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Writer, editor, and literary agent Scott Edelstein has done it all--and now this industry insider brings his valuable secrets to both beginning and established writers. Covering everything from building writing skills to dealing with editors to starting a writing business, this all-important guide will get you started and point you in the right direction. With matter-of-fact advice and encouragement from an expert, you'll get the information, inspiration, and guidance you need to write your best and begin a successful writing career.

Tabla de contenidos provista por Syndetics

• Introduction What This Book Can Do for You(p. 1)
• Basic Wisdom
• 1 Anyone who writes is a writer(p. 5)
• 2 Every writer starts out as a beginner(p. 6)
• 3 Some writers are born, but most of us are trained(p. 7)
• 4 Writing isn't inherently noble, painful, or glamorous(p. 9)
• 5 Writing is an act and a process, not a definition of who you are(p. 11)
• 6 The only way to discover whether you have writing talent is to write(p. 12)
• 7 There is no single "right" way to write(p. 13)
• 8 Nothing will teach you more about writing than the act of writing itself(p. 14)
• 9 Each writer builds their skills at their own rate of speed(p. 15)
• 10 You can safely ignore most of the "have to's" you've been taught about writing(p. 16)
• 11 Outfit yourself with a few basic reference volumes(p. 19)
• 12 To get the most out of writing, write what you would enjoy reading(p. 21)
• 13 Getting published isn't hard, but getting published in prominent places is(p. 23)
• 14 Being published doesn't make you a better writer or person(p. 25)
• 15 Beware of anyone who wants money from you to read, represent, or publish your work(p. 26)
• 16 Unless you're rich or have substantial savings, don't quit your job to become a freelance writer(p. 28)
• 17 Ask yourself honestly what you want to get out of writing. Then make that your goal(p. 30)
• 18 If you don't like what you're writing--or the act of writing in general--you can always stop(p. 33)
• The Writing Process
• 19 Each person's writing process is unique(p. 37)
• 20 Discover the times, places, and circumstances that help you write at your best(p. 39)
• 21 Some writers find it very helpful to keep a journal or notebook(p. 42)
• 22 You can start work on a piece of writing almost anywhere--with an event, a person, a quotation, an image, an idea, a setting, or just about anything else(p. 43)
• 23 You don't have to know where your piece is going when you begin writing it(p. 44)
• 24 You don't have to write your piece in the same order in which people will ultimately read it(p. 45)
• 25 To help structure your piece or organize your ideas, try outlining or netlining(p. 46)
• 26 When you're not sure what word, phrase, or image to use, skip over it(p. 52)
• 27 Write more words than you need--then cut the excess later(p. 53)
• 28 Be willing to take risks and make mistakes(p. 54)
• 29 Ignore the perfectionist, the worrier, and the nitpicker inside your head(p. 56)
• 30 Virtually all writers need to revise and edit their work--often many times(p. 57)
• 31 Read your work aloud after each draft--and as you edit(p. 59)
• 32 Put your piece aside overnight before each round of revising or editing(p. 60)
• 33 The final decisions on writing, revising, editing, and publishing anything you've created are yours and yours alone(p. 61)
• 34 It's fine to work on more than one piece at a time(p. 62)
• 35 Some writers develop their own distinct style; others change their style from piece to piece(p. 63)
• 36 "Writer's block" has many different causes--and at least as many solutions(p. 65)
• 37 Never throw away anything you write(p. 71)
• Building Your Writing Skills
• 38 Become familiar with some basic writing terms(p. 75)
• 39 Get in touch with what inspires you(p. 94)
• 40 Take time to meditate and ponder(p. 97)
• 41 Fantasize. Ask "What If?"(p. 100)
• 42 Show rather than tell(p. 102)
• 43 Involve your reader's senses(p. 104)
• 44 Write multiple variations, versions, or scenarios(p. 106)
• 45 Combine unexpected elements(p. 108)
• 46 Writing teachers, classes, and workshops range from wonderful to outright harmful(p. 110)
• 47 Get feedback on your writing from people you trust(p. 113)
• 48 Consider carefully what others have to say about your writing--but never let their comments overrule your own judgment(p. 116)
• 49 Follow your heart and gut(p. 118)
• 50 Let your writing find its own way(p. 119)
• Making Money from your Writing
• 51 Understand the difference between a salaried writer, a contract writer, and a freelancer(p. 123)
• 52 It's possible to get rich by writing--but it doesn't happen often(p. 125)
• 53 There is far more money in writing for businesses and nonprofits than there is in writing for publication(p. 128)
• 54 Plan to start out small, then work your way up slowly(p. 130)
• 55 Most communication fields (publishing, film, TV, etc.) are moderately to highly dysfunctional(p. 133)
• 56 Nonfiction accounts for 95 percent of all published material, and 95 percent of all the money writers make(p. 136)
• 57 There are three ways to publish material in periodicals
• 1 Complete whatever pieces you desire, then submit them for publication
• 2 Pitch ideas for pieces to editors, then contract in advance to write them; and
• 3 Write whatever editors ask you to write, on assignment(p. 137)
• 58 Unless you're dealing with the film or TV industries, you don't have to worry about people stealing your work or ideas. If you are dealing with Hollywood, there is a way to protect yourself and your work(p. 148)
• 59 You don't need to register your work with the Copyright Office, or mail a copy to yourself, or print a copyright notice on it(p. 150)
• 60 Unless you become famous, expect to be rejected much or most of the time(p. 152)
• 61 It's quite simple to establish a pen name for yourself(p. 154)
• 62 If you're serious about marketing your writing, you must do your own thorough market research(p. 155)
• 63 Use Writer's Market as one place to begin your market research, but only as a beginning(p. 161)
• 64 Some of the best-paying publications--and some of the easiest ones to get published in--can't be found at any bookstore or newsstand(p. 164)
• 65 It's essential to send your work not only to the right publishers, but to the right editors as well(p. 166)
• 66 You may send the same manuscript to many different editors at once(p. 172)
• 67 Avoid sending query letters to editors, publishers, and producers(p. 174)
• 68 Most editors and producers will not give you much feedback on your work(p. 176)
• 69 When editors and producers do give you feedback, don't take it too seriously most of the time(p. 177)
• 70 Treat editors, producers, agents, and other media professionals like normal human beings(p. 178)
• 71 When an unexpected opportunity arises, don't be afraid to grab it(p. 179)
• 72 Virtually everything in a publishing contract is potentially negotiable(p. 181)
• 73 Don't be afraid to ask for what you want or need(p. 184)
• 74 Don't promise anything you can't deliver(p. 185)
• 75 Most published nonfiction books start out as book proposals(p. 187)
• 76 You don't need a literary agent unless you wish to sell a book, a full-length play, or material for major TV or film production(p. 190)
• 77 To get an agent, write a brief letter to twenty to twenty-five people selected from the resources listed in this chapter(p. 191)
• 78 Legitimate literary agents earn their money by selling writers' work and receiving a commission (usually 10-15 percent)--not through any other means(p. 196)
• 79 Many of the people who call themselves literary agents operate scams and schemes that can cost you money and do you harm(p. 198)
• 80 Don't waste your time entering lots of literary contests, particularly those with entry fees(p. 201)
• 81 Paying a "vanity press" to publish your book actually discourages bookstores from buying it(p. 203)
• 82 Self-publishing is a viable option only if you know your market, are good at promotion and publicity, and are willing to devote at least twenty hours a week to promoting and marketing your book(p. 205)
• 83 Be very wary of "copublishing" arrangements(p. 207)
• 84 Avoid sending your work to poetry anthologies that advertise for submissions(p. 210)
• 85 Plenty of jobs are available for writers and editors--but they're not easy to get(p. 212)
• 86 One of the best ways to land a writing or editing job is through an internship or assistant's position(p. 214)
• The Writer's Life
• 87 Building a successful writing career requires skill, time, patience, perseverance, and flexibility. Being good at marketing helps, too(p. 219)
• 88 Your successes and failures as a writer will be half the result of your own effort, half the result of luck(p. 220)
• 89 Writing is by nature a solitary activity(p. 221)
• 90 Most freelance writers have at least one other job(p. 222)
• 91 Integrate your writing with the rest of your life. Don't neglect your family--or yourself--in favor of your writing(p. 223)
• 92 When you read something by a widely published writer and find yourself saying, "I can write better than that," you're probably right(p. 224)
• 93 It is up to you to decide how much to network, schmooze, and socialize with other writers(p. 226)
• 94 The opinions of any two writers, editors, or writing teachers will often differ(p. 228)
• 95 Expect some negative reviews, reactions, and opinions(p. 229)
• 96 When the going gets tough, reward yourself(p. 230)
• 97 There are real but limited benefits to joining writers' groups, centers, clubs, and organizations(p. 231)
• 98 There's something unique to you and your writing that's every bit as important as the ninety-nine other tips and guidelines in this book(p. 232)
• 99 Keep reminding yourself why you write and what you get out of writing(p. 233)
• 100 Enjoy yourself. The very best reason to write is for the pleasure of it(p. 234)
• Appendix Useful Resources for Writers(p. 235)

Reseñas proporcionadas por Syndetics

Booklist Review

In spite of the first title's rather murky subtitle, the books under review will be of immense help to both beginning and semiprofessional writers. For fiction writers who actually get past all the usual obstacles, such as writer's block, lack of time, and little or no inspiration, the biggest challenge lies ahead--getting published. Many sincere and serious novelists may be naive about what it takes to get published. Camenson and Cook describe the pathways (query letters, synopses, writers' conferences) and the pitfalls (unscrupulous agents, rejections). The book takes readers through all the steps from finding an agent and publisher, writing query letters and synopses, and working with agents and editors. Our only complaint is that the publishing contract is given short shrift, but there are other books (by lawyers) that deal with that topic in more depth. This is a very useful book for those writers with a finished product looking for a buyer who will turn them into published authors. Edelstein's guide is for the beginning writer who sincerely wants to write, and sometimes does, but needs a nudge to get going. The book is divided into five parts: Basic Wisdom, The Writing Process, Building Your Writing Skills, Making Money from Your Writing, and The Writer's Life. There are some good tips here. For writers who have a little more experience under their belts, the best information is in the second half of the book. For example, in #79 Edelstein warns that some literary agents operate scams on naive and eager to publish writers--a harsh but true reality. Edelstein is a writer, writing instructor, and literary agent, so he brings a good combination of viewpoints to this book. He is somewhat discouraging for those who are only interested in the fiction market. Still, Edelstein has something to offer most writers who are fortunate enough to pick up his book. For writers who never seem to find the time to write, Golub offers more than solace--practical guidance. The issue of finding time is a universal problem for writers whether they work in fiction, nonfiction, or poetry. No matter how talented the writer, it's simply easier to wash the car or even the dog than to sit in front of a blank computer screen or stare at an empty piece of paper. Golub advises that making writing a serious priority and a regularly scheduled activity (if only 20 minutes a day) is mandatory. Her chapters are short and to the point. As with most useful books on writing, this one includes doable exercises. Golub's exercises require writers to organize, think, and write--all basic requirements to get started writing. This is a handy tool for writers at all stages of writer's block or those who really want to make writing a regular hobby or even a career. --Marlene Chamberlain

Notas de autor provistas por Syndetics

Scott Edelstein has been a book, magazine, and newspaper editor; a literary agent; a magazine and newspaper journalist; a writing and publishing consultant; a freelance writer, editor, and ghostwriter, a magazine columnist; an arts reviewer; a manuscript critic; a writer of material for businesses and non-profits; and a writing teacher at many colleges and universities. He has published more than a dozen books and over 100 short stories and articles. He frequently gives talks and workshops for beginning writers at universities and writers' centers, and works one-on-one with writers to help them publish their work and build their writing careers. He currently works as a writer, editor, literary agent, and professor of writing at Hamline University in St. Paul, Minnesota.