful of 'buyers' who choose which books get shelf space.”
Publishers are Becoming More Risk Averse
“It just seems like it's getting harder and harder to get people to take a chance on an unknown.”
“Editors are buying fewer books, they are reluctant to take chances.”
“What does keep projects from being bought is the fact that lists are shrinking, and in a marketplace in which it’s terribly hard to win anyone’s attention – from buyers all the way to customers – everyone up the editorial chain is anxious about making the wrong bet … more often than not, ‘No’ is a safe answer.”
The Pessimists
“I base this on the number of rejection letters publishers have sent for well-written, well-plotted novels by new authors that would have sold if given the chance.”
“I don't see the market picking up much, and if the current trends continue, it will only decline.”
The Optimists
“Because I don't agree that the publishing industry is either for or against unpublished writers. They are FOR unpublished writers who have a brilliant first novel to offer or a nonfiction platform. They are AGAINST unpublished writers who are bad writers or (in the case of nonfiction, are not credentialed in their field, have a new original, high concept idea etc.)”
“The Industry is not a monolithic thing. Some genres (nonfiction especially, which more and more requires the author to have a major platform for promotion and media attention) will continue to become more difficult; some genres (upmarket fiction) exalt first-time writers. The “first novel" for literary fiction represents a unique marketing opportunity for the publisher; it's the second and third novels that tend to be far more difficult to publish well if the first novel doesn't take off.”
“Some trends favor new writers and new voices, however the money is often discouragingly small, so there is not the sense of a career being launched.”
The Impact of the National Economy
"Publishing is an increasingly tough biz in tough times--fewer people read."
So What Can a Debut Author Do?
1) Study the elements of a good query letter.
2) Make your contact letter succinct, positive, but not obnoxious. Stress that you understand the market for your book and how to address that market.
3) Learn what types of manuscripts individual agents are looking for and send yours out to the agents that match up the best with your topic or genre.
4) Don't give up.
Avoid scams and still get your book published. Get our free report Perils and Pitfalls of Publishing for Writers just visit [http://www.brianhillanddeepower.com/freereport.html] Free Report
About The Authors
Brian Hill and Dee Power have written several nonfiction books including The Publishing Primer: A Blueprint for an Author's Success and The Making of a Bestseller: Success Stories From Authors and the Editors, Agents, and Booksellers Behind Them. Read Dee's blog or Brian's blog The Packer Literary Corner
By Dee Power
Is it getting easier or more difficult for an unpublished writer to get their first book commercially published? We asked nearly 60 literary agents about the outlook for the next generation of authors. Their comments are in quotes.
Agents do not envision a great deal of change on the horizon. They are mildly negative about the next 12 to 24 months. When asked the reasons behind their forecast, the most common responses were:
Industry Consolidation, Changes Within the Publishing Industry Itself
Changes in Book Retailing
Publishers are Becoming More Risk Averse
The Pessimists
The Optimists
The Impact of the National Economy
Industry Consolidation, Changes Within the Publishing Industry Itself
“Editors no longer rely on their instincts and passions as selection criteria; instead they go by such formulas as, Bad Numbers, Author has no Platform etc.”
“Continuing consolidation and conglomeration of industry.”
“For non-fiction works, in particular, publishers need credentialed writers, which leaves out the many individuals who have great ideas but nothing to back it up. With fiction, they are more likely to take a chance on an unpublished writer IF it is in an area (genre) they are seeking at the time and the writing is passable enough.
Changes in Book Retailing
“Because of the pressure of the chain buyers, publishers are increasingly locked into publishing only the brand new authors with no record, and best selling authors.”
“Because as long as the retail market continues to consolidate in the hands of fewer and fewer retailers, the entire industry becomes dependent on the taste of a small handful of 'buyers' who choose which books get shelf space.”
Publishers are Becoming More Risk Averse
“It just seems like it's getting harder and harder to get people to take a chance on an unknown.”
“Editors are buying fewer books, they are reluctant to take chances.”
“What does keep projects from being bought is the fact that lists are shrinking, and in a marketplace in which it’s terribly hard to win anyone’s attention – from buyers all the way to customers – everyone up the editorial chain is anxious about making the wrong bet … more often than not, ‘No’ is a safe answer.”
The Pessimists
“I base this on the number of rejection letters publishers have sent for well-written, well-plotted novels by new authors that would have sold if given the chance.”
“I don't see the market picking up much, and if the current trends continue, it will only decline.”
The Optimists
“Because I don't agree that the publishing industry is either for or against unpublished writers. They are FOR unpublished writers who have a brilliant first novel to offer or a nonfiction platform. They are AGAINST unpublished writers who are bad writers or (in the case of nonfiction, are not credentialed in their field, have a new original, high concept idea etc.)”
“The Industry is not a monolithic thing. Some genres (nonfiction especially, which more and more requires the author to have a major platform for promotion and media attention) will continue to become more difficult; some genres (upmarket fiction) exalt first-time writers. The “first novel" for literary fiction represents a unique marketing opportunity for the publisher; it's the second and third novels that tend to be far more difficult to publish well if the first novel doesn't take off.”
“Some trends favor new writers and new voices, however the money is often discouragingly small, so there is not the sense of a career being launched.”
The Impact of the National Economy
"Publishing is an increasingly tough biz in tough times--fewer people read."
So What Can a Debut Author Do?
1) Study the elements of a good query letter.
2) Make your contact letter succinct, positive, but not obnoxious. Stress that you understand the market for your book and how to address that market.
3) Learn what types of manuscripts individual agents are looking for and send yours out to the agents that match up the best with your topic or genre.
4) Don't give up.
Avoid scams and still get your book published. Get our free report Perils and Pitfalls of Publishing for Writers just visit [http://www.brianhillanddeepower.com/freereport.html] Free Report
About The Authors
Brian Hill and Dee Power have written several nonfiction books including The Publishing Primer: A Blueprint for an Author's Success and The Making of a Bestseller: Success Stories From Authors and the Editors, Agents, and Booksellers Behind Them. Read Dee's blog or Brian's blog The Packer Literary Corner
Article Source: http://EzineArticles.com/?expert=Dee_Power
http://EzineArticles.com/?Get-a-Book-Published?--The-Road--to-Publication-Might-be-Getting-a-Little-Rougher&id=641239
Tuesday, January 16, 2007
Shameless Self-Promotion
I try to keep this blog strictly informative, but it's time for some shameless self-promotion.
I recently self-published a book of short stories through Lulu.com. You can purchase it through the button to the right. The price is $7.95. Hey, folks, I'm excited!
Buy it! Buy it!
Thursday, January 04, 2007
Selling Yourself as a Freelance Writer
Here is some nuts-'n-bolts advice on how to sell yourself...and therefore, your writing.
You may not be selling your services in the marketing arena, but the basic principles hold true: Keep it brief, show the editor/prospective client you know their market, show them what's in it for them (wait; didn't I write a post on that a while back?), and give them a call to action. Remember, the call to action doesn't have to be as urgent as Yuwanda's example if you're dealing with a magazine editor whom you already know has a 6-month lead time, but you should still place the idea of taking action in the editor's mind.
Freelance Writers: How to Increase Your Business with a Simple One-Page Letter
by: Yuwanda Black
When I owned my editorial staffing agency and would put out a job opening for freelancers, I would get a ton of responses. If I asked for work samples, I would get slammed – even if the ad specifically stated to send, for example, “one writing sample on real estate investing.”
To quickly get through the pile of resumes, the first thing I would do is weed out anyone who sent more than I had requested. The point of this little story – more is not always better.
BUT, you may lament, “I want to show the client what I can do for them.” You can do this very effectively via a simple one-page introductory letter.
SECTION I: About you. In this paragraph, you simply want to state your name and give a very brief background summary and niche specialty. Eg:
I am Yuwanda Black, the publisher of InkwellEditorial.com. A freelance copywriter for over 13 years, I specialize in increasing the referral rates of real estate agents, mortgage brokers and insurance agents via newsletters, brochures, e-books, etc.
Whatever your written marketing needs, I can deliver measurable results. Samples of my writing/portfolio can be found at mywebsite.com (you do have a website, right?).
SECTION II: You know them. Illustrate to the client that you are familiar with his product, service, specialty, etc. and how you can improve it, supplement it, overhaul it, etc. for better results. Eg:
I noticed from your website (brochure, postcard, sales letter, etc.) that you have been in business for 5 years and service the xxx market. I can help you increase your sales by at least 15% over a year’s time (maybe more). How?
Studies (cite a source) have shown that consistent contact is the number one way to get clients to call YOU – and not your competitor. According to xxx (here you would input a reliable marketing stat), in your industry, only X percent of mortgage brokers do this.
Imagine how many more clients you can add to your business by becoming the go-to expert in your sector? I can position you for this – bringing in referrals for years to come!
SECTION III: The wrap up. Here, repeat their number one benefit of using you, eg, to increase their bottom line. Eg:
My job is to increase your bottom line. As a results-oriented professional copywriter, I know how to move prospects into your (not your competitor’s) paying customers when they’re ready to buy.
SECTION IV: The call to action. Ask them to do something – now!
Call today for your no-obligation consultation. I can be reached at:
PH: 000-111-1234
CELL: 111-222-3333
FAX: 222-333-4444
Email: info@inkwelleditorial.com
URL: InkwellEditorial.com
SECTION V: The P.S. (EVERY sales letter should have a P.S.). In this section, you can give a way a freebie (e-books are great for this) and/or reiterate a major benefit (eg, increase your bottom line by 15%).
Feel free to use a P.S. and a P.P.S.P.S.: With your free consultation, you receive a free e-booklet, “For Real Estate Professionals: 10 Ways to Turn Referrals Into Paying Customers.” This e-book is free, even if you don’t use my services.
5 Copywriting Tips for Your One-Page Letter
a) Use lots of white space and bold headings. Eg, between each section, create a bold heading that clues the reader in to what they’re about to read. Most people skim copy – especially from unfamiliar sources – this makes it much more likely to get read.
b) Write from a “what’s in it for the client” point of view instead of a “what’s in it for me” point of view. At every turn, reiterate how you can help them make more money, save more time, reach more prospects, etc. In business, most people either want to make more money or increase their referral ratio – these are safe objectives to state that you can help them with.
c) Make a connection: Eg, I read on your website; I heard in your seminar; I see from your brochure – everyone likes to feel that you have at least taken the time to know their business.
d) Give stats: This lends credibility to your “sales pitch.” It’s not just you saying x, a noted source can back up your contention.
e) Use a call to action: If you don’t ask them to do something, they may do nothing. So, use phrases like call today, log on to our website, subscribe to our newsletter, register for your free gift.
I guarantee you, if you follow the format outlined above, your direct mail and/or e-mail conversion rate will be higher, garnering you clients for years to come.
About The Author
Yuwanda Black is the publisher of http://InkwellEditorial.com: THE business portal for and about the editorial and creative industries. First-hand freelance success stories, e-courses, job postings, resume tips, advice on the business of freelancing, and more! Launch a Profitable Freelance Writing Career in 30 Days or Less -- Guaranteed! Log on to http://InkwellEditorial.com to learn how.
You may not be selling your services in the marketing arena, but the basic principles hold true: Keep it brief, show the editor/prospective client you know their market, show them what's in it for them (wait; didn't I write a post on that a while back?), and give them a call to action. Remember, the call to action doesn't have to be as urgent as Yuwanda's example if you're dealing with a magazine editor whom you already know has a 6-month lead time, but you should still place the idea of taking action in the editor's mind.
Freelance Writers: How to Increase Your Business with a Simple One-Page Letter
by: Yuwanda Black
When I owned my editorial staffing agency and would put out a job opening for freelancers, I would get a ton of responses. If I asked for work samples, I would get slammed – even if the ad specifically stated to send, for example, “one writing sample on real estate investing.”
To quickly get through the pile of resumes, the first thing I would do is weed out anyone who sent more than I had requested. The point of this little story – more is not always better.
BUT, you may lament, “I want to show the client what I can do for them.” You can do this very effectively via a simple one-page introductory letter.
SECTION I: About you. In this paragraph, you simply want to state your name and give a very brief background summary and niche specialty. Eg:
I am Yuwanda Black, the publisher of InkwellEditorial.com. A freelance copywriter for over 13 years, I specialize in increasing the referral rates of real estate agents, mortgage brokers and insurance agents via newsletters, brochures, e-books, etc.
Whatever your written marketing needs, I can deliver measurable results. Samples of my writing/portfolio can be found at mywebsite.com (you do have a website, right?).
SECTION II: You know them. Illustrate to the client that you are familiar with his product, service, specialty, etc. and how you can improve it, supplement it, overhaul it, etc. for better results. Eg:
I noticed from your website (brochure, postcard, sales letter, etc.) that you have been in business for 5 years and service the xxx market. I can help you increase your sales by at least 15% over a year’s time (maybe more). How?
Studies (cite a source) have shown that consistent contact is the number one way to get clients to call YOU – and not your competitor. According to xxx (here you would input a reliable marketing stat), in your industry, only X percent of mortgage brokers do this.
Imagine how many more clients you can add to your business by becoming the go-to expert in your sector? I can position you for this – bringing in referrals for years to come!
SECTION III: The wrap up. Here, repeat their number one benefit of using you, eg, to increase their bottom line. Eg:
My job is to increase your bottom line. As a results-oriented professional copywriter, I know how to move prospects into your (not your competitor’s) paying customers when they’re ready to buy.
SECTION IV: The call to action. Ask them to do something – now!
Call today for your no-obligation consultation. I can be reached at:
PH: 000-111-1234
CELL: 111-222-3333
FAX: 222-333-4444
Email: info@inkwelleditorial.com
URL: InkwellEditorial.com
SECTION V: The P.S. (EVERY sales letter should have a P.S.). In this section, you can give a way a freebie (e-books are great for this) and/or reiterate a major benefit (eg, increase your bottom line by 15%).
Feel free to use a P.S. and a P.P.S.P.S.: With your free consultation, you receive a free e-booklet, “For Real Estate Professionals: 10 Ways to Turn Referrals Into Paying Customers.” This e-book is free, even if you don’t use my services.
5 Copywriting Tips for Your One-Page Letter
a) Use lots of white space and bold headings. Eg, between each section, create a bold heading that clues the reader in to what they’re about to read. Most people skim copy – especially from unfamiliar sources – this makes it much more likely to get read.
b) Write from a “what’s in it for the client” point of view instead of a “what’s in it for me” point of view. At every turn, reiterate how you can help them make more money, save more time, reach more prospects, etc. In business, most people either want to make more money or increase their referral ratio – these are safe objectives to state that you can help them with.
c) Make a connection: Eg, I read on your website; I heard in your seminar; I see from your brochure – everyone likes to feel that you have at least taken the time to know their business.
d) Give stats: This lends credibility to your “sales pitch.” It’s not just you saying x, a noted source can back up your contention.
e) Use a call to action: If you don’t ask them to do something, they may do nothing. So, use phrases like call today, log on to our website, subscribe to our newsletter, register for your free gift.
I guarantee you, if you follow the format outlined above, your direct mail and/or e-mail conversion rate will be higher, garnering you clients for years to come.
About The Author
Yuwanda Black is the publisher of http://InkwellEditorial.com: THE business portal for and about the editorial and creative industries. First-hand freelance success stories, e-courses, job postings, resume tips, advice on the business of freelancing, and more! Launch a Profitable Freelance Writing Career in 30 Days or Less -- Guaranteed! Log on to http://InkwellEditorial.com to learn how.
Tuesday, November 07, 2006
How NOT to Sell Your Writing
No matter your level of experience, selling your writing can be the most difficult part of being a writer. That's especially true if you're a novice in the freelance marketplace. Louise Dop has some good insights on how NOT to sell your writing. (Hint: Reverse this advice, and you can actually sell your writing...)
How Not To Sell Your Writing - Common Mistakes For Freelance Writers
By Louise Dop
It doesn’t matter how brilliant your writing is, you won’t sell it if you don’t act in a professional and businesslike manner. If you are a freelance writer trying to get your work placed in a magazine or e-zine, the editor holds the key to your success. Bombarded with queries and manuscripts, they are likely to put your work straight in the bin if you don’t stick to their strict code of conduct. If you want to see all that hard work rejected, try some of the following:
Don’t bother to find out the name of the contact who reads submissions. Just address it to ‘the editor’ and hope for the best.
A glance at the publication in question or a quick call to their office should give you the information you need to address your query correctly.
Submit your work on scruffy, crumpled paper, folded many times and stapled together.
While it’s not necessary to spend a fortune on best quality writing paper, it should at least look fresh and well presented. Use the biggest envelope possible to minimize folding and never use staples – editors hate them! If you have a large number of pages, fasten them with a paper clip or put them in a plastic folder before placing into the envelope.
Use brightly colored stationery covered in cute pictures or witty comments. For good measure, enclose free gifts and stickers.
Anything other than business stationery will mark you out as an amateur and guarantee that you won’t be taken seriously. Having said that, as long as the envelope is the right size, clearly addressed and has been stamped with sufficient postage, it is acceptable to reuse old envelopes. Chances are, the editor won’t actually get to see them as they are often opened by a junior member of staff.
Send off your completed manuscript without bothering to read the submission guidelines.
Most editors have very strict guidelines for submissions. If they include the words ‘no unsolicited mss’, do not send your completed manuscript or it will go straight in the trash can - unread. Send a query letter instead. If the publication does accept full manuscripts or if the editor asks to see yours, it should be typed using double-spacing. If email submissions are accepted, you don’t need to worry about double–spacing.
Ring or write to the editor after a few days to see if they like your work.
The speed with which your query is answered can vary but it is perfectly normal to wait weeks or even months for a reply. If you haven’t heard anything after about 3 months it is acceptable to make a polite enquiry about your submission.
Argue or complain if your work is rejected.
If you are rude to an editor they will never consider your work again. Accept the rejection graciously and try to learn from the experience. If you are asked to modify the piece in some way, do it if you want to get published.
Submit your work late.
If you have been lucky enough to land a commission, make sure you keep to the deadline set by your editor. Discuss this at the beginning of the project so that a realistic timescale can be agreed. If you suspect that you are going to have difficulty completing on time, let the editor know straight away.
Sell the same piece of work to lots of different places at once.
Nothing will make an editor more furious than paying for a piece of writing only to read it in a competing publication a few days later. Some magazines and websites are prepared to buy reprints but you must be honest and present them as such. Editors will usually want to know where and when the piece first appeared.
Louise Dop is a successful freelance writer and technical author. Her ebook, The Writer's Secret Weapon, brings together a collection of the best free online resources for writers and gives an insight into the writing life. With over 50 direct links to resources, this straightforward guide will show you the real-life tips and tricks that – armed with an Internet connection and basic computer literacy – you can try for yourself right away. www.clearlywrite.co.uk
Article Source: http://EzineArticles.com/?expert=Louise_Dop
How Not To Sell Your Writing - Common Mistakes For Freelance Writers
By Louise Dop
It doesn’t matter how brilliant your writing is, you won’t sell it if you don’t act in a professional and businesslike manner. If you are a freelance writer trying to get your work placed in a magazine or e-zine, the editor holds the key to your success. Bombarded with queries and manuscripts, they are likely to put your work straight in the bin if you don’t stick to their strict code of conduct. If you want to see all that hard work rejected, try some of the following:
Don’t bother to find out the name of the contact who reads submissions. Just address it to ‘the editor’ and hope for the best.
A glance at the publication in question or a quick call to their office should give you the information you need to address your query correctly.
Submit your work on scruffy, crumpled paper, folded many times and stapled together.
While it’s not necessary to spend a fortune on best quality writing paper, it should at least look fresh and well presented. Use the biggest envelope possible to minimize folding and never use staples – editors hate them! If you have a large number of pages, fasten them with a paper clip or put them in a plastic folder before placing into the envelope.
Use brightly colored stationery covered in cute pictures or witty comments. For good measure, enclose free gifts and stickers.
Anything other than business stationery will mark you out as an amateur and guarantee that you won’t be taken seriously. Having said that, as long as the envelope is the right size, clearly addressed and has been stamped with sufficient postage, it is acceptable to reuse old envelopes. Chances are, the editor won’t actually get to see them as they are often opened by a junior member of staff.
Send off your completed manuscript without bothering to read the submission guidelines.
Most editors have very strict guidelines for submissions. If they include the words ‘no unsolicited mss’, do not send your completed manuscript or it will go straight in the trash can - unread. Send a query letter instead. If the publication does accept full manuscripts or if the editor asks to see yours, it should be typed using double-spacing. If email submissions are accepted, you don’t need to worry about double–spacing.
Ring or write to the editor after a few days to see if they like your work.
The speed with which your query is answered can vary but it is perfectly normal to wait weeks or even months for a reply. If you haven’t heard anything after about 3 months it is acceptable to make a polite enquiry about your submission.
Argue or complain if your work is rejected.
If you are rude to an editor they will never consider your work again. Accept the rejection graciously and try to learn from the experience. If you are asked to modify the piece in some way, do it if you want to get published.
Submit your work late.
If you have been lucky enough to land a commission, make sure you keep to the deadline set by your editor. Discuss this at the beginning of the project so that a realistic timescale can be agreed. If you suspect that you are going to have difficulty completing on time, let the editor know straight away.
Sell the same piece of work to lots of different places at once.
Nothing will make an editor more furious than paying for a piece of writing only to read it in a competing publication a few days later. Some magazines and websites are prepared to buy reprints but you must be honest and present them as such. Editors will usually want to know where and when the piece first appeared.
Louise Dop is a successful freelance writer and technical author. Her ebook, The Writer's Secret Weapon, brings together a collection of the best free online resources for writers and gives an insight into the writing life. With over 50 direct links to resources, this straightforward guide will show you the real-life tips and tricks that – armed with an Internet connection and basic computer literacy – you can try for yourself right away. www.clearlywrite.co.uk
Article Source: http://EzineArticles.com/?expert=Louise_Dop
Friday, September 01, 2006
Creative Writing: Get Creative with Marketing by Giving More
Here's a little something on the marketing side:
My husband and I took a weekend trip to do some holiday gift shopping. After dinner we stopped at a supermarket to pick up munchies and sodas. As we were checking out, Jason, the cashier, asked us if we had the store's value card which offered deeper discounts on some items. We said no and that we were just tourists in town for the weekend.
Checking over our items, Jason saw that two were eligible for the discount. He immediately pulled out the manager's value card and used it to let us in on the deals. Furthermore, he told us how he does this for all the tourists because he wants everyone to feel at home!
We loved his attitude. Who wouldn't love getting more than they expect?
When you write for editors, do you meet their expectations? Why not go beyond that and give more than they expect? How can you go beyond an editor's expectations? Well…
- Submit your work before deadlines. Editors don't always build in extra time with their deadlines so imagine the happiness felt ‘round the magazine office when your article arrives one week early. Okay, maybe that's an exaggeration, but beating deadlines will build you an honorable reputation.
- Offer more. That column on cooking you pitched to your local newspaper feature editor: Did you remember to offer photos of the fabulous dishes you will cook? Or did you mention that you would be happy to do extra articles covering food-related competitions, fundraisers and new businesses as they arise? (Offering more, however, doesn't mean more for less money. Get paid for all your work.)
- Share your enthusiasm to be part of the team. When you are networking with book publishers, be sure to show your marketing savvy and talk about your enthusiasm for book signings, public speaking and cooking demonstrations. Let them know what a well-rounded writer you are and how hard you will work to sell those books!
- Don't forget the niceties. Remember editors you've worked with throughout the year by sending a holiday card, fruit basket, gourmet chocolates or an invitation for coffee and pastries on you. Invite your writing buddies and networking pals to a holiday tea or cookie exchange to show your appreciation for their support all year long.
You get the idea – see if you can't add a little something to all your writing efforts and see how great your success will be.
About the Author: Pamela White is the author of over 600 articles in print and online, and publishes The Writing Parent (http://www.thewritingparent.net) and Food Writing (http://www.food-writing.com), two free ezines that focus on different writing niches. Subscribe at the websites.
© 2006 Pamela White
Article Source: http://EzineArticles.com/?expert=Pamela_White
On Writing: Give More
By Pamela White
My husband and I took a weekend trip to do some holiday gift shopping. After dinner we stopped at a supermarket to pick up munchies and sodas. As we were checking out, Jason, the cashier, asked us if we had the store's value card which offered deeper discounts on some items. We said no and that we were just tourists in town for the weekend.
Checking over our items, Jason saw that two were eligible for the discount. He immediately pulled out the manager's value card and used it to let us in on the deals. Furthermore, he told us how he does this for all the tourists because he wants everyone to feel at home!
We loved his attitude. Who wouldn't love getting more than they expect?
When you write for editors, do you meet their expectations? Why not go beyond that and give more than they expect? How can you go beyond an editor's expectations? Well…
- Submit your work before deadlines. Editors don't always build in extra time with their deadlines so imagine the happiness felt ‘round the magazine office when your article arrives one week early. Okay, maybe that's an exaggeration, but beating deadlines will build you an honorable reputation.
- Offer more. That column on cooking you pitched to your local newspaper feature editor: Did you remember to offer photos of the fabulous dishes you will cook? Or did you mention that you would be happy to do extra articles covering food-related competitions, fundraisers and new businesses as they arise? (Offering more, however, doesn't mean more for less money. Get paid for all your work.)
- Share your enthusiasm to be part of the team. When you are networking with book publishers, be sure to show your marketing savvy and talk about your enthusiasm for book signings, public speaking and cooking demonstrations. Let them know what a well-rounded writer you are and how hard you will work to sell those books!
- Don't forget the niceties. Remember editors you've worked with throughout the year by sending a holiday card, fruit basket, gourmet chocolates or an invitation for coffee and pastries on you. Invite your writing buddies and networking pals to a holiday tea or cookie exchange to show your appreciation for their support all year long.
You get the idea – see if you can't add a little something to all your writing efforts and see how great your success will be.
About the Author: Pamela White is the author of over 600 articles in print and online, and publishes The Writing Parent (http://www.thewritingparent.net) and Food Writing (http://www.food-writing.com), two free ezines that focus on different writing niches. Subscribe at the websites.
© 2006 Pamela White
Article Source: http://EzineArticles.com/?expert=Pamela_White
Tuesday, June 06, 2006
More About Creative Query Letters
Query letters are you first impression on the editor, your customer. That’s why you need to use all your creativity to write an effective query letter. Telling an editor you have an idea isn’t enough. Writer’s Digest editor Thomas Clark has identified five essential aspects that should be in every query you write:
1. A working title
2. A projected length
3. Your idea’s place within the publication’s departments (where it will fit)
4. Reference to previous articles
5. Results of some initial research done for the project
Remember, at this point you haven’t actually written the article. You’ve come up with a unique idea, researched publications until you found one that fit, and done initial research—both to prove you’re serious and to show what direction the article might take.
As I mentioned before, the query letter needs to fit on one, typed page. If it exceeds one page, you need to go back and rework, or tighten, your story angle. Write your letter in traditional, business-letter format, on professional letterhead if you have it. If you’re a novice, you probably don’t, but computer programs like MS Word come with several templates you can use in a pinch.
Your first paragraph is the most important, a creative, curiosity-arousing first paragraph hooks the editor, just as the first paragraph of your piece hooks the reader, and gets the editor to read more. Then outline—briefly—your story idea, in a way that makes it sound exciting and fresh. (If that’s hard, you probably don’t have the right idea yet.)
Aside from that, your letter needs to contain:
1. Address, email and phone number
2. Your background as a Writer (If you’re a beginner, don’t reveal that. Act professionally and you will be treated professionally.)
3. Your particular qualifications to write on your chosen subject
4. Your availability and prospective timeline for completion if you get the assignment
5. A request for a response.
There’s more to writing query letters, much more than I can put here, but there are lots of excellent reference books that can give you more details. I use Professional Feature Writing: Third Edition by Bruce Garrison (which is now in its fourth edition), which also contains excellent advice on feature writer in general.
Visit my website at http://www.andreadisalvo.com
1. A working title
2. A projected length
3. Your idea’s place within the publication’s departments (where it will fit)
4. Reference to previous articles
5. Results of some initial research done for the project
Remember, at this point you haven’t actually written the article. You’ve come up with a unique idea, researched publications until you found one that fit, and done initial research—both to prove you’re serious and to show what direction the article might take.
As I mentioned before, the query letter needs to fit on one, typed page. If it exceeds one page, you need to go back and rework, or tighten, your story angle. Write your letter in traditional, business-letter format, on professional letterhead if you have it. If you’re a novice, you probably don’t, but computer programs like MS Word come with several templates you can use in a pinch.
Your first paragraph is the most important, a creative, curiosity-arousing first paragraph hooks the editor, just as the first paragraph of your piece hooks the reader, and gets the editor to read more. Then outline—briefly—your story idea, in a way that makes it sound exciting and fresh. (If that’s hard, you probably don’t have the right idea yet.)
Aside from that, your letter needs to contain:
1. Address, email and phone number
2. Your background as a Writer (If you’re a beginner, don’t reveal that. Act professionally and you will be treated professionally.)
3. Your particular qualifications to write on your chosen subject
4. Your availability and prospective timeline for completion if you get the assignment
5. A request for a response.
There’s more to writing query letters, much more than I can put here, but there are lots of excellent reference books that can give you more details. I use Professional Feature Writing: Third Edition by Bruce Garrison (which is now in its fourth edition), which also contains excellent advice on feature writer in general.
Visit my website at http://www.andreadisalvo.com
Friday, June 02, 2006
Communicate WIIFM with Creative Query Letters
If you’re a new writer, you may be confused about how you’re supposed to convey to the editor what’s in it for them. Maybe you’ve heard of query letters, or have read guidelines that say “query” or “query with clips,” but you don’t really know what that means. Or, maybe you’re like me and know what it is, but find the whole concept frustrating. Well, we’re both going to have to get over it, because query letters, or queries, are a necessary part of selling your writing.
True to its name, a query letter is a letter asking an editor to publish a particular piece or series. Though you may find exceptions, queries are generally used for nonfiction pieces and sent to magazines or other periodicals. The query letter serves two main purposes: to find out if the editor needs a piece covering your topic and to sell the editor on the idea that he or she needs a piece covering your topic.
The query letter saves both you and the editor time. For you, you haven’t wasted precious time researching and writing an article that won’t be published. On the other hand, the editor doesn’t have to wade through a series of manuscripts and read each one to see if there’s something there. He or she can pick up your one-page query letter, see if the topic is suitable or if they’ve recently done something similar (if you’ve done your homework, they haven’t), and judge the writer’s skill at a glance. So, what are the editor’s needs?
• Brevity—editors are busy people, so they don’t have time to read five-page missives
• Topic—they want to see a topic that fits with the theme of their publication and that is timely and interesting
• Skill—editors want to know how good your writing is
Next time I’ll go into more detail on how to use query letters to sell editors on the idea that you have what they’re looking for.
True to its name, a query letter is a letter asking an editor to publish a particular piece or series. Though you may find exceptions, queries are generally used for nonfiction pieces and sent to magazines or other periodicals. The query letter serves two main purposes: to find out if the editor needs a piece covering your topic and to sell the editor on the idea that he or she needs a piece covering your topic.
The query letter saves both you and the editor time. For you, you haven’t wasted precious time researching and writing an article that won’t be published. On the other hand, the editor doesn’t have to wade through a series of manuscripts and read each one to see if there’s something there. He or she can pick up your one-page query letter, see if the topic is suitable or if they’ve recently done something similar (if you’ve done your homework, they haven’t), and judge the writer’s skill at a glance. So, what are the editor’s needs?
• Brevity—editors are busy people, so they don’t have time to read five-page missives
• Topic—they want to see a topic that fits with the theme of their publication and that is timely and interesting
• Skill—editors want to know how good your writing is
Next time I’ll go into more detail on how to use query letters to sell editors on the idea that you have what they’re looking for.
Wednesday, May 31, 2006
Where’s the WIIFM?
Here’s something most beginning writers don’t want to talk about: marketing your writing. For most writers, writing is the “fun” part, but turning around and selling that work is the bane of their existence. It may help to realize that, like every other aspect of writing, marketing requires creativity.
It may seem like your writing should sell itself. You know, you send your precious baby out into the world with no introduction, and the first editor to see it simply snatches it up. Reality check! Selling writing is like selling anything else, and the first rule of selling is to tell the prospect (in this case, the editor) what’s in it for them. You can think of it as WIIFM – What’s In It For Me. It’s okay to put in something about your credentials. If you have an impressive track record or some awards under your belt, some editors will be impressed enough to take a look at your piece or query letter. Don’t make it all about you, though. Say what’s in it for the customer. In the advertising world, there’s nothing more important than WIIFM. People won’t buy from you because you have the most degrees, know the latest writing tricks (okay, maybe they will…sometimes) or have state-of-the-art story-spinning software. Editors usually don’t care how many years you’ve been writing or how many credentials you have. They care about how good your piece is and what your writing will do for them. How many readers will it attract? Will advertisers want to be featured near it? Will it win their publications awards? What’s in it for them?
People only pay attention when you meet their WIIFM criteria. They only want to know what’s in it for them. They have a problem or desire, and all they care about is whether you can solve their problem or give them their desire. When selling your writing, show the editor the WIIFM!
It may seem like your writing should sell itself. You know, you send your precious baby out into the world with no introduction, and the first editor to see it simply snatches it up. Reality check! Selling writing is like selling anything else, and the first rule of selling is to tell the prospect (in this case, the editor) what’s in it for them. You can think of it as WIIFM – What’s In It For Me. It’s okay to put in something about your credentials. If you have an impressive track record or some awards under your belt, some editors will be impressed enough to take a look at your piece or query letter. Don’t make it all about you, though. Say what’s in it for the customer. In the advertising world, there’s nothing more important than WIIFM. People won’t buy from you because you have the most degrees, know the latest writing tricks (okay, maybe they will…sometimes) or have state-of-the-art story-spinning software. Editors usually don’t care how many years you’ve been writing or how many credentials you have. They care about how good your piece is and what your writing will do for them. How many readers will it attract? Will advertisers want to be featured near it? Will it win their publications awards? What’s in it for them?
People only pay attention when you meet their WIIFM criteria. They only want to know what’s in it for them. They have a problem or desire, and all they care about is whether you can solve their problem or give them their desire. When selling your writing, show the editor the WIIFM!
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