IdeaJones

Tag: book

  • Gatekeeper Secrets: 5 Ways To Start Off Ahead

    Continuing my online writer conference (since I had to miss the PNWA con this year). Day 5 — Gatekeeper Secrets

    Because I interviewed a bunch of “gatekeepers,” people who look over submissions and decide if they merit consideration, I have some advice to pass along. Also, I’ve been a gatekeeper (I was once an Editor for a magazine). So I’ve had to climb Mt. Slushmore in search of gold nuggets myself.

    Some of this may sound obvious. Most of it sounds obvious once you’ve heard it. But an agent at a recent conference talked about some of this stuff and it reminded me that it’s still the place most hopeful beginners fall on their climb to “published.” It also applies to other arts as well, fine art, music, acting, etc.

    Even for people who have been published, it’s good to be reminded that The Basics still count. I’m trying to go from “published in newspapers and magazines” to “published book author,” so I’m climbing Mt. Slushmore again myself. Since we’re trying to climb Mt. Slushmore and reach the peak, let’s start at the bottom:

    5) Don’t bother anyone until you’re ready to go. This is at the bottom not because it’s unimportant, but because it’s the first step, and you shouldn’t even attack the mountain until you complete it.  Agents want to know you have AT LEAST one book COMPLETED (or, if you’re an actor, have actually acted in something, taken classes, etc.).  You have a great idea? Good for you!

    Now make it. Write the songs, paint the painting, write the screenplay, etc.  If you’re trying to get an assignment to write an article (say for a magazine), and you haven’t had anything else published, be ready to work “on spec” and get paid only after you’ve written the article and the editor has decided to buy it and run it.

    I keep meeting nice people who have ideas for books, articles, radio stories, etc. that they “just need someone to write up,” or that they are writing and have yet to finish, who expect to find buyers for their uncompleted (or in some cases, unstarted) debut projects. You are up against people who are working at their craft. Taking it seriously. Developing their chops.  Be a professional.  Respect your idea by taking it seriously.

    After you’ve created it… edit, revise, polish. You’re trying to convince people you are a producer of diamonds. Have at least one polished diamond to show them.

    4) Get your supplies in order. Your book, your article, needs to be as good as you can make it. Professionally edited, if you aren’t an editor (and even if you are, have someone else check it, proofreading, notes, etc.).

    Workshop your novel, and pay attention to audience reaction. The best advice I’ve gotten so far (regarding improving my work) was, “Read it aloud.” Mark and I started participating in an open mic night for writers, in a book store, reading our work and paying attention to the reactions, both from the other writers, and the people in the book store. If attention is wandering, make a note where it starts to drift. I have to tell you, watching people linger in the stacks, taking a book off the shelf, putting it back, repeat, repeat, to hear the end of your story is a high.

    If you’re only writing for  yourself, great, you don’t need to know what people think. If you’re writing for an audience, you do.

    3) Research the mountain. No matter what professional mountain you want to climb, someone has climbed it before. Never in the history of humanity has information been so easy to come by. Sure, you have to look at the source and figure out how reliable that information is… but that’s doable. And you can average. If 25 people with professional credentials tell you that you need a certain sort of rope to climb that sort of mountain, you need to look closely into getting that sort of rope.

    For writers, you can go to professional conferences, join writing organizations, and yes, read. I mean, if you don’t like to read, why do you want to write? Take writing classes. Do writing exercises. In California, the California Writers Club, for example, has chapters all over the state, with workshops, speakers and sometimes even those open mic nights.

    If you were an acrobat, you would stretch a lot and do muscle-strengthening exercises (or you’d plunge to your death. At least writing isn’t that dangerous).  Whatever profession you’re trying to break into has its own series of stretches and exercises. Expect to do them.

    2) Don’t Be An Asshole. Good advice generally, but in the arts? Crucial. Plus, in the internet age, everything lives forever and comes back to haunt you. Be polite to the Receptionist. Don’t argue with people and get defensive (especially the people you’re trying to get to consider you. Have you ever been argued into liking someone? No, and neither have they). And every career has its ups and downs. You meet the same people going both directions, and sometimes they can give you enough of a boost to stop you from falling off the mountain entirely. It’s good ethics, good karma. Don’t fawn (don’t lick boots unless you’re addicted to the taste of shoe polish). Just be polite.

    This includes other people in your field. Again, both for professional reasons, and so you can like yourself. It’s not like there are only so many cookies, and if someone gets a cookie, you get none, so don’t run down other people.  It makes you look insecure. And it’s nice to be able to talk to people who get what you’re trying to do and think it’s worth doing (because they are, too). In radio, I’ve referred other engineers and field producers when I couldn’t take a gig — and they’ve referred me when they couldn’t.

    1) Follow. The. Guidelines. The most obvious advice is still the advice most people don’t bother to follow. If you’re submitting to agents or editors (or whatever is the equivalent in your art form), look at the website. Read the Submission Guidelines. Treat them like gospel.

    Every publication, every agent, has The Way We Do Things Here. By not reading and following those guidelines, you come off as an arrogant amateur. It’s basic courtesy, really. If you rang on someone’s doorbell and asked to come in, and he said, “Well, okay, but we have a white carpet, so you have to take your shoes off,” would you say, “I paid a lot for these shoes and matched my outfit to them, so even though everyone else takes his shoes off, I’m special?”  If you did, you should expect to feel the door slamming shut on your snout. It’s rude. It’s inconsiderate. And it’s dumb.

    It doesn’t matter how you like to do things. You are approaching that publication, that editor, that agent, and asking to be considered. You are ringing their doorbells. They aren’t ringing yours. Don’t cheese them off by swanning about, expecting them to bend the rules for very special  you.

    Some agents, for example, want the first ten pages. Others want the first  two chapters. Some want a bio and a synopsis of the book. Others don’t care about that unless they like the first chapter. Some want a letter. Others don’t.  Whatever they want to see, that’s what they feel they need to see in order to get a feel for whether or not they’re interested in you.

    As the agent at the workshop said, “By following the guidelines, you lift yourself above 50% of the people who submit from the start. And I’m not kidding. It might even be more than that.”

    Why start climbing by stepping on your own toes?

    Whatever mountain you’re trying to climb, be it Mt. Slushmore, the Hollywood Hills, or your mountain of choice, climb smart and you might just make it. I hope we both do. Good luck!

  • Writer’s Gold

    Writer’s Gold

    That’s what I call it, “writer’s gold,” when you meet someone who enjoys your writing. Writing is such a solitary art. It’s ceremonial. Writers have their traditions, habits and rituals. For me, it’s turning the lights low, getting a cup of tea, putting on some soft, quiet music, turning off the ringer on my phone, and surrendering to the gravitational force of the story. It pulls me in and I’m there, with those characters, seeing, hearing, smelling and experiencing what they do.  Mark says that you could light fire to my chair when I’m writing and I wouldn’t notice — and he’s not far off.

    But you walk forward, struggling to capture the vision in your mind and describe it, not knowing if anyone will understand what you’re trying to say, or enjoy what you’re creating. It goes out and (hopefully) people read it, but you don’t sit there with them while they do (and good thing — when a writer watches someone read his work, it’s uncomfortable for both parties. The writer is hyper-focused on the reader and trying not to ask “What? Where are you?” at each sigh, laugh, gasp or facial expression, which is annoying for the reader and I’ve been there, but trust me, it’s almost impossible to resist).

    So for the most part, a writer works in solitude, builds his paper boat, launches it onto the pond, and retreats to build another boat. That’s why it’s so great when someone has read something you wrote and really enjoyed it. I talked with someone the other day who read the opening of “Based On A True Story: Really (Almost) True Story,” and told me she enjoyed it a lot, it made her laugh, she recognized moments in it as moments like ones she’s had… She went on to talk about the scene with the cake and said she could see it in her mind and feel what was going on, laughing as she recounted it back to me… She also said that she was frustrated because she couldn’t keep reading and wants to buy the book!

    What I hope is that the book will give the reader a bit of an escape. Life can be stressful and when it is, books have been my refuge. This person has a stressful job, and the idea that for a moment she left it behind while laughing over our book makes me happy. Hearing her enjoyment gives me heart to build more paper boats and launch them.

  • Arts Life — Dispatches From The Trenches #4

    As we gather information from those who know about promoting artists and arts groups, we're sharing them. May your art thrive!
    As we gather information from those who know about promoting artists and arts groups, we’re sharing them. May your art thrive!

    Here’s the final dispatch in this series (until we learn more)… the last part of Why Should Anyone Give A Rat’s? Advice Gleaned From The Gatekeepers:

    3) Know who you’re talking to.

    Before you submit a story idea or send a press kit, pay attention to what is on that station. Read that publication at least once and pay attention to what is in it, including the ads. Look at the website. How is it written? What does it talk about? That gives you clues to their target audience. How well does that mesh with the target audience for what you’re promoting?

    If it’s not a natural match but there’s something special, that’s your hook. Your ballet recital might not be what your average reader of Biker Bar Monthly is looking for… unless your event is Ballet and Bikes and your dancers will be performing with, or around, motorcycles. Not that there aren’t motorcyclists who like the ballet — but as Mom used to tell me, “You shoot ducks where ducks like to gather.” Your chances are better in a setting that is more in line with the style of the event.

    I’m told that if you pitch something that isn’t obviously for that publication, show or website without making the case for why it really is a good fit, that’s a big red flag.

    Also, for local stations or publications, pay attention to what your local connection is. If you don’t have any, you don’t, but if the director, or a performer, or the writer, or the artist was born in that area, lived in that area, had parents who lived there, something that connects it to that area, feel free to mention it. Not belabor it, but mention it.

    4) Remember what you’re up against.

    Don’t let it stop you — just don’t forget it. In any midsized city, there are many, many events happening almost any week in the year. That’s your competition for time/space/attention. So do your homework. Which leads me to the last one for now:

    5) Follow the *&#(#! instructions.

    Contact whoever the way they want to be contacted. There’s not one magic format. Some like email, some like snail mail. Some have an online form to fill out. Whatever it is, show the basic respect of paying attention and following instructions.

    Any show or publication gets many pitches for stories, for calendar items, for PSAs. The instructions aren’t meant to make your life difficult. They’re meant to help smooth the flow of information coming in. That’s how they are set up to handle incoming information. No point railing against it. Show that you value the chance to promote your art, your event, your performance.

    Actually, that’s the biggest complaint I’ve heard. The #1 thorn in the side of gatekeepers — people who don’t bother to do the homework or follow the instructions. Do that and you’ve just increased your chances of a favorable reception.

    There are no guarantees. You can do everything right and still not get it every time. But you can increase your chances. Good luck!

  • Arts Life — Dispatch From The Trenches #2

    As we gather information from those who know about promoting artists and arts groups, we're sharing them. May your art thrive!
    As we gather information from those who know about promoting artists and arts groups, we’re sharing them. May your art thrive!

    Let’s call this one Why Should Anyone Give A Rat’s?

    A conversation I had with someone at a gallery today brought back conversations I’ve had in the past with “gatekeepers,” the people who decide whether or not to cover something. These are editors, producers, reporters, critics — people who look at your press release, press kit, what-have-you and decide if there’s a story there. If they don’t see what will interest a reader, listener or viewer, your event won’t be mentioned.

    I’ve been given some pointers on how to make a project, or event, more appealing to a gatekeeper. I’m sharing what I’ve been told in hopes some of it will prove useful (and so I remember it myself). The idea of this lesson breaks into a few parts, so we’ll start with:

    How are you saying it?

    An idea can be more or less interesting depending on how you put it. I don’t mean “spin,” that manipulation that seeks to gild cowflops and call them gold nuggets. I mean looking at your event for what is new, unusual, or interesting about it. For example: I recently spoke with a man who organizes concerts and musical performances for a nonprofit. He was frustrated by their low success rate at getting noticed in the larger arts scene in the region.

    So we talked about a recent event he’d worked on, a concert by an elderly guitarist. Sounds ripping, right? Well, I asked a few more questions and using the techniques I’d been taught, the concert with the elderly guitarist became a “rare performance by an influential musician, an expert in classical and flamenco guitar…” All of which was true. The man rarely performs any more, and was a teacher who influenced other up-and-coming musicians, including one who opened for him.

    Not spin — what you say must be true and defensible. You should be able to make a strong case for what you’re saying if you need to. Look at your subject. What’s unusual about it?

  • Arts Life – Dispatch From The Trenches

    Arts Life – Dispatch From The Trenches

    Mistakes You Could Be Making 1 IdeaJones
    Mark and I once attended a panel discussion for writers on gaining attention for projects from the media. Editors, news producers, and people who were good at promoting their projects talked about how to approach the media when you want to get your project in front of the public.

    Then I agreed to help a few artists with their online promotion. I knew a bit about it, but sought guidance from people who were professionals on how to go about it.

    I’ve been gathering information on promoting yourself, or your arts group, on a limited budget. Today, I was speaking with representatives from a few local arts groups about what I’ve learned. Disclaimer — I’ve been good about doing these things for other people and not as regular about doing them for myself. I’m working on that. It’s a learning process, and I’m always learning. I’ve seen these things work. In this and future posts, I’ll share the lessons my teachers give me. Some of the information may be familiar, but there’s probably at least one tip that will help you better navigate the choppy waters of promotion. To start, a few basics:

    1) Take advantage of your opportunities.

    As I like to tell performers and artists, “People can’t want something until they know it exists.” They may have a vague idea they want something, but they can’t want to come to, say, your concert if they don’t know you, or the concert, exists.

    Increasingly people go online when looking for something to do. There are online events calendars like Eventful, and here in Sacramento, Sacramento365. Many local radio and tv stations, newspapers and magazines have their own online event calendars where their listeners, viewers and readers go to find entertainment choices. These are usually free to use. If you don’t have a budget large enough for advertising, or even if you do, you should take advantage of these services.

    Your local television station may have a morning show. Watch the show. See what they include that isn’t news, weather or traffic. Note how long the show is — longer shows often have guests in after the first half hour or hour is done. A two-hour show has time to fill every day, five days a week. More about this in another post.

    2) Understand what you want.

    For example, at our local public radio station, nonprofit groups can:

    1) Apply for PSAs (Public Service Announcements, very short on-air mentions of upcoming events),
    2) Post events to the Event Calendar (this one’s also available to for-profit groups/performers),
    3) Pitch events to a locally-produced show to be the focus of a segment on the air (more about this in another post).

    Applying for each of these is a separate process and submitted individually. If you only want to post to the calendar, you can do just that. If you want to be on the air, either with a PSA or on a show, you submit for each of these separately and it goes to a different person.

    “Why can’t they just look at the Event Calendar and give us a PSA or put us on the air?” (Another version: “Why can’t they just read our PSA and put our event on the calendar and…”).

    Because they don’t have time. Because it’s not that person’s job (that isn’t the only thing that person does all day — it’s one of many). That station or that paper makes this available to the community as a resource. Taking advantage of it is up to you.

    3) Don’t do it at the last minute.

    Stations may schedule PSAs a month in advance. Some shows line up guests 4 weeks or more ahead — and if they have a sudden cancellation they need to fill, they look at information about upcoming events they wished they could include but didn’t have time for.

    4) Follow the directions.

    Each event site has its own format. They don’t have meetings where they all decide one way to do it. Wherever you go, there will be directions. Follow them. To the letter. It shows respect for the opportunity, for one thing.

    It really isn’t hard. Have the following information handy before you start:

    * Name of the event
    * Date/time of the event
    * Location
    * Ticket price if any
    * Where you go to get tickets (website, physical box office, etc.)
    * Organization hosting the event
    * Name/email/phone of a contact person to call for the public to call for more information (if you just want them to go to a website, fine, what’s the link?).
    * Name/email/phone of a contact person for the station, paper, etc. to contact for more info (maybe not the same as for the general public).
    * A brief description of the event that tells why it’s interesting (and by brief I mean 2-3 sentences. Some sites have a limit on characters). More on that in an upcoming post.
    * Anything people might need to know (is the venue ADA accessible? Is there free parking — and if so, where? ).

    Go to the website (for tv and radio stations, you can search “television station” and your city to find some to get you started). Click on “Events” and look for a button for “Submit your event.” Follow directions. You can post your event to several sites in an hour if you have all of that ready to cut n’ paste on your computer, or on a sheet of paper you can look at to type it in.

    5) Limit yourself.

    Unless you have someone who is organized, enthusiastic, reliable and has buckets of free time, it’s not necessary to blanket the world — in fact, starting out this can be a mistake. You want to find out which online sites produce the best results for you, and this can vary. For example, if you play classical guitar, the local acid rock station might get you a few interested people as many people like more than one type of music, but if you have a public radio station, that’s probably going to be more productive.

    The strategy suggested to me is to start out with the basics (here that’s Eventful, Sacramento365, CapRadio.org, and the local papers). Make sure you enter your events on their calendars reliably. See how things look in three months. Add another and see if it makes a difference. If not, you can probably drop that one and try another.

    Don’t feel bad about not doing more — pay attention to what you’re doing so you know what’s working for you and what isn’t.

    I’ve been given more useful information, and will share it in future posts. But in the meantime, don’t be afraid to get your feet wet. Promotion is your friend. Like any good friend, if you treat it with respect, you’ll reap the benefits.