Finding Inspiration

Once you name yourself "novelist" you begin to see the world in a different way. Everything becomes a potential story. Newspaper articles. Photographs. Interesting people. Events you hear about. Literally anything can become fodder for a novel.

So, what's worthwhile and what isn't? My measuring stick is TIME. If the story still interests me a week, two weeks down the road it might be worth writing. The second test for me is this: "Does the story beg a question?" If it begs a question, you have a built-in plot. But this can evolve after time as well. Sometimes a man's face, craggy wrinkles yet with smile lines deeply etched can spark ideas for me. If these ensuing ideas evolve into question asking scenarios, it might be a path worth exploring as well.

I like to keep a little notebook in my purse so I can write down ideas as they come to me. They might be a scene from a yet to be determined book or and impression, a sight or sound along the way.

Once while waiting for my children during piano lessons I got our my notebook and wrote:
An old man and his dog...

I didn't have any more than that. Just the image of a man, white hair, a scruffy beard, wearing a red-and-black checked flannel shirt. He sat in a beaten-up wooden canoe, paddle in hand as his old dog sat watching at his side. Perhaps the sun was low in the sky, glowing orange, creating silhouettes of the sumac and oaks along the shore. He paddled to the water's edge and got out, pulled the canoe onto the sandy shore. I could hear the scrape of boat against rocks. But then what? That was all I had--an image.

My daughter sat next to me, having finished her round at the piano, and saw my unfinished sentence. She wrote, "find a baby."

H'm "An old man and his dog find a baby." It intrigued me. Whose baby is it? Is it a real baby or a figment of a deteriorating mind? Why would it be l+eft in the wilderness? What would the man do with a baby? Is someone looking for the child?

You see. The sentence has a built-in set of questions. The imagination can take it anywhere beyond that. But it's a starting point. See what you can do with it and post your comments.

An old man and his dog...

More later,
Traci

Getting a Foot in the Door

I'm often asked the following question:

"Do you have any ideas or suggestions on where I might get a start in Christian publishing? "

My path to the publishing industry isn't a common one. But I'll toss it out for what it's worth in an effort to answer this question.

I began at Bethany House Publishers in the Customer Service department, taking phone orders and resolving order problems for Christian book buyers. There were times when the phones would be quiet and I'd be looking for work to do. It was then that I'd head to editorial to see if there were any manuscripts in need of reviews. These were unsolicited manuscripts, meaning they came in off the street from authors hoping for that big chance. I'd read with eye toward whether these manuscripts would be a good fit for Bethany's line.

After a year of doing this I was transferred to the editorial department as an editorial assistant. My boss at that time had some health concerns and was often out of the office so I found myself managing the "slush pile" as well as reviewing contracted books, this time with a view toward what revisions the authors needed to consider to make their books better. A few months into this job, Carol Johnson (editorial director at Bethany) called me to her office to tell me that they could see I had a natural gift for understanding the elements of good writing--not only in seeing what wasn't working in the overall scheme of a book but also in knowing how to fix a book--and they wanted to train me to become an editor.

There's no training like on-the-job training--I immersed myself in it and loved it. It wasn't long until I was assigned to the Fiction Team at Bethany. Then seven years later I moved to the country and started my freelance business, editing for publishers including Tyndale, Baker/Revell, WaterBrook, W Publishing (now WestBow), Barbour, Multnomah... and for incredible authors including Jane Kirkpatrick, Diane Noble, Lisa Bergren, Randy Alcorn, Ted Dekker, Jane Orcutt, Deb Raney, Linda Chaikin, Robert Whitlow, Robin Lee Hatcher, and many, many others. It's been an amazing journey I never could have imagined. But if you follow God and trust where he leads you'll be surprised at where you end up!

So, that's my path in a nutshell.

As for those who want to break into publishing from home, it's a tricky thing without that time working in-house. Publishers are comfortable with editors they know; they want to feel assured that you aren't going to deconstruct the book they worked so hard to contract, or that you won't sour that new author by re-writing thier baby. You'll need to find ways to work around this obstacle.

• If you live near a publisher you'd like to edit for, consider taking a job there so folks can get to know you.
• Or make an appointment to talk to the managing editor to find out what their needs are--once you have a gauge of this you can adapt to meet what the publisher is looking for.
• Many publishers offer proofreading tests and hire freelance proofreaders. It isn't editing, but it's a foot in the door. If you are hired to proofread, be sensitive to each author's "style." Fiction is art, so rules of grammar and punctuation are sometimes broken in favor of the author's intent. It's always better to query than to make unneccesary changes. On Big Picture issues remember that the book's already been edited and odds are the author chose not to make the changes you'd like--talk sensitively to the in-house editor about these (it's a great way for the editor to see your gifts AND your sensitivity to the author's rights).
• Keep calling. Editors are busy people and such requests can easily slip to the bottom of the priority list. So, be a squeaky wheel.
• Edit for authors you know. If you have friends who write, who respect your opinion and know your gifts, start here. A recommendation from a published author can help.

Keep the questions coming--I love 'em.

More later,
Traci

Marketing for Us Introverts

A while back a fellow writer asked me the following question:

"Where is the line between being convincingly insistant and simply annoying? I want to exude confidence in my work, yet do not wish to appear pushy. It's quite a dilemma and I was wondering if you had any thoughts on this."

Here's what I've discovered. If people are interested, my books will sell themselves. Good cover copy is essential. Be confident, even be a little quirky (people expect that from authors)--that's good, but I find it more effective to be interested in others. When I'm at signings at the mall and someone stops to look at my books, I ask questions about them. I notice if they're wearing a particular type of T-shirt and ask about it, whatever starts a conversation. People love to talk about themselves and when I show interest in them they invariably are more interested in my books. I sell a lot more books when I ask people about themselves than when I talk about my great writing. And I'm much more comfortable with this, because I too hate trying to sell my books. It feels false to me. Not everyone likes my brand of gentle fiction; some people like action-adventure, some like mysteries, some sci-fi--my writing can't satisfy those people and I'm okay with that. It isn't a personal thing--remembering that helps a lot.

Then be creative in marketing. Start local, because people who know you or see you on a regular basis can become your biggest sales force. My hometown sells a LOT of books for me! Get to know the bookstores owners and managers in your area, as well at the public librarians. Stop by often, offer to sign copies that they have onhand whenever you stop in. Remember names and greet the staff individually--they'll think you're wonderful and when patrons ask for recommendations they'll think of you. Just last weekend I had a signing at B. Dalton nearby. I signed a fair amount of books during my stint but then the manager asked me to sign the rest of her inventory--a good 100 copies. She knew she'd be able to move them and had a display at the front of the store with JUST MY books! Then I stopped at Barnes and Noble across the street. They had me sign their 50 copies and gave my books a table at the front of their store! There's a little coffee/bookstore in Montgomery where I regularly have signings and readings--we've sold out of her inventory during my signings! Over 50 copies in one hour. She's great at getting the word out in her small town so that it's a big event, and people actually show up.

Then there are the librarians. I know some authors are skittish about pushing their books through libraries. The logic is, "If people read my books there they won't be buying copies." That's true, but it's short sighted. What I'm building is a long term readership, not just sales now. Librarians are readers and patrons often ask for recommendations. If the librarian knows you and has read your book, believe me, they'll be pushing them on your behalf. Most libraries work in cooperatives or branches. Ours is the Traverse des Sioux Library System--a great group of 39 libraries across southern Minnesota. They have done a LOT to promote my books. I've had bookmarks printed with each of my last two books--20,000 bookmarks! My library system has delivered bookmarks free of charge to each library and in turn offered them to their patrons. I've had signings at many, many libraries (and I make a greater percentage at these signings since they're my own copies! It's like adding $2000-$3000 to my royalties. A good deal), I've had lunch with many of the librarians in the system and know them personally.

Other supporters who've done so much for me are my local radio stations and newspapers. I've formed a network of radio stations who've interviewed me on hour-long shows; most tell me, "Call me when your nest book comes out so we can do this again." They re-air shows over and over. My newspaper publishes stories cooperatively with other local papers--they've run multiple stories about me and my books. These folks are friends. I see them around town and talk to them whenever I get the chance. They come to my signings to say, "Hey." When I have a radio interview scheduled I like to drop off copies of my books to give away a week or two before the show. It's amazing how much free publicity you get when the radio is telling folks to call in to qualify for a book giveaway!

For me the key is finding ways for other key people to become my sales force for me. Start with genuine friendship and add some creativity--you can't go wrong!

Traci

Another great blog for up and coming writers

Thought I'd mention Terry Whalin's site. It's filled with tons of great advice from someone who's been in the industry a long time. Check it out.
Traci

Finding Center

Several years back I took a pottery class in the nearby town of St. Peter, Minnesota. I've always had a fascination with the craft and had visions of myself as an earthy woman behind a potter's wheel, hands covered in slip as I turned out one artistic creation after the next. I thoroughly enjoyed that class even if my projects turned out less than stellar. It was a creative moment and I've discovered that all creativity pulls me away from worries of the future or regrets of the past and into the present, whether its playing the piano, singing, writing, drawing or making pottery. It is an escape of sorts that demands my full attention and leaves me feeling somehow better. The term "Finding Center" is a potter's term. After you "wedge" the clay--get out all air bubbles and form it into a ball--you literally "throw" it onto the center of your wheel. This isn't a baseball throw, but forceful enough to make the clay stick. Then it's time to get the wheel spinning; as it spins you place your hands around the clay all the while conforming it into a perfect circle. The clay protests every time; it bumps and grinds against your palm, not wanting to give in, and if you don't press hard enough it will win out. Press too hard and the clay will twist in the opposite direction. But once you find center you immediately know it. The clay turns within your grasp with no hesitation, no bumping, no protesting. It is then that you can transform the gray mass into all manner of creations. That's how it is with us. We must find center within God's grasp as he molds us into beautiful works of art. Within that context we can create on our own, because we are like him. Creativity is the way we're meant to be; instead of arguing "I could never do that" we need to say, "What form of creation am I good at?" Handicrafts, gardening, drawing, music, architecture, writing--the list is limitless. That's not to say that there won't be days when your clay is lumpy or filled with air pockets, but at least your hands are still full of slip. Right? Keep chugging on, Traci